Pausanias (2, 31, 7) remembers the statues of the noble Athenian ladies and their sons, refugees from Athens, in the agorà of Troizen. The sculptural group evokes the Persian Wars, as was a common practice in the second half of the fourth century BC, and is related to the psephisma of Themistokles and the Against Athenogenes by Hyperides. The portraits, dated not long after the return of the exiles due to Alexander's Decree (324 BC), shall be compared to the workshop of Praxiteles and his sons.
Non tutte le donne, ma solo quelle di alto rango: i ritratti del portico dell'agorà di Trezene (Paus. 2, 31, 7)
Fabiano Fiorello Di Bella
2018-01-01
Abstract
Pausanias (2, 31, 7) remembers the statues of the noble Athenian ladies and their sons, refugees from Athens, in the agorà of Troizen. The sculptural group evokes the Persian Wars, as was a common practice in the second half of the fourth century BC, and is related to the psephisma of Themistokles and the Against Athenogenes by Hyperides. The portraits, dated not long after the return of the exiles due to Alexander's Decree (324 BC), shall be compared to the workshop of Praxiteles and his sons.File in questo prodotto:
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