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

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pharaohs: Sneferu at Dahshur, Sahure at Abusir, and Pepi II at Saqqara. 425 This scholarly approach reflects the opinion that Egyptian artists of Old Kingdom royal reliefs “repeated a rather circumscribed set of iconographic configurations from temple to temple and from wall to wall.” 426 In the case of the reliefs in the valley temple of Sahure, for example, scenes on the north wall depict large griffins trampling on enemies while deities lead bound prisoners toward them. The theme of prisoners is also repeated on the walls of the causeway just behind the valley temple, “emphasizing movement from valley temple to causeway and farther on to the pyramid temple.” 427 Additional evidence regarding the decoration of Sahure’s causeway derives from four recently discovered blocks of low reliefs (2m in length; 2m in height), which depict, in registers, men bearing offerings, the slaughtering of animals, the bringing of the gilded capstone to the pyramid, and also men identified as Bedouins. 428 The workmanship of these reliefs is reported to be so refined that it recalls the use of the word cestou~ by Herodotus. 429 On the basis of these images, from the causeway of Sahure, 430 and also supplementary evidence from Sneferu’s and Pepi’s II causeways, Hawass has suggested that the lower end of Khufu’s causeway would have depicted the king’s titles, representations of Libyan captives, and royal 425 Hawass, “The Programs,” in O’Connor and Silverman, eds., Ancient Egyptian Kingship 230-231. 426 Arnold, “Royal Reliefs,” in Allen et al., Egyptian Art in the Age of the Pyramids 83. 427 Arnold, “Royal Reliefs,” in Allen et al., Egyptian Art in the Age of the Pyramids 94. 428 Hawass and Verner, “Newly Discovered Blocks from the Causeway of Sahure,” 181-184. 429 Hawass and Verner, “Newly Discovered Blocks from the Causeway of Sahure” 181: “the degree of delicacy of the relief made the photographic recording of the blocks so difficult that it had to be done at night with artificial illumination.” 430 Regarding the variety of the subject matter of the new scenes from Sahure’s causeway, Hawass and Verner, “Newly Discovered Blocks from the Causeway of Sahure” 185, say that it “surpasses the hithertoheld ideas about the monothematic decoration of the causeways of the Old Kingdom.” For a discussion concerning the narrative character of the reliefs from Old Kingdom cult spaces, see Arnold, “Royal Reliefs,” in Allen et al., Egyptian Art in the Age of the Pyramids 84-87. 246
estates, whereas the middle part would have been decorated with a scene of a procession of oxen, representing foreign offerings. 431 Notwithstanding the picture that emerges from this reconstruction, all that can be said about the extant decoration of Khufu’s causeway is that it comprises a handful of relief fragments that depict human and animal figures, and also objects, such as the board on which the cartouche of Khufu stood. At most, these fragments attest that sculpture in relief was used as wall decoration in the causeway of Khufu, which accords well with the architectural sculpture, most likely, in relief, that Herodotus’ description seems to suggest. As for the images on these fragments, they provide a glimpse into what Herodotus’ literary zw|&wn might have meant. d. Zw|~a on a Pyramid The last occurrence of zw|~on in the second book of the Histories is in connection with the decoration of an Egyptian pyramid. The meaning of the term again points to carved images in relief. Herodotus places the pyramid beside a marvelous structure which he refers to as the labyrinth. His account starts with a praise of the Egyptian people for building such structures and proceeds to a detailed description, first, of the labyrinth, and then of the pyramid: Furthermore, they resolved to leave a memorial of themselves in common, and in pursuance of resolve they made a labyrinth, a little above Lake Moeris, and situated near what is called the City of Crocodiles. I saw it myself, and it is indeed a wonder past words; for if one were to collect together all the buildings of the Greeks and their most striking works of architecture, they would all clearly be shown to have cost less labor and money than this labyrinth. Yet the temple at Ephesus and that in Samos are surely remarkable. The pyramids, too, were greater than words could tell, and each of them is the equivalent of many of the 431 Hawass and Verner, “Newly Discovered Blocks from the Causeway of Sahure” 178, n. 12; also Hawass, “The Programs,” in O’Connor and Silverman, eds., Ancient Egyptian Kingship 231-232. 247
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
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B.C. 178 Although not described in
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inconsistent style. That of Vermeul
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and degrees in which this combinati
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2. Two Cases Studies: The Lion and
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just as odd a man and the beast doe
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The Motif of the Lion Holding the H
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ehavior, the description of Hector
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Despite its unclear authorship and
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animals and have the softest hair;
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with it. He provides this descripti
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Further, Willemsen’s observation
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The body of the Kerameikos hound ap
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that the author of the Physiognomic
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Those [animals] who have thin lips
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knowledge of the dog mating with ot
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serve their arrangement in Classica
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Chapter 3: The Classical Greek Cont
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SECTION 1 a. Dogs Living in the Hou
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eferring first to the human family
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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
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
Page 233 and 234: that is Friendship. They made her k
Page 235 and 236: assume that they referred to images
Page 237 and 238: the meaning of zw|~on in the fifth
Page 239 and 240: tendency not to distinguish between
Page 241 and 242: zw|~a. Thus, they translate the fir
Page 243 and 244: econstructed as five consecutive fr
Page 245 and 246: To conclude the discussing of Herod
Page 247 and 248: Turning to zw|~a, one sees that Her
Page 249 and 250: With regard to the modern definitio
Page 251 and 252: Regarding modern translations of zw
Page 253 and 254: length of the causeway was 5 sta&di
Page 255: The fragment was initially assigned
Page 259 and 260: of sand and limestone chips. The po
Page 261 and 262: limestone mantle. 441 Its poor cond
Page 263 and 264: Undoubtedly, these zw|~a did show s
Page 265 and 266: statement accords well with the pro
Page 267 and 268: pyramid in Egypt. Tu&pon is the acc
Page 269 and 270: Herodotus provides further insight
Page 271 and 272: evidence should be also added an Ar
Page 273 and 274: g. The Zw|~a of Mandrocles’ Paint
Page 275 and 276: The passage is instructive for the
Page 277 and 278: the representations of enthroned Da
Page 279 and 280: Herodotus gives no details about th
Page 281 and 282: Grene, who says “little figures.
Page 283 and 284: theory has dominated scholarship. 5
Page 285 and 286: iders on horses that gallop to the
Page 287 and 288: inscription is in the form of a hea
Page 289 and 290: The existing blocks that form the b
Page 291 and 292: 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
Page 299 and 300: description for something, and ther
Page 301 and 302: Erechtheion, and also fragments of
Page 303 and 304: uilding, and also marked a technica
Page 305 and 306: 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
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
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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
Page 425 and 426:
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
Page 433 and 434:
_____, Early Greek Vase Painting. 1
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A. Campana, “The Origin of the Wo
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_____, “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
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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
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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