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

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

Con the light of verso scientific approach, the two statues of Riace proved preciso be almost coeval, the result of the creation of per celibe artist, who created the Bronze Verso; even though later was flanked by a younger student, who is responsible for some innovations found on Bronze B. The awareness that it is per unique statuary group, made sopra the Peloponnese durante the middle of the fifth century B.C., made superfluous per research mediante 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 giorno of a restoration of the statues con Rome, however, opened up another line of research, which has given its results per the field of archaeological comparisons, as it was relatively easy preciso find comparisons relating esatto 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.

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

Sicuro fully understand this passage, firstly we must analyse the ways of representing the fratricidal battle in ancient times, which can be traced essentially esatto two main schemes: con what we like onesto define “Etruscan” scheme, the two brothers are mediante the act of wounding each other to death, sopra a pattern that usually sees them using the sword and with the usual presence of two demons, each behind per 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 esatto remember how the Christian rhetorician Tatian the Syrian, mediante the second century, saw the Fratricidae sopra 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 per face per which it is possible preciso 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 durante 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 durante the capital of the Roman Empire.

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

On the other hand, literary sources show that, even if it quiz mixxxer was made durante Argos, there is niente affatto trace of the sculptural group mediante 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.

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