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

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Further evidence in support of this interpretation comes from the facial expression of the Kerameikos lion, which Willemsen, as noted above, considers a naturalistic element of its style. More specifically, he says that the eagerness of the facial expression of the statue does not compensate for its overall stiff and, thus, non-naturalistic appearance. 211 A look at the face of the Kerameikos lion indicates that its forehead is broad, triangular in shape, and marked by a deep depression that separates its forehead in two halves as it runs between its eyes and all the way down to its partially preserved nose. 212 The eyes are deep set especially at the inner corners, thus reminiscent of “Skopasian style” and marked by slanting and overhanging brows, which, to judge from the visible left side of the statue’s face, run down the sides of the eyes. 213 Its mouth is large and partially open with its jaws separated from each other, thin (almost invisible) lips, and prominent teeth (both regular and canine), all of which give the impression that the animal growls. The author of the Physiognomics does not explicitly refer to the growling of the lion, but he does discuss its deep voice, which he interprets as a sign of bravery. As he says: “the brave animals have deep voices, and the cowardly high-pitched voices, the lion and the bull, the barking dog, and the brave cocks are all deep-voiced” (807a) [168]. 214 Further, he provides a description of the face of the lion, which, when compared to that of the lion from the Kerameikos, appears to share common elements 211 Willemsen, Die Löwenkopf-Wasserspeier 54. 212 The triangular shape of the lion’s forehead seems to follow the standard fourth-century shape of forehead for humans in Greek sculpture. For a discussion of this sculptural trait as fourth-century in date, see Ridgway, Fourth-Century Styles 100. 213 For a discussion of “the deep setting of the eyes at the inner corner” as a trait of the “Skopasian style” in fourth-century sculptural representations of the human form, see B. S. Ridgway, Hellenistic Sculpture I: The Styles of ca. 331-200 B.C. (Madison, 1990) 14; also for slanting eyebrows as another fourth-century facial feature of human representations in Greek sculpture, which along with the deeply set eyes, conveys an impression of pathos, see her discussion in Fourth-Century Styles 17. 214 Also: “in the matter of voice the deep and full voice denotes courage, when high and slack it means cowardice” (Aristotle, Phgn. 806b); translation: Hett, Aristotle. Minor Works 95. 136
with it. He provides this description as part of his discussion of the lion as the ideal male type of the animal kingdom: The lion of all animals seems to have the most perfect share of the male type. Its mouth is very large, its face is square, not too bony, the upper jaw not overhanging but equally balanced with the lower jaw, a muzzle rather thick than fine, bright deep-set eyes, neither very round nor very narrow, of moderate size, a large eyebrow, square forehead, rather hollow from the centre, overhanging towards the brow and nostril below the forehead like a cloud. Above on the forehead towards the muzzle hair slopping outwards and like bristles, a head of moderate size, a long neck, with corresponding thickness, covered with tawny hairs, neither very bristling nor too much turned back. (Phgn. 809b) [172] In this case, he describes certain facial features of the lion such as its large mouth, deep- set eyes, forehead hollow in the center and overhanging toward the brow, and bristling hair, all of which have their counterparts, as already seen, in the face of the Kerameikos lion. He does not explain here what these facial features may reveal about the character of the animal, but in three other passages he interprets some of them, such as its thin lips, deep-set eyes, and overhanging brow as signs of its magnanimous and overbold character: Those who have thin lips and slack parts at the joining of the lips, so that the upper lip overhangs the lower at the join, are magnanimous; witness the lions. (Phgn. 811a) [177] Those whose eyes are slightly hollow are magnanimous; witness lions. (Phgn. 811b) [178] Those with an overhanging brow are overbold; witness the bull and the lion. (Phgn. 811b) [179] The fact that these facial features are also present in the Kerameikos lion suggests that its rendering was already tied to the ancient Greek view of the animal as a magnanimous and bold creature. This evidence, in turn, suggests that the style of the statue was determined not only by how certain anatomical features of the lion were perceived visually, but also 137
Page 1 and 2:
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
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5. Not Naturalism and Realism. The
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animals, but rather highlights thei
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instead of a message highlights the
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quality of Cleiton’s statues, or,
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valuable guide to the ancient inter
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importance of these notions in defi
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made of bronze, if Myron had worked
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first century A.D., the statue pres
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lifelikeness of the statue, in quit
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Wilt thou not lead me into the hous
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a real animal might act in the real
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The fourth epigram, an anonymous, a
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In the fourth epigram, also an anon
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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 and 118: The Possibility of Influence from B
Page 119 and 120: “in the later fifth and fourth ce
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: animals and have the softest hair;
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
Page 169 and 170: that of a dog: his location on the
Page 171 and 172: In contrast to this suggestion, Joh
Page 173 and 174: Aeschylus’s intention to liken th
Page 175 and 176: thing is possible then,” said I,
Page 177 and 178: If anyone’s out of bread but has
Page 179 and 180: c. Molossian Dogs as Guardians of t
Page 181 and 182: incident, Aegeas was a ferocious Mo
Page 183 and 184: Aristotle indicates that Molossian
Page 185 and 186: untrustworthy animal. So pervasive
Page 187 and 188: the dog’s stealing of food within
Page 189 and 190: mythological dogs, such as those of
Page 191 and 192: Cleon of embezzling money while cam
Page 193 and 194: Although not provoked by the act of
Page 195 and 196: 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
Page 435 and 436:
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
Page 463 and 464:
Young, Archaic Marble Sculpture fro
Page 465 and 466:
Fig. 1 Classical statue of a dog fr
Page 467 and 468:
Fig. 4 Classical Inscription from a
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Fig. 7 Classical statue of a lion f
Page 471 and 472:
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
Page 479 and 480:
Fig. 24 Capstone of the pyramid of
Page 481 and 482:
Fig. 26 Archaic bronze krater from
Page 483:
Fig. 29 Figure of a horrified femal
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