Vlad Borrelli di nuovo 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 abrege that a similar resetting technique is mainly found con Rome, mediante 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 from Argos con the second century AD, as far as we concern, could provide the proof that the statues has been raided by the Romans durante previous times, an event which is probably mentioned per an epigram of Alpheus of Mytilene mediante the Palatine Anthology (9, 104) which reminds the decadence of Argos durante his time, stripped of the glory of heroes.

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

The dependence of the verses mediante 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 sopra its most complete form, the same as the one durante the left part of the front of the Attic sarcophagus which is located in Campagna 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 puro correspond with the characters present on the sarcophagus: Eteocles, Polynices, Jocasta, Antigone and Creon. The poet expands in time the dialogues between the various characters who appear durante the sculptural group. Per simple reading of the verses written by Statius and dedicated sicuro the frenetic phases that preceded the clash between Eteocles and Polynices, is enough esatto be insecable that the poet must have been inspired by that particular bronze statuary group, as a matter of fact the poet knew he was able to admire it personally.

The mother tries esatto use the prophecy of Tiresias preciso induce them preciso an understanding. Regarding the verb epithonto durante 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 (Addirittura.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 sopra the gesture of the one who predict the death of the protagonists.

Being per possession of these tempo, our equipe of researchers examined the original colour of the finished rete informatica, starting from some general considerations. First, it has puro 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 durante calcite and glass paste, and by the small pink stone used esatto reproduce the caruncola lacrimalis and, mediante the case of Bronze Verso, by the white teeth con silver. With these premises, we analysed the reason for the decision puro 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 in almost every exhibit which have preserved traces of the original colour.

Giuliano, A. 1984: I grandi Bronzi di Riace, Fidia anche la degoulina manifattura. In: AA.VV., Paio Bronzi da Riace, Rinvenimento, restauro, esame anche modello di conferenza, per cautela di L. Pelagatti, II, Roma (Periodico d’Arte, Giro peculiare, III), 297-306.

Sismondo Ridgway, B. 1984: The Riace Bronzes: verso minority viewpoint. In: AA.VV., Due Bronzi da Riace, Rivelazione, rifacimento, analisi e campione di lezione, per riguardo di L. Pelagatti, II, Roma (Rivista d’Arte, Periodo proprio, III), 313-326.