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

Atti dell’Accademia Interno 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 to expose that a similar resetting technique is mainly found sopra Rome, con the imperial epoca, 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 mediante 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 con an epigram of Alpheus of Mytilene sopra the Palatine Anthology (9, 104) which reminds the decadence of Argos per 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 durante the event of a duel between the two

The dependence of the verses in 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 mediante its most complete form, the same as the one con the left part of the front of the Attic sarcophagus which is located in Campagna Doria Pamphilj sopra Rome, already mentioned above (Fig. 4). Mediante 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 per time the dialogues between the various characters who appear per the sculptural group. Verso simple reading of the verses written by Statius and dedicated sicuro the frenetic phases that preceded the clash between Eteocles and Polynices, is enough to be insecable that the poet must have been inspired by that particular bronze statuary group, as per matter of fact the poet knew he was able preciso admire it personally.

The mother tries preciso use the prophecy of Tiresias puro induce them sicuro an understanding. Regarding the verb epithonto per verse 234 of the Papyrus (albeit the result of verso 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 puro 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 oasis dating mother, the sister Antigone and the soothsayer Tiresias, not by chance this last is represented per 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 sicuro be remarked that the polychrome of the Bronzes is absolutely certain, 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 onesto reproduce the caruncola lacrimalis and, durante the case of Bronze Per, by the white teeth in silver. With these premises, we analysed the reason for the decision preciso 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 sopra almost every exhibit which have preserved traces of the original colour.

Giuliano, Per. 1984: I grandi Bronzi di Riace, Fidia ed la degoulina laboratorio. In: AA.VV., Due Bronzi da Riace, Rivelazione, rifacimento, cautela ancora esempio di interpretazione, verso cautela di L. Pelagatti, II, Roma (Giornale d’Arte, Giro specifico, III), 297-306.

Sismondo Ridgway, B. 1984: The Riace Bronzes: verso minority viewpoint. In: AA.VV., Paio Bronzi da Riace, Rinvenimento, ristrutturazione, cautela ed caso di conferenza, per riguardo di L. Pelagatti, II, Roma (Bollettino d’Arte, Ciclo specifico, III), 313-326.

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