Con the light of per scientific approach, the two statues of Riace proved to be almost coeval, the result of the creation of verso solo artist, who created the Bronze A; even though later was flanked by a younger student, who is responsible for some innovations found on Bronze B. The awareness that it is per unique statuary group, made sopra the Peloponnese per the middle of the fifth century B.C., made superfluous per research sopra the repertoire of images of Athens and Attica con the classical period, because they would certainly not have considered works from another cultural field.
The datazione of per restoration of the statues per Rome, however, opened up another line of research, which has given its results durante the field of archaeological comparisons, as it was relatively easy sicuro find comparisons relating esatto 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.
Durante prime esatto a marble copy of the Bronze B coming from the Palatine, it must be counted verso series of artifacts, all coming from the settore of Rome and representing the duel of Eteocles and Polynices, the sons of Oedipus, with their mother trying durante vain puro divide and reconcile them: these artifacts consist of some sarcophagi, cinerary urns and even verso mould for the bread used durante ritual ceremonies (Castrizio 2000).
Onesto fully understand this passage, firstly we must analyse the ways of representing the fratricidal battle mediante ancient times, which can be traced essentially to two main schemes: sopra what we like puro define “Etruscan” scheme, the two brothers are per the act of wounding each other to death, mediante a pattern that usually sees them using the sword and with the usual presence of two demons, each behind a 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 esatto remember how the Christian rhetorician Tatian the Syrian, con the second century, saw the Fratricidae mediante Rome, as evidenced by the text of his Oratio
adversos Graecos (34.1 = Overbeck, 687), in 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 per warrior with verso face con which it is possible onesto see the signs of anger, which recalls the expression on the face of Bronze A
vsiKou^ Kai ExsoKAsou^ oprovxs^ xa ox^axa [KaiJ auv xro rcorqoavxi nuBayopa KaxaPoBprooavxs^ ouvarcoMuxs incognita^ KaKla^ xa urco^vq^axa;”. For our purposes, it should be noted that the Author, who writes con 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 sopra the capital of the Roman Colmare.
Con this second model is represented the moment before the battle, with five characters (per actual fact, they are not always represented at the same time sopra the archaeological remains, but with different schemes which may include three or four of them)
On the other hand, literary sources show that, even if it was made durante Argos, there is no trace of the sculptural group durante the place of origin, as shown by the text of the writer and geographer Pausanias the Periegetes who, in his Hellados Periegesis, does not mention the Fratricidae.