Con the light of per scientific approach, the two statues of Riace proved onesto be almost coeval, the result of the creation of verso celibe artist, who created the Bronze Verso; even though later was flanked by a login smooch younger student, who is responsible for some innovations found on Bronze B. The awareness that it is verso unique statuary group, made in the Peloponnese durante the middle of the fifth century B.C., made superfluous per research in the repertoire of images of Athens and Attica mediante the classical period, because they would certainly not have considered works from another cultural field.
The scadenza of a restoration of the statues in Rome, however, opened up another line of research, which has given its results sopra the field of archaeological comparisons, as it was relatively easy to 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 Per, which shows the teeth, made of silver.
In prime onesto a marble copy of the Bronze B coming from the Palatine, it must be counted per series of artifacts, all coming from the sezione of Rome and representing the duel of Eteocles and Polynices, the sons of Oedipus, with their mother trying sopra vain esatto divide and reconcile them: these artifacts consist of some sarcophagi, cinerary urns and even verso mould for the bread used mediante ritual ceremonies (Castrizio 2000).
Puro fully understand this passage, firstly we must analyse the ways of representing the fratricidal battle in ancient times, which can be traced essentially preciso two main schemes: in what we like onesto define “Etruscan” scheme, the two brothers are durante the act of wounding each other to death, per per pattern that usually sees them using the sword and with the usual presence of two demons, each behind per hero8 (Fig. 1); 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 preciso remember how the Christian rhetorician Tatian the Syrian, durante the second century, saw the Fratricidae mediante Rome, as evidenced by the text of his Oratio
adversos Graecos (34.1 = Overbeck, 687), mediante 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 a face per which it is possible preciso see the signs of anger, which recalls the expression on the face of Bronze Verso
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 in the capital of the Roman Commuovere.
Per this second model is represented the moment before the battle, with five characters (durante actual fact, they are not always represented at the same time con the archaeological remains, but with different schemes which may include three or four of them)
On the other hand, literary sources spettacolo that, even if it was made mediante Argos, there is per niente trace of the sculptural group mediante the place of origin, as shown by the text of the writer and geographer Pausanias the Periegetes who, sopra his Hellados Periegesis, does not mention the Fratricidae.