Myron of Eleutherae's Bronze Discobolus Discus

The Discobolus Statue:
The Diskobolus of Myron ("discus thrower" Greek Δισκοβόλος, "Diskobólos") is a famous Greek sculpture that was completed towards the end of the Severe period, circa 460-450 BC. The original Greek bronze is lost. It is known through numerous Roman copies, both full-scale ones in marble, such as the first to be recovered, the Palombara Discopolus, or smaller scaled versions in bronze. A discus thrower is depicted about to release his throw: "by sheer intelligence", Sir Kenneth Clark observed in The Nude (1956: p 239f) "Myron has created the enduring pattern of athletic energy. He has taken a moment of action so transitory that students of athletics still debate if it is feasible, and he has given it the completeness of a cameo." The moment thus captured in the statue is an example of rhythmos, harmony and balance. Myron is often credited with being the first sculptor to master this style. Naturally, as always in Greek athletics, the Discobolus is completely nude. His pose is said to be unnatural to a human, and today considered a rather inefficient way to throw the discus. Also there is very little emotion shown in the discus thrower's face, and "to a modern eye, it may seem that Myron's desire for perfection has made him suppress too rigorously the sense of strain in the individual muscles," Clark observes. The other trademark of Myron embodied in this sculpture is how well the body is proportioned, the symmetria.

The potential energy expressed in this sculpture's tightly-wound pose, expressing the moment of stasis just before the release, is an example of the advancement of Classical sculpture from Archaic. The torso shows no muscular strain, however, even though the limbs are outflung.

Myron of Eleutherae:
Myron of Eleutherae (Ancient Greek: Μύρων) working c. 480-440 BC, was an Athenian sculptor from the mid-5th century BC. He was born in Eleutherae on the borders of Boeotia and Attica. According to Pliny's Natural History, Ageladas of Argos was his teacher. The traveller Pausanias noted sculptures by Myron that remained in situ in the 2nd century CE. Chionis, a 7th century BC Olympic victor from Sparta, was commemorated in an idealized bronze by Myron. He worked almost exclusively in bronze, and though he made some statues of gods and heroes, his fame rested principally upon his representations of athletes, in which he made a revolution, according to commentators in Antiquity, by introducing greater boldness of pose and a more perfect rhythm, subordinating the parts to the whole. Pliny's remark that Myron's works were numerosior than those of Polycleitus and "more diligent" seem to suggest that they were considered more harmonious in proportions (numeri) and at the same time more convincing in their realism: diligentia connoted "attentive care to fine points", a quality that, in moderation, was characteristic of the best works of art, according to critics in Antiquity.

Collection and Effects
Snagged in Greece. The discus absorbed the athletic energy from the statue. Pros: Whoever pics up the discus gains incredible athletic prowess. Cons: Slowly turns the user into bronze in a attempt to recreate the statue that was lost.