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

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efers to architectural reliefs appears to be a sound one. 437 According with his suggestion is also a group of 74 fragmentary architectural reliefs deriving from the material excavated by Flinders Petrie at the alleged site of the labyrinth in Hawara, and housed now at the Rijksmuseum van Oudheden in Leiden. 438 The fragments, which belong to raised reliefs, are made of limestone, which in some cases is colored yellow, green, brown, and white, and bears hieroglyphic inscriptions referring to “the king of Upper and Lower Egypt.” The depictions on these fragments include: the Amun crown, the Amun- Min headdress, sacrificial geese and birds, a sky symbol with five-pointed stars, a sun disc, and also parts of a standing human figure, the fingers of another, a falcon with outstretched wings, birds’ claws, cows’ horns, a royal kilt, an incense burner, and also partially preserved hkr-friezes. 439 This evidence is much more useful in shedding light onto what Herodotus’ tu&poi e0ggeglumme/noi might have looked like than the usual rendering of the term as “figures” in modern translations of the Histories. 440 Appended to Herodotus’ description of the labyrinth is that of a pyramid, which archaeological studies have identified with that of Amenemhat III at Hawara. The existing structure, which is located on the axis of the so-called labyrinth and not at its corner, as maintained by Herodotus, now consists of a mud-brick core that lacks its 437 Pollitt, Ancient View 273. 438 I. Blom, “Sculptured Fragments and Relief Fragments from the Labyrinth at Hawara in the Rijksmuseum van Oudheden, Leiden,” OMRO 69 (1989) 25. 439 Blom, “Sculptured Fragments and Relief Fragments” 25-50. 440 Grene, The History. Herodotus 196; Godley, Herodotus 457; Waterfield, Herodotus. The Histories 155; De Sélincourt and Marincola, Herodotus. The Histories 157; Macaulay and Lateiner, The Histories. Herodotus 129. 250
limestone mantle. 441 Its poor condition partly accounts for our inability to verify the statement of Herodotus regarding its measurement of forty o)rguiai/ (tesserakonto&- rguioj). Lloyd states that Herodotus never makes clear whether the figure of forty o)rguiai/ refers to the height of the pyramid or the length of its side. 442 Along with this measurement, Herodotus also mentions zw|~a in connection with the pyramid. All that can be understood from his description is that these zw|~a were images of some kind. That their appearance is not described, along with the use of the plural, again suggests that zw|~a was a term of general description. That these zw|~a were mega&la suggests that they were big in size, but the possibility of being great in a metaphorical way as opposed to actual size cannot be ruled out. 443 In addition, the word e0gge/gluptai, which defines zw|~a, derives from e0gglu/fw and again appears to refer to sculpture, most likely, in relief. Thus the context of these zw|~a seems again directly involved with the arts, in the context of a funerary/religious building, as suggested by the prepositional phrase e0n th|~ (“in it”), the dative case referring to the pyramid. In view of Herodotus’ previous preference for prepositional phrases that refer to location, this phrase should be also understood as defining the exact location of zw|~a, that is, in or at the pyramid itself, but not necessarily inside it. Against the latter possibility is Herodotus’ subsequent comment, which shows change of thematic direction by pointing out that access to the pyramid was through an underground passage. In sum, the picture that 441 For a description and an illustration of the pyramid, see Lehner, The Complete Pyramids 182; for a discussion of its location, see Lloyd, “Herodotus on Egyptian Buildings,” in Powell, The Greek World 282. 442 Lloyd, “Herodotus on Egyptian Buildings,” in Powell, ed., The Greek World 282, where he also states that the actual height of the existing structure is c. 58 meters and the actual length of its side c. 106.6 meters. 443 For a discussion of the literal and metaphorical meaning of the term me&geqoj with which mega&la is directly associated, and the difficulty to determine which meaning is appropriate in connection with the visual arts, see Pollitt, Ancient View 199-201. 251
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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
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The textual evidence discussed in t
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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 and 256: The fragment was initially assigned
Page 257 and 258: estates, whereas the middle part wo
Page 259: of sand and limestone chips. The po
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
Page 307 and 308: on a surface produced by painting,
Page 309 and 310: 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
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B. Arntsen, Dog On The Roof…No La
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_____, Early Greek Vase Painting. 1
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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
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W. W. How and J. Wells, A Commentar
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R. G. Kent, Old Persian. Grammar. T
Page 447 and 448:
A. Linzey and T. Regan, eds., Anima
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H. W. Miller, “Aristophanes and M
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_____, “Cario and the New World o
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S. B. Pomeroy, Xenophon. Oeconomicu
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C. Rolley, La tombe princière de V
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W. Smith, ed., Dictionary of Greek
Page 459 and 460:
C. Thorne, “Feeding Behavior of D
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S. Simpson, eds., Pictorial Narrati
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Young, Archaic Marble Sculpture fro
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Fig. 1 Classical statue of a dog fr
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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
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Fig. 24 Capstone of the pyramid of
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Fig. 26 Archaic bronze krater from
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Fig. 29 Figure of a horrified femal
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