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

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y what these features were thought to mean it terms <strong>of</strong> its character—an essentially<br />

abstract aspect <strong>of</strong> the animal. It is clear, therefore, that the style <strong>of</strong> the Kerameikos lion is<br />

based on a blend<strong>in</strong>g <strong>of</strong> how ancient Greek society saw the lion <strong>and</strong> what it thought about<br />

it.<br />

Further, Willemsen notes that the lion from the Kerameikos lacks a lower back<br />

<strong>and</strong> a backbone, <strong>and</strong> has also his legs undeveloped, characteristics, which, accord<strong>in</strong>g to<br />

him, contribute to the non-naturalistic appearance <strong>of</strong> the statue. 215 <strong>The</strong> author <strong>of</strong> the<br />

Physiognomics states, however, that “those [animals] that are small <strong>in</strong> the waist are<br />

hunters: witness lions <strong>and</strong> dogs” (810b) [174]. Such an ancient Greek view <strong>of</strong> the lion<br />

hav<strong>in</strong>g a small waist may help expla<strong>in</strong> why the Kerameikos lion lacks a lower back, a<br />

feature that would make the statue quite naturalistic <strong>in</strong> the eyes <strong>of</strong> ancient viewers.<br />

Further, the fact that the statue does not have a visible backbone may be directly related<br />

to the statement <strong>of</strong> Plato <strong>in</strong> the Critias mentioned above, that viewers were tolerant <strong>of</strong><br />

<strong>in</strong>accuracies <strong>in</strong> works <strong>of</strong> art that depicted non-human subjects, without, however,<br />

dismiss<strong>in</strong>g them as unsuccessful representations [143]. F<strong>in</strong>ally, the legs <strong>of</strong> the statue<br />

have been noted earlier for the overall impression <strong>of</strong> power they convey. That the author<br />

<strong>of</strong> the Physiognomics speaks <strong>of</strong> powerful extremities <strong>in</strong> humans as a sign <strong>of</strong> bravery<br />

(Phgn. 807a) [169] may be <strong>in</strong>dicative <strong>of</strong> the sculptor’s underly<strong>in</strong>g <strong>in</strong>tention to show the<br />

character <strong>of</strong> this animal. Such an application <strong>of</strong> a human characteristic to an animal is<br />

not, however, peculiar, s<strong>in</strong>ce the author <strong>of</strong> the Physiognomics makes extensive use—<br />

throughout the entire treatise—<strong>of</strong> human bodily signs drawn from the animal k<strong>in</strong>gdom. 216<br />

215 Willemsen, Die Löwenkopf-Wasserspeier 54.<br />

216 Regard<strong>in</strong>g the presence <strong>of</strong> stiff w<strong>in</strong>gs <strong>in</strong> birds, for example, the author <strong>of</strong> the Physiognomics (806b) says<br />

that this is a sign <strong>of</strong> bravery, whereas those with s<strong>of</strong>t ones are cowardly. Exactly the same th<strong>in</strong>g occurs, he<br />

says, with races <strong>of</strong> men; thus those liv<strong>in</strong>g <strong>in</strong> the north are brave <strong>and</strong> stiff-haired <strong>and</strong> those <strong>in</strong> the south are<br />

138

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