Page:An Elementary History of Art.djvu/218

 188 Greek Sculpture. Calamis, Pythagoras, and Myron, the immediate fore- runners of Pheidias, may be looked upon as artists of a transition period. Calamis represented a greater diversity of subjects than any previous sculptor ; his horses were especially lifelike, but his human figures were not so good. A marble copy of one of his works — Mercury carrying a Ram — is in the collection of Lord Pembroke, at Wilton House. Pythagoras was truer to nature than Calamis ; his works were remarkable for delicacy of execution ; his statue of the lame Philoctetes at Syracuse, a statue of an athlete at Delphi, and his group of Europa on a Bull at Tarentum, were especially admired. Myron, the third and greatest of this group of artists, was (with Pheidias and Polycletus) a pupil of Ageladas. He generally employed bronze for his works, which com- prised a vast variety of subjects, although he especially delighted in representing athletes in vigorous action. His Marsyas in the Lateran at Rome, and his Discobolus (disc thrower) in the Vatican (Fig. 78), are among his most successful statues. They are full of life and animation, and give proof of consummate knowledge of anatomy. The famous Cow of Myron, which formerly stood on the Acropolis of Athens, must also be mentioned. Of the now- existing monuments belonging to the first period of Greek sculpture, we must name the sculptures from the temple at Assos, now in the Louvre ; the metopes from the temples of Selinus in Sicily, now in the museum at Palermo ; the Harpy, Chimsera, and Lion tombs, from Xanthus in Asia Minor, large portions of which are in the British Museum ; and above all, the sculptures from the Temple of iEgina.