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Cтрогий стиль был основным стилем греческой скульптуры в период ранней классики, который охватывал 490–450 гг. до н. э. Это было время разрушения канонических форм искусства архаики и перехода к новым стандартам, характерным для классики конца V века. Этот стиль был популярен во многих городах греческого мира и представлен различными видами: круглыми скульптурами из бронзы, стелами и рельефами. Наилучшим воплощением строгого стиля являются метопы Храма Зевса в Олимпии.

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We may well commence our consideration of this period with the earliest of the rare Greek lifesize bronzes to come down to us, the superb Charioteer of Delphi, dedicated by Polyzalos, tyrant of the Greek city-state of Gela in Sicily, to celebrate his victory in the chariot race at the Delphic Games just before
470 bce. Originally the charioteer stood in a bronze chariot and controlled four bronze horses with their bridles; only fragments of the horses survive. The dignity and calm of the figure remind us that the metaphor of a charioteer was later used by Plato to symbolize man's control of the contrary forces in his soul. The bronze, originally polished, is relieved in the face by inlaid copper lips and eyelashes and by eyes made of glass paste.
The charioteer stands with a resiliency new to Greek sculpture; the folds of his long chiton drape easily across the chest and
fall from the high belt in full, tubular shapes as cloth actually does, rather than in the ornamentalized folds of the Archaic period. The figure has at once the verticality and strength of
a fluted Doric column and the possibility for action of any
nude athlete.

A slightly earlier statue, called the Kritios Boy because it embodies what is thought to have been the style of the sculptor Kritios, should be compared with the Archaic kouros figures, to bring out the scope of the transformation in Greek sculpture. Although the kouros figures are also standing, they appear frozen in a pose derived from walking, with the weight evenly distributed on both. In the Kritios Boy, the figure stands at rest, as people actually do, with weight placed on one leg while
the other remains free. In consequence left hip, on which the
weight rests, is slightly higher than the right. In recompense,
the right shoulder should be higher than the left, but the sculptor does not seem to have noticed this. He has discovered that
in a resting figure the masses respond to stresses just as in
a moving one, and that the rest in a living being is not
equivalent to inertia, as in Egyptian sculpture, or to the
unreal symmetry of the Archaic, but to a balanced composure
of stresses.

The fullness, richness, and warmth of the human body, hinted at for the first time in the Anavyssos Kouros, are now fully realized, as the forms blend effortlessly into each other. The firm beauty of the features and facial proportions preferred by the Severe Style is seen at its grandest in the Blond Youth, also dating from bout 480 bce so called because traces of
blond coloring could once be seen in the hair. The irises of the characteristically heavy-lidded eyes still retain considerable color, and the typical pensive, serene expression of the Severe Style is beautifully realized. The hair is still ornamentalized and worn almost like a cap, although occasionally a lock breaks free.

Fortunately, a single original bronze action statue of the Severe Style has come to light, a splendid, over-lifesize figure of the nude Zeus, found in the sea off CapeArtemision. The subject is often considered to be Poseidon, god of the sea, but if the trident (three-tined spear) wielded by Poseidon were to be placed in the figure's right hand it would obscure the face; more likely the figure represents Zeus hurling a thunderbolt. In no other remaining example can we see the magnificence of the Greek athletic ideal in the very person of the ruler of the gods. While the hair, bound in by a braid, and the beard and eyebrows are still stylized, the muscles of the body and the limbs vibrate with a new intensity.

The leading sculptors of the period immediately following, especially Myron and Polykleitos, were trained in the Severe Style, of which their work is an immediate outgrowth. Both were chiefly concerned with athletic subjects, which enabled them to exemplify the Classical principles of rhythmic organization derived from the poses of powerful nude male figures. In his bronze Discus-Thrower, of about 450 bce which we know only through Roman copies in marble, Myron chose the moment when the athlete bent forward, in a pose of great tension and compression, before turning to hurl his discus. The composition, operating in one plane like the Zeus of Artemision, is built on the transitory equipoise of the two intersecting arcs formed by the arms and the torso. Like all Classical figural groupings, this one dissolves the moment the action is over; its beauty lies in the lasting grandeur of a geometrical composition abstracted from a fleeting moment of action. The new dynamics of the Severe Style have been concentrated into a single image of extraordinary power.

The ultimate development of the kouros type can be seen in the Spear-Bearer by Polykleitos, executed probably between 450 and 440 bce Again the lost bronze original is accessibleonly through a number of Roman copies and ancient literary descriptions. A remarkably successful attempt was made in 1935 to reconstruct in bronze the probable appearance of Polykleitos' masterpiece. The problem of the standing figure, posed in the Kritios Boy, has now been completely solved. The right leg bears the full weight of the body, so that the hip is thrust outward; the left leg is free; the tilt of the pelvis is answered by a tilt of the shoulders in the opposite direction; and the whole body rises effortlessly in a single long S-curve from the feet to the head, culminating in the glance directed slightly to the figure's right. Regardless of the fact that the figure is at rest—as never before—the dynamism of the pose transforms it into an easy walk and is expressed in the musculature by means of the differentiation of flexed and relaxed shapes, producing a rich interplay of changing curves throughout the powerful masses
of torso and limbs. A fragmentary Roman copy in black basalt shows what must have been the effect in dark bronze of the superb muscular structure of the torso, with its characteristically prominent external muscles. Polykleitos wrote a treatise to explain his meticulous system of proportions as exemplified by this statue, but the book is lost and his system still imperfectly understood. Polykleitos called both the Doryphoros and
the book his ‘Canon’. The Greek interest in arithmetic and geometry manifested in the theories of Greek philosophers, especially Pythagoras, who saw the universe as operating
on mathematical systems—was expressed in all the arts, including music. We should keep in mind that the Greek systems of human proportion, like that of Polykleitos,
derive from their love of mathematical relationships; such relationships run through Greek architecture as well, down to the last detail.

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