Detail of the Tyrannicides Sculptural Group in the Naples Archaeological Museum, July 2012

Tyrannicides
Roman copy of the 2nd century AD from a Greek original of the early Classical period.

Aristogeiton

Inventory # 6010

The statue of Aristogeiton, like that of Harmodius, almost certainly re-echoes the first group of the tyranicides, the work of the sculptor Antenor, though it differs from the earlier work due to the use of the fully severe style: the hair is represented by a series of flame-like locks, the beard is less long and thick, the body is still vigorous and lacks the excessive refinement of archaic art. The role of Aristogeiton in the sculptural group is to protect himself and his companion, as is shown by the position of the arm, stretched out in front with the sword in his hand; the position of the body mirrors that of the other figure. The two statues were originally designed to be autonomous, as is shown by the fact that the Neapolitan copes have different bases, though they are united by the ideal of liberty for which they sacrificed their lives. The head was added during restoration and comes from one kept in the Vatican museums; the left hand and the right arm were also added in this phase. A cast of the head taken from the bronze original has been found at Baia. The statue of Aristogeiton, prior to its transfer to Naples in 1790, was also displayed at Palazzo Madama and Palazzo Farnese in Rome.


Harmodius

Inventory # 6009

Harmodius was the younger of the two Athenians who, in 514 B.C., freed the city of tyranny, killing Hipparchus, son of Pisistratus. He is shown as he is about to deliver the fatal blow with his right arm stretched out in front and his right leg planted firmly forward to take the strain. His hair consists of rows of little spiral curls, the clean-shaven face associated with a vigorous body in the full bloom of adulthood. The clearly marked anatomical details are no longer subject to the descriptive care which characterised archaic art. The Neapolitan statue is one of the copies of the bronze original made in 477 B.C. by Kritios and Nesiotes, and originally represented a group together with that of Aristogeiton; the arms, the part of the left leg below the kneecap and the right leg were added during restoration. Before reaching Naples in 1790, the two statues were displayed in Rome in the two residences of the Farnese family at Palazzo Madama from 1535 to 1586, and at Palazzo Farnese in the period from 1586 to 1790.


Bibliography:
Ruesch 103; EAA I, 1958, s.v. "Armodio ed Aristogitone", pp. 667-668; Hölscher 1973, pp. 85-89, tavv. 6-7; Fehr 1984; Atene 1985, n. 3, p. 57; Collezioni Museo 1989, I, 2, n. 13, p. 156; Taylor 1991; De Caro 1994, p. 311; Boedeker-Raaflaub 1995, pp. 158-160; Stewart 1997, pp. 69-71; De Caro 1999, p. 37; De Caro 2001b, p. 30; Die Griechische Klassik 2002, n. 132, pp. 237-240.


Text from:

cir.campania.beniculturali.it/museoarcheologiconazionale/thematic-views/image-gallery/RA97?page=113

and

cir.campania.beniculturali.it/museoarcheologiconazionale/thematic-views/image-gallery/RA95?page=127