GIACINTO; ossia, il discobolo di Mirone

Speranza

 Without question the most famous work of the Grecian sculptor Myron, was the "DISCOBOLO" (ossia Giacinto), the Discus-thrower, two excellent copies of which Rome possesses.

One in the Palazzo Massimie alle colonne, the other in the apartment of the Car in the Vatican.

The latter of the two reproductions is in so far less complete, that the head does not appear to be quite properly added.

 It ought to have been turned somewhat more towards the right side.

The position and action of this statue require no explanation for the unprejudiced spectator.

A youth of graceful and harmonious bodily frame is posed in the attitude immediately proceeding his hurling of the "Discus," a disc or quoit weighing about five pounds.

Solon is made by Lucian to describe the discus to Anacharsis as

"a small, round, brass shield, without strap or other handle, heavy and not easy to hold on account of its slipperiness."

The sculptor has chosen the moment when the arm of the thrower is stretched back to its utmost, in order to deliver the missile with full force.

The body and head of the young man have followed the motion of the quoit, in a semi-turn, but involuntarily—not as Hattner supposes with a view to glancing at the discus.

The time for altering the direction of the throw is past, that is no longer under the control of the thrower; if the expression may be admitted, the acme of the situation is reached.

The whole weight of the body rests upon the right foot, whereas the left only touches the ground with the points of the toes.

In the approaching second of time the body will revert to its original position, the right arm will swing to the front, and the left leg will again support its due proportion of the weight of the body, as that assumes a position of equilibrium. It is at once apparent that a sculptor who wished to represent a young man in the act of throwing, could not have selected a more suitable moment, out of all the time occupied by the action. The entire statue displays in every line of the contours the most powerful action. It is not only the limbs that are here shewn to us in motion, but the whole trunk, and the countenance also participate in the movement The mode of transition from one action to another is suggested with consummate skill.