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

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

Durante the light of a scientific approach, the two statues of Riace proved onesto be almost coeval, the result of the creation of a celibe artist, who created the Bronze Per; even though later was flanked by verso younger student, who is responsible for some innovations found on Bronze B. The awareness that it is per unique statuary group, made mediante the Peloponnese con the middle of the fifth century B.C., made superfluous verso research con 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 a restoration of the statues con Rome, however, opened up another line of research, which has given its results con the field of archaeological comparisons, as it was relatively easy esatto find comparisons relating sicuro two warriors who face each other, one of them is visibly threatening, valuing the particular grimace on the face of Bronze A, which shows the teeth, made of silver.

Sopra adjonction puro a marble copy of the Bronze B coming from the Palatine, it must be counted per 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 durante vain puro divide and reconcile them: these artifacts consist of some sarcophagi, cinerary urns and even verso mould for the bread used in ritual ceremonies (Castrizio 2000).

Esatto fully understand this passage, firstly we must analyse the ways of representing the fratricidal battle mediante ancient times, which can be traced essentially esatto two main schemes: in what we like onesto define “Etruscan” scheme, the two brothers are durante the act of wounding each other puro death, mediante verso 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 to remember how the Christian rhetorician Tatian the Syrian, per the second century, saw the Fratricidae mediante Rome, as evidenced by the text of his Oratio

adversos Graecos (34.1 = Overbeck, 687), per 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 verso warrior with a face durante which it is possible puro see the signs of anger, which recalls the expression on the face of Bronze Per

vsiKou^ Kai ExsoKAsou^ oprovxs^ xa ox^axa [KaiJ auv xro rcorqoavxi nuBayopa KaxaPoBprooavxs^ ouvarcoMuxs quantita^ KaKla^ xa urco^vq^axa;”. For our purposes, it should be noted that the Author, who writes sopra 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 mediante the capital of the Roman Completare.

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

On the other hand, literary sources esibizione that, even if it was made con Argos, there is in nessun caso trace of the sculptural group durante the place of origin, as shown by the text of the writer and geographer Pausanias the Periegetes who, con his Hellados Periegesis, does not mention the Fratricidae.