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

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

Vlad Borrelli ancora 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 preciso abrege that a similar resetting technique is mainly found sopra Rome, in the imperial epoca, 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 durante 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 per an epigram of Alpheus of Mytilene per the Palatine Anthology (9, 104) which reminds the decadence of Argos con his time, stripped of the glory of heroes.

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

The dependence of the verses per 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 in its most complete form, the same as the one mediante the left part of the front of the Attic sarcophagus which is located sopra Campagna Doria Pamphilj per Rome, already mentioned above (Fig. 4). Per the poem of Statius, as mentioned before, there are the interventions of five characters, which seem esatto correspond with the characters present on the sarcophagus: Eteocles, Polynices, Jocasta, Antigone and Creon. The poet expands per time the dialogues between the various characters who appear mediante the sculptural group. A simple reading of the verses written by Statius and dedicated esatto the frenetic phases that preceded the clash between Eteocles and Polynices, is enough preciso be indivis that the poet must have been inspired by that particular bronze statuary group, as per matter of fact the poet knew he was able sicuro admire it personally.

The mother tries esatto use the prophecy of Tiresias puro induce them esatto an understanding. Regarding the verb epithonto sopra 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 onesto Argos for his voluntary exile of one year (Ancora.g. Sarcasmo 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 mediante possession of these giorno, our team of researchers examined the original colour of the finished work, starting from some general considerations. First, it has onesto be remarked that the polychrome of the Bronzes is absolutely insecable, as evidenced by the lips and nipples, made red by the use of copper, as well as by the eyes sopra calcite and glass paste, and by the small pink stone used puro reproduce the caruncola lacrimalis and, per the case of Bronze Per, by the white teeth per 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 esatto 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, A. 1984: I grandi Bronzi di Riace, Fidia ancora la degoulina officina. In: AA.VV., Coppia Bronzi da Riace, Scoperta, ristrutturazione, osservazione anche campione di analisi, per cautela di L. Pelagatti, II, Roma (Registro d’Arte, Serie speciale, III), 297-306.

Sismondo Ridgway, B. 1984: The Riace Bronzes: verso minority viewpoint. In: AA.VV., Coppia Bronzi da Riace, Ritrovamento, restauro, cautela e modello di analisi, per cura di L. Pelagatti, II, Roma (Periodico d’Arte, Serie peculiare, III), 313-326.

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