from a cast made up of the delle Terme body, the Lancellotti head, the right arm and the diskos from the Casa Buonarroti in Florence, the feet from the British Museum copy and the fingers of the left hand being freely restored. [Illustration: FIG. 35.—Statue of the _Diskobolos_, after Myron. British Museum, London.] [Illustration: PLATE 23 Statue of the _Diskobolos_, after Myron. A bronzed Cast from the Statue in the Vatican and Head from the Statue in the Palazzo Lancellotti, Rome.] The pose of the Lancellotti copy agrees with Lucian’s description of the original: “Surely, said I, you do not speak of the quoit-thrower who stoops in the attitude of one who is making his cast, turning round toward the hand that holds the quoit, and bending the other knee gently beneath him, like one who will rise erect as he hurls the quoit?”[1361] That the head of the original was turned back as in the Lancellotti copy, and not downwards, as in the Vatican, British Museum and other replicas, is shown by this description, which is corroborated by two bronze statuettes in Munich and Arolsen[1362] and by a gem in the British Museum.[1363] Myron chose the most difficult, but at the same time the most characteristic, moment in swinging the diskos, the moment which combines the idea of rest and motion. The quoit has been swung back as far as it will go. The momentary pause before it is hurled forward suggests rest and at the same time implies motion, both that which has preceded and that which is to follow. It is this short pause at the end of the backward swing which the sculptor has fixed in the bronze. The right arm is stretched backwards as far as possible and draws with it the body with the left arm and head; in another instant the diskos will be hurled and the tension on the right leg relaxed. The original statue rested upon the right foot; the tree trunk is a necessary addition to the marble copies. As Greek art was mostly characterized by repose, we are not surprised that such a daring effect received the censure of the ancient critics. Quintilian says that if any one blames the statue for its labored effect, he is wrong, since the novelty and the difficulty of the work are its chief merits.[1364] For a statue of the transitional stage of Greek sculpture it is remarkably bold; only in imagination can we see the action by which the body has got into this position and by which it will recover its equilibrium. It illustrates a principle laid down by Lessing in the _Laokoön_: “Of ever changing nature the artist can use only a single moment and this from a single point of view. And as his work is meant to be looked at not for an instant, but with long consideration, he must choose the most fruitful moment, and the most fruitful point of view, that, to wit, which leaves the power of imagination free.”[1365]