The Riace Bronzes are, rightly, a source of pride for Calabria as a whole.

Their discovery, which occurred on August 16, 1972, is due to the Roman diver Stefano Mariottini. During a dive in the waters of Riace Marina, the young man noticed something unusual: a statue arm emerging from the seabed. From this moment on, the modern history of these exceptional works of art began. Mariottini promptly informed the Calabrian Archaeological Superintendency and a few days later the Carabinieri divers recovered the two statues, called Statue A (the “Young Man”) and Statue B (the “Old Man”).

The discovery of the bronze statues caused a sensation and attracted the attention of all the national media. The first cleaning works of the Riace Bronzes were entrusted to the restorers of the National Archaeological Museum of Reggio Calabria, but after about three years the sculptures were transferred to the Restoration Center of the Superintendence of Tuscany in Florence, equipped with more suitable tools. The restoration was completed several years later and, finally, in December 1980 an exhibition was organized. First at the prestigious Archaeological Museum of Florence, then also in Rome. The fame of the two statues quickly went beyond national borders and, to this day, the discovery of the Riace Bronzes represents the most significant archaeological event of the 20th century.

The Mysteries of the Riace Bronzes

Although more than fifty years have pᴀssed since their discovery, the two Riace Bronzes still conceal numerous enigmas, some of which may remain unsolved. Other doubts have been dispelled, such as those regarding their dating: for a long time academics have questioned the age of the two works, finally identifying the 5th century BC as the period of their creation.

As for the origin of the statues, several hypotheses have been put forward, but no definitive answer has yet been provided. According to the analyses carried out on samples of the fusion earth found inside the statues, it was ᴀssumed that statue A was made in Argos, while statue B in the territory of Attica. Later, it was considered more plausible that they came from the plain of Argos and Megaride. Some authors are certain that both statues were created in Argos.

Even about the paternity, there are no absolute certainties. According to one of the most recent hypotheses (formulated by Professor Daniele Castrizio), the author of the statues would be the Greek sculptor Pythagoras of Reggio, active between 480 and 450 BC and author of the Charioteer of Delphi. Some scholars do not agree in attributing both statues to a single person: there are important differences in the materials used, which could suggest the intervention of more than one hand.

However, the hypothesis that, although coming from different workshops, the two statues were part of the same statuary group is considered plausible. 

Who do the two Riace Bronzes represent? 

Another mystery that scholars continue to wonder about concerns the subject represented. According to Prof. Castrizio, the two bronzes would have been part of a statuary group composed of 5 statues, pH๏τographed in the moment preceding the fratricidal duel between Eteocles and Polynices (brothers born from the incestuous relationship between Jocasta and her son Oedipus). According to historical evidence, the complex illustrated a scene with five actors: the two brothers positioned at the ends; near Polynices, their sister Antigone; in the center, the mother trying to prevent the bloody duel between her two sons; next to Eteocles, the soothsayer Tiresias. According to Castrizio, the grimace of statue A must make one think of the figure of Polynices (“it is the only existing statue in the world that shows its teeth and symbolizes hostility”); while the leather cap that statue B would have been wearing leads one back to Eteocles, as it is a Doric symbol of tyrants. 

Why were the two bronzes found in Italy? 

A further enigma, still unsolved, refers to the appearance of the two sculptures in the Calabrian waters. Some scholars hypothesize that, coming from Greece, they arrived in Rome as a result of an act of looting. Subsequently, they would have been loaded onto a ship to be transported to Constantinople, since Constantine the Great wanted to transfer the entire imperial collection of artistic works there. Perhaps a storm wrecked the vessel, or part of the cargo was thrown overboard to save the ship at the mercy of the rough waters. It will be difficult, if not impossible, to solve this mystery. 

The Sensuality of the Riace Bronzes 

Leaving aside the uncertainties and mysteries that may surround these works, it is important to recognize in them the incarnation of an ideal beauty and a perfect anatomical rendering, typical of classical Greek art. Greek sculpture was characterized by an intimate connection with the representation of the human body, placing particular emphasis on physical form, elegance and balance. The Riace Bronzes fit into this artistic tradition, exalting sensuality.

The figures of the two warriors present perfect symmetry, an elegant posture and a surprising realism. The care with which the anatomical details, such as the chest muscles, abdomen, arms and legs, have been sculpted, contributes to creating a sense of strength and vitality.

The sensuality of the statues also emerges through the expression of the faces. Although formal and concentrated, the eyes seem to stare at something with intensity, enveloping them in an aura of magnetism.

Furthermore, the choice of bronze helped to enhance their sensuality. Bronze, a resistant and ductile material, allowed the sculptor (or sculptors) to create smooth and reflective surfaces that emphasize the body’s shapes and accentuate anatomical details.

The sensuality of the Riace Bronzes, therefore, lies in their anatomical perfection, in the attention to detail, in the rendering of movement and in the use of bronze as a material that enhances the beauty and elegance of the figures. These statues represent an extraordinary example of classical Greek art and continue to enchant visitors with their presence.

Where can you see the Riace Bronzes? 

The Riace Bronzes are located in the National Archaeological Museum of Reggio Calabria, located in Piazza De Nava. Access to the room is permitted only to groups of up to 10 people and is subject to time limitations. The program is as follows: initial stop in the pre-filter room, where a video relating to research on the Bronzes is shown; stop of about 3 minutes in the filter room; visit to the Bronzes of about 20 minutes; exit. 

Every year, many people visit the National Archaeological Museum to admire the Riace Bronzes, and on special occasions, record crowds are recorded. During the long weekend of April 25, 2023, for example, 8,601 visitors crossed the threshold of the museum in just four days.