ATHENA OF MYRON COPY

1st century BC – 1st century AD based on 5th century BC Greek original
Italy 
Marble

We know Athena best as the Greek goddess of wisdom. Donned in her war helmet and armed with her mythical shield, the aegis, she was a courageous leader in battle. However, Athena took many forms, and had numerous titles ascribed to her. She could be Athena Polias, founder of the city of Athens, Athena Parthenos, the pristine maiden, or Athena Nike as Athena of Victory. Context was imperative to relay meaning. This Athena is not described by one of her many names, but as a Roman copy of a Greek original by the sculptor Myron. Why is her image more prevalent as a copy over the content of the piece? How are we even sure of her divinity when all we see is a clothed torso without a head or arms?

They say that imitation is the sincerest form of flattery, but for the Romans, copies of Greek originals were more than just paying tribute to the past. Copied forms were implemented time and time again because they represented a clear, understandable formula that would quickly relay the message of the piece. Even headless, her form is immediately recognizable when compared to other Athena of Myron copies. This Athena is clothed in traditional dress with her left leg slightly bent. This is not an Athena prepared for battle with spear and shield. This was the myth in which Athena created the double flute and promptly cast it aside. In sculpture, this Athena would have been accompanied by a figure named Marsyas, who in myth picked up the double flute and showed such talent that he incurred the jealousy of Apollo, who flayed him alive.