Sopra the light of per scientific approach, the two statues of Riace proved sicuro be almost coeval, the result of the creation of a single artist, who created the Bronze Per; even though later was flanked by verso younger student, who is responsible for some innovations found on Bronze B. The awareness that it is verso unique statuary group, made durante the Peloponnese in the middle of the fifth century B.C., made superfluous a research durante the repertoire of images of Athens and Attica durante the classical period, because they would certainly not have considered works from another cultural field.
The datazione of verso restoration of the statues con Rome, however, opened up another line of research, which has given its results con the field of archaeological comparisons, as it was relatively easy esatto 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 A, which shows the teeth, made of silver.
Durante additif esatto verso marble copy of the Bronze B coming from the Palatine, it must be counted per 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 to divide and reconcile them: these artifacts consist of some sarcophagi, cinerary urns and even per mould for the bread used con ritual ceremonies (Castrizio 2000).
To fully understand this passage, firstly we must analyse the ways of representing the fratricidal battle sopra ancient times, which can be traced essentially preciso two main schemes: durante what we like sicuro define „Etruscan“ scheme, the two brothers are durante the act of wounding each other sicuro tsdates death, per per 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 to remember how the Christian rhetorician Tatian the Syrian, per the second century, saw the Fratricidae per Rome, as evidenced by the text of his Oratio
adversos Graecos (34.1 = Overbeck, 687), per 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 per face per which it is possible preciso 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 quantitativo^ KaKla^ xa urco^vq^axa;“. For our purposes, it should be noted that the Author, who writes sopra 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 per the capital of the Roman Completare.
Durante this second model is represented the moment before the battle, with five characters (con actual fact, they are not always represented at the same time mediante the archaeological remains, but with different schemes which may include three or four of them)
On the other hand, literary sources esibizione that, even if it was made in Argos, there is giammai trace of the sculptural group mediante the place of origin, as shown by the text of the writer and geographer Pausanias the Periegetes who, con his Hellados Periegesis, does not mention the Fratricidae.