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

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(A.D. II-III) preserves an anecdote from the life of the Athenian poet Eupolis (a contemporary of Aristophanes), 257 that notes the death of a thief after having been attacked by a Molossian dog: Augeas of Eleusis gave Eupolis, the writer of comedies, a hound of fine appearance, a Molossian, which Eupolis named after the donor. Now Augeas the hound, pampered in its feeding and influenced by long association with its master, came to love him. On one occasion a young fellow-slave of the name of Ephialtes stole some plays from Eupolis, and the theft did not pass unnoticed, for the hound saw him, fell upon him, and biting him mercilessly, killed him. Some time afterwards Eupolis ended his days in Aegina and was buried there, and the hound, howling and lamenting after the manner of dogs, let himself pine away through grief and starvation and, disgusted with life, died soon after on the grave of the master that had fed it. And in memory of the sad event the place is named Hound’s Dirge. (NA 10.41) [5] The story of Augeas is a prime example of how the ferocity, beauty, and devotion of Molossian dogs to their owners defined their image in Classical times. Aelian relates that Augeas killed Ephialtes who dared to steal the plays of his owner. 258 To judge from this 257 I. C. Storey, “Dating and Re-Dating Eupolis,” Phoenix 44 (1990) 7, 29, notes that the plays of Eupolis should be dated to the last quarter of the fifth century B.C. (i.e., 429-411 B.C.). 258 That the ferocity of Molossian dogs and their valor as guards were two traits deeply engraved on the Roman mind as well, is evident from a passage from Virgil (G. 403-408), where his advice on feeding dogs contains the following comment about Molossians: “feed swift Spartan whelps and fierce Molossians in fattening whey. Never, with them on guard need you fear for your stalls a midnight thief, or onslaught of wolves, or restless Spaniards in your rear.” A marble statue depicting a Molossian dog, 1.18m tall, also known as “Alcibiades’ Dog” or “Jennings’ Dog” was until recently (2001) in the possession of the family of Charles Duncombe of Duncombe Park in Yorkshire, Britain. Considered a Roman copy of a Greek bronze original, and dated to the middle of the third century B.C., the statue was allegedly discovered in Rome in the 1750s, but, in reality, its provenance is unknown. It was restored by Bartolomeo Cavaceppi, the leading restorer of ancient sculpture in eighteenth-century Rome. For the history of the provenience of the statue, see C. A. Picón, Bartolomeo Cavaceppi: Eighteenth Century Restorations of Ancient Marble Sculpture from English Private Collections. A Loan Exhibition at the Clarendon Gallery LTD (London, 1983) 80-83, cat. no. 22. The statue was once on display in Britain in 1983 and as part of an exhibit organized in 1985 by the National Gallery of Art in Washington D.C.: C. A. Picón, “The Dog of Alcibiades,” in G. Jackson-Stops, ed., The Treasure Houses of Britain: Five Hundred Years of Private Patronage and Art Collecting (New Haven and London, 1985) 318, cat. no. 243. In 2001, it was put up for sale by its owners, and the museum of Fine Arts in Houston, Texas expressed interest in buying it. The same year and as part of a fundraising campaign to prevent it from being sold overseas, the British Museum exhibited the statue in its premises and managed to raise the required funds ($943,000) for its acquisition: British Museum, 2001, November. British Museum Acquires Jennings Dog. http://www.thebritishmuseum.ac.uk/newsroom/archive 2001/jenningsdog.html. Two well-preserved marble statues, also depicting Molossian dogs and thought to be Roman copies of Greek originals of Hellenistic date (II B.C.), are currently on display in the Uffizi Gallery in Florence. G. Di Pasquale and F. Paolucci, Uffizi. The Ancient Sculptures (Florence, 2001) 16, 69, maintain that these statues, whose height 170
incident, Aegeas was a ferocious Molossian dog. His behavior, however, is consistent with that of the watchdog that Clytemnestra claimed to be in the Agamemnon: helpful to his master and harmful to his enemies; it is, therefore, to be judged as appropriate and worthy of praise rather that condemn. Aelian also relates that Aegeas was a beautiful dog that Eupolis received as a gift, suggesting therefore that Molossian dogs were a highly esteemed breed in fifth-century Athens. Aelian records that the death of Aegeas, who was named after his donor, was a reaction to that of Eupolis, and thus evidence of the love and devotion of this dog to his master. Aelian describes Augeas’s grief (howling, lamenting), self-imposed starvation, and finally passing on his master’s grave in Aegina, a spot which was named afterwards Hound’s Dirge. His description of such details gives the impression that the story, despite its antiquity, was preserved intact in his own time. Aegeas’s story is similar to the slightly earlier story of Xanthippos’s dog that took place also in Athens, but instead of Aegina involved the adjacent island of Salamis. Plutarch (A.D. I-II) records that in fear of the Persian invasion (480 B.C.), Xanthippos, the father of Pericles, embarked on a boat to Salamis, leaving his canine companion behind. Unable to endure separation from his master, the dog swam along with the boat to Salamis, where it died of exhaustion. The spot of his death was still called “Dog’s Mound” in his time, Plutarch says (Them. 10) [162]. The similarity between the two stories may pose questions regarding their reality or fiction, but it is important to keep in is 1.11m each, were found in Rome. In their discussion, the authors present also the possibility that these sculptures may have formed part of a group, thought to represent a mythological hunt, consisting also of the statue of a boar (currently on display in a separate location within the gallery) and that of a hunter seriously destroyed by fire in 1762. Another idea favored is that these statues of dogs could have been funerary works guarding a tomb. For a summary of their provenience, identification of their marble as Pentelic, and good illustrations, see G. A. Mansuelli, Galleria degli Uffizi: Le sculture I (Rome, 1958) 77-78, figs. 48-49. Besides this pair of marble dogs, there is also another one housed in the Vatican Museums: B. Andreae et al., Bildkatalog der Skulpturen des vaticanischen Museums (DAI II; Berlin and New York, 1998) 13-14, pls. 144-147, figs. 64-65. Finally, a sixth marble statue of a dog found at Castel Fusano near Ostia is housed in the Palazzo Chigi in Rome: Picón, “The Dog of Alcibiades” 318. 171
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
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The statue proclaims its lifelikene
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and the man leading it, and the wom
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orrowed voice, the boundary between
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oundary between lifeless art and re
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had made a success of that as well,
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eference to the error of the Pliny
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form of equine connoisseurship resp
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Chapter 2: Representations of Anima
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markers of both sexes.” 138 He ca
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little in the way of explanation. I
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een noted, a confluence of three di
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The Possibility of Influence from B
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“in the later fifth and fourth ce
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speaking of the style of Classical
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It is perhaps Xenophon’s use of t
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William Brown suggests that this pa
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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
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: c. Molossian Dogs as Guardians of t
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
Page 197 and 198: 190 B.C.), and cited in Athenaeus
Page 199 and 200: Detienne and Vernant that wisdom an
Page 201 and 202: egarding mh~tij, the canine behavio
Page 203 and 204: e. The Savage Nature of Dogs Histor
Page 205 and 206: The textual evidence discussed in t
Page 207 and 208: efers to some countries as consumer
Page 209 and 210: living together with humans brings
Page 211 and 212: example, states that “these lines
Page 213 and 214: and thus poor men. 317 On the basis
Page 215 and 216: with dog flesh. 322 Further, on the
Page 217 and 218: flesh as medicinal food notwithstan
Page 219 and 220: ordinary food, but is not connected
Page 221 and 222: 2. Disease of the Back Similar to t
Page 223 and 224: ensured only if one is willing to
Page 225 and 226: The literary evidence contained in
Page 227 and 228: practice of eating dog meat indicat
Page 229 and 230: product of an artistic process,”
Page 231 and 232:
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
Page 279 and 280:
Herodotus gives no details about th
Page 281 and 282:
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
Page 289 and 290:
The existing blocks that form the b
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suggests a distinctive technique of
Page 293 and 294:
The same type of information is rec
Page 295 and 296:
addition, the inscriptions provide
Page 297 and 298:
stone and zw~ia suggests a standard
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description for something, and ther
Page 301 and 302:
Erechtheion, and also fragments of
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uilding, and also marked a technica
Page 305 and 306:
Socrates likens the use of colors b
Page 307 and 308:
on a surface produced by painting,
Page 309 and 310:
outstanding allotment of happiness
Page 311 and 312:
indicates that it was a term of gen
Page 313 and 314:
government of the state. Four perso
Page 315 and 316:
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
Page 321 and 322:
general. Trevor Saunders attempts t
Page 323 and 324:
And I do not think it is right that
Page 325 and 326:
contrasted to the representations o
Page 327 and 328:
Aristotle likens the formation of t
Page 329 and 330:
paintings—also connected with zw&
Page 331 and 332:
The third occurrence of the term in
Page 333 and 334:
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
Page 339 and 340:
Conclusions Animals are fundamental
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animals—as essential elements of
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scholarly interpretations of the pr
Page 345 and 346:
The literary, epigraphical, and scu
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APPENDIX: TESTIMONIA Note to the re
Page 349 and 350:
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_
Page 371 and 372:
In Phasis there is a breed of small
Page 373 and 374:
Text and translation: D. M. Balme,
Page 375 and 376:
ou)de\n de\ oi[on eu)nh_ malqakh_ k
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e1ti de\ kai\ eu)w&desi ta_j xei=ra
Page 379 and 380:
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
Page 387 and 388:
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
Page 395 and 396:
Hippocrates, De morbis ii 44.16-44.
Page 397 and 398:
Rub well silphium equal to one grai
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that on the peaks of a mountain fig
Page 401 and 402:
Text and translation: W. R. Paton,
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a)festhko&j. e0ntau~qa e9kate/ra mo
Page 405 and 406:
Text and translation: W. R. Paton,
Page 407 and 408:
The accounts given by all us must b
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a1frona gegone/nai nomoqe/thn, w3st
Page 411 and 412:
The eyes, the most beautiful featur
Page 413 and 414:
153 Pliny 34.72 A.D. I Text and tra
Page 415 and 416:
Another habit of his was when he ha
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for the earth-goddess Hecate, it ha
Page 419 and 420:
dia_ pollw~n de\ o( Qeo&frastoj e0k
Page 421 and 422:
The characteristics of the brave ma
Page 423 and 424:
oi[j ta_ xei/lh lepta_ kai\ e0p' a1
Page 425 and 426:
185 Sophocles, Antigone 198-206 V B
Page 427 and 428:
the taste will make them less incli
Page 429 and 430:
“Cleiton, that your statues of ru
Page 431 and 432:
B. Arntsen, Dog On The Roof…No La
Page 433 and 434:
_____, 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
Page 469 and 470:
Fig. 7 Classical statue of a lion f
Page 471 and 472:
Fig. 10 The lion of Amphipolis (fou
Page 473 and 474:
Fig. 13 Late Geometric II stand fro
Page 475 and 476:
Fig. 16 Late Archaic Boeotian terra
Page 477 and 478:
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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