Myron of Eleutheræ,[1410] who was also the pupil of Agelades, was rendered more particularly famous by his statue of a heifer,[1411] celebrated in many well-known lines: so true is it, that most men owe their renown more to the genius of others, than to their own. He also made the figure of a dog,[1412] a Discobolus,[1413] a Perseus,[1414] the Pristæ,[1415] a Satyr[1416] admiring a flute, and a Minerva, the Delphic Pentathletes,[1417] the Pancratiastæ,[1418] and a Hercules,[1419] which is at the Circus Maximus, in the house of Pompeius Magnus. Erinna,[1420] in her poems,[1421] makes allusion to a monument which he erected to a cricket and a locust. He also executed the Apollo, which, after being taken from the Ephesians by the Triumvir Antonius, was restored by the Emperor Augustus, he having been admonished to do so in a dream. Myron appears to have been the first to give a varied development to the art,[1422] having made a greater number of designs than Polycletus, and shewn more attention to symmetry. And yet, though he was very accurate in the proportions of his figures, he has neglected to give expression; besides which, he has not treated the hair and the pubes with any greater attention than is observed in the rude figures of more ancient times. Pythagoras of Rhegium, in Italy, excelled him in the figure of the Pancratiast[1423] which is now at Delphi, and in which he also surpassed Leontiscus.[1424] Pythagoras also executed the statue of Astylos,[1425] the runner, which is exhibited at Olympia; that of a Libyan boy holding a tablet, also in the same place; and a nude male figure holding fruit. There is at Syracuse a figure of a lame man by him: persons, when looking at it, seem to feel the very pain of his wound. He also made an Apollo, with the serpent[1426] pierced by his arrows; and a Player on the Lyre, known as the Dicæus,[1427] from the fact that, when Thebes was taken by Alexander the Great, a fugitive successfully concealed in its bosom a sum of gold. He was the first artist who gave expression to the sinews and the veins, and paid more attention to the hair. There was also another Pythagoras, a Samian,[1428] who was originally a painter, seven of whose nude figures, in the Temple of Fortune of the passing day,[1429] and one of an aged man, are very much admired. He is said to have resembled the last-mentioned artist so much in his features, that they could not be distinguished. Sostratus, it is said, was the pupil of Pythagoras of Rhegium, and his sister’s son.