Atti dell’Accademia Interno dei Lincei, Rendiconti XLI, 111-135

Atti dell’Accademia Interno dei Lincei, Rendiconti XLI, 111-135

Vlad Borrelli ed P

Ïî ìíåíèþ àâòîðà, äëÿ óñïåøíîé èíòåðïðåòàöèè áðîíçîâûõ ñòàòóé èç Ðèà÷å ñëåäóåò èñïîëüçîâàòü Ëèëëüñêèé ïàïèðóñ ñ ïîýìîé Ñòåñèõîðà, îò êîòîðîé ñîõðàíèëàñü ðå÷ü ìàòåðè Ýòåîêëà è Ïîëèíèêà, ïûòàâøåéñÿ ïðåêðàòèòü âðàæäó ñûíîâåé.  ñòàòóÿõ èç Ðèà÷å ïðåäëà-

As far as we are concerned, it is possible onesto topo that per similar resetting technique is mainly found durante Rome, durante the imperial evo, as verso matter of fact two bronze works of classical art were restored with the same system: the horse of Hegias and the Bull of the Capitoline Museums .

The lack of evidence from Argos sopra the second century AD, as far as we concern, could provide the proof that the statues has been raided by the Romans con previous times, an event which is probably mentioned con an epigram of Alpheus of Mytilene mediante the Palatine Anthology (9, 104) which reminds the decadence of Argos mediante his time, stripped of the glory of heroes.

As verso matter of fact, the soothsayer Tiresias, present for the speech, foresees the death of both brothers in the event of verso duel between the two

The dependence of the verses sopra question on the rete di emittenti of Pythagoras is evident if one observes, during the reading of the Latin text, an image of the Fratricidae statuary group mediante its most complete form, the same as the one mediante the left part of the front of the Attic sarcophagus which is located con Casa signorile Doria Pamphilj in Rome, already mentioned above (Fig. 4). Per the poem of Statius, as mentioned before, there are the interventions of five characters, which seem puro correspond with the characters present on the sarcophagus: Eteocles, Polynices, Jocasta, Antigone and Creon. The poet expands durante time the dialogues between the various characters who appear mediante the sculptural group. Verso simple reading of the verses written by Statius and dedicated puro the frenetic phases that preceded the clash between Eteocles and Polynices, is enough onesto be certain that the poet must have been inspired by that particular bronze statuary group, as a matter of fact the poet knew he was able puro admire it personally.

The mother tries onesto use the prophecy of Tiresias esatto induce them esatto an understanding. Regarding the verb epithonto con verse 234 of the Papyrus (albeit the result of a textual integration and not preserved intact), which means « they agreed », almost all philologists believed that they could temporally place the mother’s speech just after the end of Oedipus’ government, when the brothers agreed among themselves and Polynices headed onesto Argos for his voluntary exile of one year (Anche.g. Ironia 2007).

As it can be easily observed, the scene proposed by the Papyrus of Lille is the same as the group of Fratricidae of Pythagoras of Rhegion, with the five characters interpreted as Eteocles and Polynices, the mother, the sister Antigone and the soothsayer Tiresias, not by chance this last is represented sopra the gesture of the one who predict the death of the protagonists.

Being durante possession of these data, our squadra of researchers examined the original colour of the finished rete informatica, starting from some general considerations. First, it has onesto be remarked that the polychrome of the Bronzes is absolutely indivisible, as evidenced by the lips and nipples, made red by the use of copper, as well as by the eyes in calcite and glass paste, and by the small pink stone used to reproduce the caruncola lacrimalis and, mediante the case of Bronze Per, by the white teeth mediante silver. With these premises, we analysed the reason for the decision sicuro create an alloy that makes bronze golden. Observing many marks still present on the beard and hair of the two statues from Riace, we came sicuro the conclusion that this colour was chosen because the two heroes was imagined with blond hair and beards, as in almost every exhibit which have preserved traces of the original colour.

Giuliano, Per. 1984: I grandi Bronzi di Riace, Fidia ed la degoulina laboratorio. In: AA.VV., Due Bronzi da Riace, Scoperta, restauro, cautela addirittura caso di analisi, a accortezza di L. Pelagatti, II, Roma (Bollettino d’Arte, Fase specifico, numero di telefono upforit III), 297-306.

Sismondo Ridgway, B. 1984: The Riace Bronzes: verso minority viewpoint. In: AA.VV., Paio Bronzi da Riace, Scoperta, restauro, reputazione anche campione di lezione, a riguardo di L. Pelagatti, II, Roma (Periodico d’Arte, Fase speciale, III), 313-326.