Vlad Borrelli ancora P
Ïî ìíåíèþ àâòîðà, äëÿ óñïåøíîé èíòåðïðåòàöèè áðîíçîâûõ ñòàòóé èç Ðèà÷å ñëåäóåò èñïîëüçîâàòü Ëèëëüñêèé ïàïèðóñ ñ ïîýìîé teenchat 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 puro ratto that a similar resetting technique is mainly found durante Rome, durante the imperial evo, as per 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 per previous times, an event which is probably mentioned mediante an epigram of Alpheus of Mytilene mediante the Palatine Anthology (9, 104) which reminds the decadence of Argos in his time, stripped of the glory of heroes.
As a matter of fact, the soothsayer Tiresias, present for the speech, foresees the death of both brothers mediante the event of verso duel between the two
The dependence of the verses mediante question on the rete informatica of Pythagoras is evident if one observes, during the reading of the Latin text, an image of the Fratricidae statuary group in its most complete form, the same as the one in the left part of the front of the Attic sarcophagus which is located per Dimora Doria Pamphilj durante Rome, already mentioned above (Fig. 4). Con the poem of Statius, as mentioned before, there are the interventions of five characters, which seem preciso correspond with the characters present on the sarcophagus: Eteocles, Polynices, Jocasta, Antigone and Creon. The poet expands con time the dialogues between the various characters who appear durante the sculptural group. A simple reading of the verses written by Statius and dedicated puro the frenetic phases that preceded the clash between Eteocles and Polynices, is enough esatto be indivis 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 puro use the prophecy of Tiresias to induce them onesto an understanding. Regarding the verb epithonto mediante 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 sicuro Argos for his voluntary exile of one year (Ancora.g. Vivacita 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 in the gesture of the one who predict the death of the protagonists.
Being per possession of these scadenza, our squadra of researchers examined the original colour of the finished work, starting from some general considerations. First, it has preciso 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 con calcite and glass paste, and by the small pink stone used to reproduce the caruncola lacrimalis and, mediante the case of Bronze Verso, 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 onesto 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 di nuovo la degoulina officina. In: AA.VV., Paio Bronzi da Riace, Rinvenimento, restauro, considerazione di nuovo dimostrazione di analisi, per gentilezza di L. Pelagatti, II, Roma (Giornale d’Arte, Successione peculiare, III), 297-306.
Sismondo Ridgway, B. 1984: The Riace Bronzes: a minority viewpoint. In: AA.VV., Coppia Bronzi da Riace, Rinvenimento, restauro, considerazione addirittura esempio di analisi, a attenzione di L. Pelagatti, II, Roma (Registro d’Arte, Periodo particolare, III), 313-326.
