The research has shown that all finds refer puro verso statuary group which was well-known durante ancient times

The research has shown that all finds refer puro verso statuary group which was well-known durante ancient times

Sopra the light of per scientific approach, the two statues of Riace proved esatto be almost coeval, the result of the creation of verso celibe artist, who created the Bronze Per; even though later was flanked by a younger student, who is responsible for some innovations found on Bronze B. The awareness that it is verso unique statuary group, made in the Peloponnese in the middle of the fifth century B.C., made superfluous verso research durante the repertoire of images of Athens and Attica con the classical period, because they would certainly not have considered works from another cultural field.

The tempo of verso restoration of the statues sopra Rome, however, opened up another line of research, which has given its results mediante the field of archaeological comparisons, as it was relatively easy onesto find comparisons relating onesto two warriors who face each other, one of them is visibly threatening, valuing the particular grimace on the face of Bronze Verso, which shows the teeth, made of silver.

Per addenda preciso verso marble copy of the Bronze B coming from the Palatine, it must be counted verso series of artifacts, all coming from the sezione of Rome and representing the duel of Eteocles and Polynices, the sons of Oedipus, with their mother trying mediante vain preciso divide and reconcile them: these artifacts consist of some sarcophagi, cinerary urns and even a mould for the bread used in ritual ceremonies (Castrizio 2000).

To fully understand this passage, firstly we must analyse the ways of representing the fratricidal battle sopra ancient times, which can be traced essentially preciso two main schemes: sopra what we like preciso define “Etruscan” scheme, the two brothers are con the act of wounding each other preciso death, in per pattern that usually sees them using the sword and with the usual presence of two demons, each behind verso hero8 (Fig. 1); the other scheme, testified by the finds from the Urbe, is inspired by the Fratricides of Pythagoras9 (Fig. 2).

Regarding the identity of these five characters and the misunderstanding of interpretation by the poetry of the imperial age, we will discuss it later. For now, we would like sicuro remember how the Christian rhetorician Tatian the Syrian, in the second century, saw the Fratricidae con Rome, as evidenced by the text of his Oratio

adversos Graecos (34.1 = Overbeck, 687), in which he states “nro^ yap oti xa^snov aSs^oKxovlav nap’ u^iv xcxi^qoBai, oi noAu-

All the famous works of art that are inspired by the scheme of the Fratricidae of Pythagoras are characterized, as we previously said, by a warrior with verso face durante which it is possible puro see the signs of anger, which recalls the expression on the face of Bronze Verso

vsiKou^ Kai ExsoKAsou^ oprovxs^ xa ox^axa [KaiJ auv xro rcorqoavxi nuBayopa KaxaPoBprooavxs^ ouvarcoMuxs x^ KaKla^ xa urco^vq^axa;”. For our purposes, it should be noted that the Author, who writes per Rome just after the middle of the second century AD, expressly says oprovxs^ (seeing), testifying that he and his readers could physically observe the statuary group per the capital of the Roman Completare.

In this second model is represented the moment before the battle, with five characters (mediante actual fact, they are not always represented at the same time durante the archaeological remains, but with different schemes which may include three or four of them)

On the other hand, literary sources spettacolo that, even if it was made per Argos, there is no trace of the sculptural group mediante the place of origin, as shown by the text of the writer and geographer Pausanias the Periegetes who, mediante his Hellados Periegesis, does not mention the Fratricidae.