The Judgment of Animals in Classical Greece: Animal Sculpture and ...

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Although this deviation does not feature in Vermeule’s discussion of the continuity from Bronze Age to Classical naturalism, he does take notice of it when he speaks of the doglike appearance of fifth- and fourth-century Attic funerary statues of lions. In this way, his discussion takes us back to examples of the treatment of the problematic style of animals in Classical sculpture. Vermeule does not talk about the elements of Classical Attic statues of lions that are at home with leonine anatomy. His bafflement, however, over their problematic style becomes evident when he identifies their canine characteristics: Lions [produced by Greek artists between 420 and 320 B.C.] crouch like dogs over bones. Their bodies are as well-proportioned and smoothly ideal as those of Hegeso herself and her servant girl. Manes are like ruffs, and it is only close to the beginning of the Hellenistic Age, around 330 B.C., that they begin to look like the hair on lions seen nowadays in zoos and circuses. Round eyes, broad, canine snouts, and ears like those of a Doberman pinscher add to the image of friendly conceptualism. Toward the end of the hundred years of Attic funerary lions, some beasts look like as if they might bite but most of them are placid, occasionally even playful. The emotional faces which can be identified with the style of Scopas around 350 B.C. enter the repertory of lion sculpture, and the elongation of athletes by Lysippos in the generation after 340 B.C. 155 Vermeule clearly states that Classical Attic funerary statues of lions follow the same development as that of the human form in Greek art, that is, they become more convincing in terms of appearance at the end of the Classical period. Still, however, what catches his attention is the presence of canine anatomical characteristics, such as the eyes, snouts, and ears of these lions, which “add to the image of friendly conceptualism,” as he says. It is unclear what he means by “friendly conceptualism.” A possible meaning emerges when one looks at his interpretation (especially its second component) of the problematic style of these lions as a mixture of: a) artists using Near Eastern models, and b) thoughtful observation of comparable dogs and cats. As he characteristically states: 155 Vermeule, “Greek Funerary Animals” 51. 108
“in the later fifth and fourth centuries the artistic conception of the king of beasts was distilled from generations of using motifs from Syria and Mesopotamia and from actual contemplation of large dogs and precocious cats.” 156 The statement is significant, for it exposes specific sources, other than Bronze Age art, that Vermeule thought to have been (or not) available to Classical sculptors, and thus, he held accountable for the naturalistic and non-naturalistic elements in the appearance of Classical funerary lions: representations of lions on Protocorinthian pottery, where naturalism is conceived as anatomical accuracy after copying Syrian (Neo-Hittite) and Mesopotamian (Assyrian) models, and the absence or scarcity of real lions during Classical times in Greece, an idea that is not fully supported by classical texts, yet features prominently in modern scholarship as the reason for Classical Greek artists’ observation of animals comparable to lions; it is thus considered responsible for the non-naturalistic elements in contemporary statues of lions. In this respect, Vermeule is in agreement with Richter, who, as seen earlier, attributed the doglike appearance of the Mausoleum lion to the suggestion that Classical artists “had no opportunity to study from life.” Naturalism as Anatomical Accuracy: Two Near-Eastern Types of Lions on Protocorinthian Pottery (and Contemporary Sculpture) Representations of lions on Orientalizing Corinthian pottery, also known as Protocorinthian, 157 indicate that the conception of naturalism as anatomical accuracy was a pre-classical phenomenon, and thus one at the service of Classical artists. Focusing on specific anatomical features, Protocorinthian pottery clearly distinguishes between two 156 Vermeule, “Greek Funerary Animals” 59. 157 Protocorinthian pottery is divided into three phases: Early (EPC): 720-690 B.C., Middle (MPC): 690- 650 B.C., and Late (LPC): 650-630 B.C.: J. Boardman, Early Greek Vase Painting. 11 TH -6 TH Centuries B.C. A Handbook (New York and London, 1998) 85. 109
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The Judgment of Animals in Classica
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the meaning of the term zw|~on—us
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Table of Contents Acknowledgments .
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Section 2 a. Dogs Stealing and Gobb
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Acknowledgements First and foremost
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Introduction It is generally though
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of their art while maintaining awar
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connection between animals and life
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Chapter three, “The Classical Gre
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turn, shaped by contemporary ideas
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with the animal kingdom. 5 Regardin
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The examples just cited show that r
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studying freestanding statues of li
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particular, has dominated twentieth
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Regarding classical antiquity, the
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their grip, for a “tooth” on ea
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discussion of the sculpture to whic
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them. Consequently the Athenians wi
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subjects on the basis of which arti
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of the later (Hellenistic) developm
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The theory that naturalism played t
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we have seen or sensed in the past,
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valued criterion of judging works o
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more accurate observation and rende
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judged by the ancient Greeks? As su
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is still central to his argument, b
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wars, the symmetry of their tense p
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Archaic and Classical phases, follo
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the acquired skill of craftsmanship
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prevalence of naturalism in his vie
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The statement shows clearly that Bo
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of Kollytos in the Athenian Keramei
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Having expressed this idea, he pres
Page 67 and 68: 5. Not Naturalism and Realism. The
Page 69 and 70: animals, but rather highlights thei
Page 71 and 72: instead of a message highlights the
Page 73 and 74: quality of Cleiton’s statues, or,
Page 75 and 76: valuable guide to the ancient inter
Page 77 and 78: importance of these notions in defi
Page 79 and 80: made of bronze, if Myron had worked
Page 81 and 82: first century A.D., the statue pres
Page 83 and 84: lifelikeness of the statue, in quit
Page 85 and 86: Wilt thou not lead me into the hous
Page 87 and 88: a real animal might act in the real
Page 89 and 90: The fourth epigram, an anonymous, a
Page 91 and 92: In the fourth epigram, also an anon
Page 93 and 94: mistaken a bronze cow for a real on
Page 95 and 96: The statue proclaims its lifelikene
Page 97 and 98: and the man leading it, and the wom
Page 99 and 100: orrowed voice, the boundary between
Page 101 and 102: oundary between lifeless art and re
Page 103 and 104: had made a success of that as well,
Page 105 and 106: eference to the error of the Pliny
Page 107 and 108: form of equine connoisseurship resp
Page 109 and 110: Chapter 2: Representations of Anima
Page 111 and 112: markers of both sexes.” 138 He ca
Page 113 and 114: little in the way of explanation. I
Page 115 and 116: een noted, a confluence of three di
Page 117: The Possibility of Influence from B
Page 121 and 122: speaking of the style of Classical
Page 123 and 124: It is perhaps Xenophon’s use of t
Page 125 and 126: William Brown suggests that this pa
Page 127 and 128: the expense of realism, or to a com
Page 129 and 130: B.C. 178 Although not described in
Page 131 and 132: inconsistent style. That of Vermeul
Page 133 and 134: and degrees in which this combinati
Page 135 and 136: 2. Two Cases Studies: The Lion and
Page 137 and 138: just as odd a man and the beast doe
Page 139 and 140: The Motif of the Lion Holding the H
Page 141 and 142: ehavior, the description of Hector
Page 143 and 144: Despite its unclear authorship and
Page 145 and 146: animals and have the softest hair;
Page 147 and 148: with it. He provides this descripti
Page 149 and 150: Further, Willemsen’s observation
Page 151 and 152: The body of the Kerameikos hound ap
Page 153 and 154: that the author of the Physiognomic
Page 155 and 156: Those [animals] who have thin lips
Page 157 and 158: knowledge of the dog mating with ot
Page 159 and 160: serve their arrangement in Classica
Page 161 and 162: Chapter 3: The Classical Greek Cont
Page 163 and 164: SECTION 1 a. Dogs Living in the Hou
Page 165 and 166: eferring first to the human family
Page 167 and 168: Aristotle’s Politics, so pervasiv
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that of a dog: his location on the
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In contrast to this suggestion, Joh
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Aeschylus’s intention to liken th
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thing is possible then,” said I,
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If anyone’s out of bread but has
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c. Molossian Dogs as Guardians of t
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incident, Aegeas was a ferocious Mo
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Aristotle indicates that Molossian
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untrustworthy animal. So pervasive
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the dog’s stealing of food within
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mythological dogs, such as those of
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Cleon of embezzling money while cam
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Although not provoked by the act of
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Apart from labeling dogs as indiscr
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190 B.C.), and cited in Athenaeus
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Detienne and Vernant that wisdom an
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egarding mh~tij, the canine behavio
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e. The Savage Nature of Dogs Histor
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The textual evidence discussed in t
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efers to some countries as consumer
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living together with humans brings
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example, states that “these lines
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and thus poor men. 317 On the basis
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with dog flesh. 322 Further, on the
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flesh as medicinal food notwithstan
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ordinary food, but is not connected
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2. Disease of the Back Similar to t
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ensured only if one is willing to
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The literary evidence contained in
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practice of eating dog meat indicat
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product of an artistic process,”
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Georgopapadakos. 344 On the basis o
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that is Friendship. They made her k
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assume that they referred to images
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the meaning of zw|~on in the fifth
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tendency not to distinguish between
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zw|~a. Thus, they translate the fir
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econstructed as five consecutive fr
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To conclude the discussing of Herod
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Turning to zw|~a, one sees that Her
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With regard to the modern definitio
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Regarding modern translations of zw
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length of the causeway was 5 sta&di
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The fragment was initially assigned
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estates, whereas the middle part wo
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of sand and limestone chips. The po
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limestone mantle. 441 Its poor cond
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Undoubtedly, these zw|~a did show s
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statement accords well with the pro
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pyramid in Egypt. Tu&pon is the acc
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Herodotus provides further insight
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evidence should be also added an Ar
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g. The Zw|~a of Mandrocles’ Paint
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The passage is instructive for the
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the representations of enthroned Da
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Herodotus gives no details about th
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Grene, who says “little figures.
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theory has dominated scholarship. 5
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iders on horses that gallop to the
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inscription is in the form of a hea
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The existing blocks that form the b
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suggests a distinctive technique of
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The same type of information is rec
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addition, the inscriptions provide
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stone and zw~ia suggests a standard
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description for something, and ther
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Erechtheion, and also fragments of
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uilding, and also marked a technica
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Socrates likens the use of colors b
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on a surface produced by painting,
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outstanding allotment of happiness
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indicates that it was a term of gen
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government of the state. Four perso
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form a group of discussants on the
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prominently in Plato’s discussion
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“animals,” and Pangle, as “li
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general. Trevor Saunders attempts t
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And I do not think it is right that
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contrasted to the representations o
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Aristotle likens the formation of t
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paintings—also connected with zw&
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The third occurrence of the term in
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kaq' au(to_ ei]nai…qew&rhma), and
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temple.” Now the statue [a1galma]
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of real bodies. When this meaning i
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Conclusions Animals are fundamental
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animals—as essential elements of
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scholarly interpretations of the pr
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The literary, epigraphical, and scu
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APPENDIX: TESTIMONIA Note to the re
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Eu)po&lidi tw|~ th~j kwmw|di/aj poi
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with no seal broken in the length o
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ku&nej de\ e0cai/fnhj oi0kouroi\ pe
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17 Anonymous, Anthologia Palatina 9
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26 Anonymous, Anthologia Palatina 9
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33 Antipater of Sidon, Anthologia P
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watches, and when you happen to gap
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ou)de\n ga_r e1rgon h}n a1r' a)qliw
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835 ba&ll' e0j ko&rakaj. toioutoni\
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Prw~ton me\n ou}n to_ a1nw ku&toj a
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xai/rousin a)lla_ th|~ brw&sei, th_
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In Phasis there is a breed of small
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Text and translation: D. M. Balme,
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ou)de\n de\ oi[on eu)nh_ malqakh_ k
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e1ti de\ kai\ eu)w&desi ta_j xei=ra
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μέν[a έν f]ρo[uρ ί k ]do[ς
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λίθος πρὸς ℎο̑ι τ
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the horse and the man appearing beh
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As for dogs, what can I say? In som
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Tou&twn te w}n ei3neken oi9 Lakedai
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Herodotus 2.148 oi9 ga_r e0pestew~t
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asile/a te Darei=on e0n proedri/h|
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110 Hippocrates, De affectionibus i
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Hippocrates, De morbis ii 44.16-44.
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Rub well silphium equal to one grai
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that on the peaks of a mountain fig
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Text and translation: W. R. Paton,
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a)festhko&j. e0ntau~qa e9kate/ra mo
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Text and translation: W. R. Paton,
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The accounts given by all us must b
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a1frona gegone/nai nomoqe/thn, w3st
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The eyes, the most beautiful featur
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153 Pliny 34.72 A.D. I Text and tra
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Another habit of his was when he ha
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for the earth-goddess Hecate, it ha
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dia_ pollw~n de\ o( Qeo&frastoj e0k
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The characteristics of the brave ma
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oi[j ta_ xei/lh lepta_ kai\ e0p' a1
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185 Sophocles, Antigone 198-206 V B
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the taste will make them less incli
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“Cleiton, that your statues of ru
Page 431 and 432:
B. Arntsen, Dog On The Roof…No La
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_____, Early Greek Vase Painting. 1
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A. Campana, “The Origin of the Wo
Page 437 and 438:
_____, “The Greek Images of the G
Page 439 and 440:
E. Fudge, “A Left-Handed Blow: Wr
Page 441 and 442:
M. Haase, Eine Stätte für die Ewi
Page 443 and 444:
W. W. How and J. Wells, A Commentar
Page 445 and 446:
R. G. Kent, Old Persian. Grammar. T
Page 447 and 448:
A. Linzey and T. Regan, eds., Anima
Page 449 and 450:
H. W. Miller, “Aristophanes and M
Page 451 and 452:
_____, “Cario and the New World o
Page 453 and 454:
S. B. Pomeroy, Xenophon. Oeconomicu
Page 455 and 456:
C. Rolley, La tombe princière de V
Page 457 and 458:
W. Smith, ed., Dictionary of Greek
Page 459 and 460:
C. Thorne, “Feeding Behavior of D
Page 461 and 462:
S. Simpson, eds., Pictorial Narrati
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Young, Archaic Marble Sculpture fro
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Fig. 1 Classical statue of a dog fr
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Fig. 4 Classical Inscription from a
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Fig. 7 Classical statue of a lion f
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Fig. 10 The lion of Amphipolis (fou
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Fig. 13 Late Geometric II stand fro
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Fig. 16 Late Archaic Boeotian terra
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Fig. 21 Reconstruction of part of a
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Fig. 24 Capstone of the pyramid of
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Fig. 26 Archaic bronze krater from
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Fig. 29 Figure of a horrified femal
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