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

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the discovery <strong>of</strong> fossils <strong>of</strong> ext<strong>in</strong>ct species <strong>of</strong> animals, such as d<strong>in</strong>osaurs with which<br />

nobody was familiar. 191<br />

Turn<strong>in</strong>g to the statues <strong>of</strong> the lion <strong>and</strong> the dog from the Kerameikos, the elements<br />

compos<strong>in</strong>g their style are <strong>in</strong>consistent <strong>and</strong> contradictory respectively, but merge <strong>in</strong>to each<br />

other (blend <strong>in</strong>to one another) <strong>and</strong> create, <strong>in</strong> each case, an animal whole whose anatomy<br />

is an <strong>in</strong>congruous <strong>in</strong>terplay <strong>of</strong> truthfulness <strong>and</strong> falsehood/deception, but fused <strong>in</strong>to a<br />

cohesive whole. As a result, the animal represented <strong>in</strong> each case has a unified form,<br />

whose stylistic structure depends upon a balance (association) <strong>and</strong> at the same time<br />

tension (opposition) between the poles <strong>of</strong> its compos<strong>in</strong>g elements. Such a situation is<br />

def<strong>in</strong>itely puzzl<strong>in</strong>g to the modern viewer, but does not dim<strong>in</strong>ish the fact that the forms <strong>of</strong><br />

the Kerameikos animals are dist<strong>in</strong>ctly different, both visually <strong>and</strong> conceptually, from the<br />

non-unified forms <strong>of</strong> fantastic composite creatures (Mischwesen) like the Chimera.<br />

b. <strong><strong>Animal</strong>s</strong> <strong>and</strong> the Question <strong>of</strong> “What Is It Really Represented?”<br />

<strong>The</strong> issue <strong>of</strong> the identification <strong>of</strong> animals represented <strong>in</strong> Greek art is not new <strong>and</strong><br />

does not refer explicitly to works <strong>of</strong> sculpture. It encompasses representations <strong>in</strong> vase<br />

pa<strong>in</strong>t<strong>in</strong>g too, while conf<strong>in</strong>ement to a specific chronological period is not the case. For<br />

example, Hurwit, comment<strong>in</strong>g on the depiction <strong>of</strong> an animal battl<strong>in</strong>g a human figure on a<br />

Late Geometric II (ca. 730 B.C.) ceramic st<strong>and</strong> from the Kerameikos (Fig. 13), writes:<br />

<strong>The</strong> beast is usually thought to be a lion, though few lions, I suspect, would be<br />

conv<strong>in</strong>ced <strong>of</strong> that. <strong>The</strong> creature has short bristles down its back <strong>in</strong>stead <strong>of</strong> a<br />

shaggy mane <strong>and</strong> the legs it st<strong>and</strong>s on have ho<strong>of</strong>s <strong>and</strong> fetlocks <strong>in</strong>stead <strong>of</strong> claws.<br />

This all makes for an odd lion. But <strong>of</strong> course it could be argued that the warrior is<br />

191 For a discussion <strong>of</strong> representations <strong>of</strong> the griff<strong>in</strong> <strong>in</strong> ancient Greek art <strong>and</strong> narrative as <strong>in</strong>fluenced by the<br />

ancient discoveries <strong>of</strong> d<strong>in</strong>osaur bones, see A. Mayor, <strong>The</strong> First Fossil Hunters. Paleontology <strong>in</strong> Greek <strong>and</strong><br />

Roman Times (Pr<strong>in</strong>ceton, 2000) 38-53.<br />

126

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