Vlad Borrelli addirittura 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 puro expose that verso similar resetting technique is mainly found sopra Rome, per the imperial era, 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 russian brides from Argos mediante the second century AD, as far as we concern, could provide the proof that the statues has been raided by the Romans mediante previous times, an event which is probably mentioned per an epigram of Alpheus of Mytilene con 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 speech, foresees the death of both brothers sopra the event of a duel between the two
The dependence of the verses mediante question on the work 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 per the left part of the front of the Attic sarcophagus which is located per Dimora Doria Pamphilj mediante Rome, already mentioned above (Fig. 4). Con the poem of Statius, as mentioned before, there are the interventions of five characters, which seem sicuro 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 per the sculptural group. Verso simple reading of the verses written by Statius and dedicated to the frenetic phases that preceded the clash between Eteocles and Polynices, is enough sicuro be indivis that the poet must have been inspired by that particular bronze statuary group, as verso matter of fact the poet knew he was able onesto admire it personally.
The mother tries esatto use the prophecy of Tiresias preciso induce them esatto an understanding. Regarding the verb epithonto per 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 (Ed.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 durante possession of these momento, our gruppo of researchers examined the original colour of the finished rete informatica, 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 durante calcite and glass paste, and by the small pink stone used esatto reproduce the caruncola lacrimalis and, sopra the case of Bronze A, by the white teeth durante silver. With these premises, we analysed the reason for the decision onesto 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 addirittura la sua manifattura. In: AA.VV., Paio Bronzi da Riace, Scoperta, rifacimento, reputazione addirittura dimostrazione di lezione, a cautela di L. Pelagatti, II, Roma (Diario d’Arte, Giro specifico, III), 297-306.
Sismondo Ridgway, B. 1984: The Riace Bronzes: a minority viewpoint. In: AA.VV., Paio Bronzi da Riace, Esplorazione, ristrutturazione, osservazione addirittura modello di lettura, per cura di L. Pelagatti, II, Roma (Giornale d’Arte, Serie proprio, III), 313-326.