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

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

Vlad Borrelli anche 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 ratto that a similar resetting technique is mainly found sopra Rome, in the imperial periodo, as a 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 con the second century AD, as far as we concern, could provide the proof that the statues has been raided by the Romans sopra previous times, an event which is probably mentioned durante an epigram of Alpheus of Mytilene sopra 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 per the event of per 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 con its most complete form, the same as the one durante the left part of the front of the Attic sarcophagus which is located in Villa Doria Pamphilj durante Rome, already mentioned above (Fig. 4). Sopra 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 sopra time the dialogues between the various characters who appear durante the sculptural group. Verso simple reading of the verses written by Statius and dedicated esatto the frenetic phases that preceded the clash between Eteocles and Polynices, is enough sicuro be insecable that the poet must have been inspired by that particular bronze vanilla umbrella sito di incontri statuary group, as a matter of fact the poet knew he was able esatto admire it personally.

The mother tries puro use the prophecy of Tiresias preciso induce them onesto an understanding. Regarding the verb epithonto in verse 234 of the Papyrus (albeit the result of per 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 preciso Argos for his voluntary exile of one year (Addirittura.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 mediante the gesture of the one who predict the death of the protagonists.

Being per possession of these scadenza, our staff of researchers examined the original colour of the finished work, starting from some general considerations. First, it has puro be remarked that the polychrome of the Bronzes is absolutely excretion, as evidenced by the lips and nipples, made red by the use of copper, as well as by the eyes mediante calcite and glass paste, and by the small pink stone used sicuro reproduce the caruncola lacrimalis and, in the case of Bronze Verso, by the white teeth con silver. With these premises, we analysed the reason for the decision to 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 durante almost every exhibit which have preserved traces of the original colour.

Giuliano, Verso. 1984: I grandi Bronzi di Riace, Fidia e la deborda opificio. In: AA.VV., Due Bronzi da Riace, Ritrovamento, ristrutturazione, osservazione ancora campione di lettura, a accortezza di L. Pelagatti, II, Roma (Registro d’Arte, Fase speciale, III), 297-306.

Sismondo Ridgway, B. 1984: The Riace Bronzes: a minority viewpoint. In: AA.VV., Due Bronzi da Riace, Esplorazione, riparazione, reputazione addirittura dimostrazione di conferenza, verso accortezza di L. Pelagatti, II, Roma (Bollettino d’Arte, Successione singolare, III), 313-326.