In the light of verso scientific approach, the two statues of Riace proved onesto be almost coeval, the result of the creation of a solo 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 a unique statuary group, made in the Peloponnese mediante the middle of the fifth century B.C., made superfluous a research mediante the repertoire of images of Athens and Attica in 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 sopra the field of archaeological comparisons, as it was relatively easy puro 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 addition onesto per marble copy of the Bronze B coming from the Palatine, it must be counted verso series of artifacts, all coming from the area of Rome and representing the duel of Eteocles and Polynices, the sons of Oedipus, with their mother trying per vain puro divide and reconcile them: these artifacts consist of some sarcophagi, cinerary urns and even a mould for the bread used in ritual ceremonies (Castrizio 2000).
Preciso fully understand this passage, firstly we must analyse the ways of representing the fratricidal battle in ancient times, which can be traced essentially onesto two main schemes: durante what we like preciso define “Etruscan” scheme, the two brothers are mediante the act of wounding each other esatto death, con a pattern that usually sees them using the sword and with the usual presence of two demons, each behind per hero8 (Fig. 1); dill mil sito di incontri 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, sopra the second century, saw the Fratricidae sopra 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 a warrior with per face sopra which it is possible puro see the signs of anger, which recalls the expression on the face of Bronze A
vsiKou^ Kai ExsoKAsou^ oprovxs^ xa ox^axa [KaiJ auv xro rcorqoavxi nuBayopa KaxaPoBprooavxs^ ouvarcoMuxs x^ KaKla^ xa urco^vq^axa;”. For our purposes, it should be noted that the Author, who writes in 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 sopra the capital of the Roman Commuovere.
Durante this second model is represented the moment before the battle, with five characters (sopra actual fact, they are not always represented at the same time sopra 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 was made per Argos, there is mai trace of the sculptural group mediante the place of origin, as shown by the text of the writer and geographer Pausanias the Periegetes who, per his Hellados Periegesis, does not mention the Fratricidae.
