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

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variety of poses, which has been interpreted as a variety of action, has led to the suggestion that the subject of the frieze was arranged “in separate groups or scenes rather than in a continuous representation.” 559 Apart from this material, additional evidence regarding the sculpture of the frieze of the Erechtheion derives from two fragmentary inscriptions that form part of the building accounts that date to 408/7 B.C. These inscriptions record the payment that each sculptor received for the works of sculpture he created. The text of the first of these inscriptions (XVI, col. I; IG I 3 . 476) runs as follows: - - the youth who is writing and the man standing beside him, 120 dr. - -, living in Kollytos - - and the wagon without the two mules, 90 dr. Agathanor, living in Alopeke, the two women beside the wagon, and the two mules, 240 dr. (IG I 3 . 476 [fr. XVI, col I. 150-157]) [87] 560 shape” and holding a headless naked boy on her lap: Fowler 263, no. 84, pl. XLIV; also Boulter 15, no. 84, pls. 22, 23a. For a group of two male figures—one standing, the other kneeling in front of him—see Fowler, 259, no. 66, pl. XLIII, who maintains that the plinth on which the group stands is intended to imitate rock; also M. Brouskari, The Monuments on the Acropolis (Athens, 1997) 199, fig. 133, which depicts the group against a dark, almost black background, probably in an attempt to capture the darkness of the Eleusinian stone of the frieze. Also a group of two fragments depicts a frontal view of a standing woman from the waist down. Behind the drapery of her garment at her left side is preserved the remnant of what has been identified as a tree trunk. For this suggestion and an illustration of the figure, see Fowler 262, no. 8, pl. XLIV; also Boulter 9, 78, pls. 3-4; and Brouskari 188, fig. 130. For a fragment of the bodies of a pair of horses pulling a chariot, see Fowler 267-268, no. 106, pl. XLVI; and also 268, no. 107, pl. XLVI for a fragment of the broken forelegs and breast of a horse galloping to the left. As for objects, chairs appear to be repeatedly represented on the sculpture of the frieze. For the depiction of an armchair on which a female sits by leaning back, see Fowler 263, no. 85, pl. XLIV; also Boulter 12, no. 85, pls. 13-14, 16b. A partially preserved chair of which only the seat and one leg remain is also depicted beside the lower part of a female figure standing next to it: Fowler 257, no. 56, pl. XLIII, and Boulter 14, no. 56, pls. 21, 23b. For a fragment of a helmet identified as that of Athena and set upon a mass that is thought to represent stone, see Glowacki, “A New Fragment of the Erechtheion Frieze” 326, pl. 65, figs. a-b. 559 Fowler, “The Sculptures,” in Paton, ed., The Erechtheum 244, who further explains that “some division of scenes is inevitable in view of the different heights of the frieze of the cella and that of the North Portico.” 560 This text corresponds to lines 1-8 of the first column of a marble inscribed fragment (XVI) that was discovered in excavations southeast of the Erechtheum in 1839: Caskey, “The Inscriptions,” in Paton, ed., The Erechtheum 375, 389. The fragment is part of a larger inscription comprising several fragments (XII- XXV), some of which (i.e., XIII-XX) follow a stoichedon arrangement. All fragments deal with the payments of workmen. Fragment XV preserves the name of the archon Euktemon, and, therefore, dates the 282
The same type of information is recorded by part of the text of the second of these inscriptions (XVII, col. I; IG I 3 . 476), which says: -- the man holding the spear, 60 dr. Phyromachos of Kephisia, the youth beside the breast-plate, 60 dr. Praxias, living in Melite, the horse and the man appearing behind it 120 dr. and striking it in the flank, Antiphanes of Kerameis, the chariot, and the youth, and the two horses being harnessed, 240 dr. Phyromachos of Kiphisia, the man leading the horse, 60 dr. Mynnion, living in Argyle, the horse and the man striking it, and he later added the stele, 127 dr. Soklos, living in Alopeke, the man holding the bridle, 60 dr. Phyromachos of Kephisia, the man leaning on a staff behind the altar, Iasos of Kollytos, the woman with the little girl leaning against her, 80 dr. sum total of payments for sculpture, 3315 dr. (IG I 3 . 476 [fr. XVII, col. I, 159-181]) [88] Both inscriptions are instructive, for they provide an insight into what the sculpture of the frieze represented: human adults and children in different poses, such as leaning on a staff or against each other, animals, such as mules and horses being harnessed, objects such as a spear, a breastplate, a wagon, and a bridle, and also features of worship, such as an altar. What is additionally instructive is that these inscriptions do not speak of sculptors making a statue of someone or something, but instead someone or something himself or itself. This mode of expression is crucial, for it suggests that the idea of an account to 408/7 B.C.: Fowler 371-376. For an additional discussion of the payments of the workmen, see R. H. Randall, Jr., “The Erechtheion Workmen,” AJA 57 (1953) 199-210. 283
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
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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
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 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: suggests a distinctive technique of
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
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
Page 317 and 318: prominently in Plato’s discussion
Page 319 and 320: “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
Page 335 and 336: temple.” Now the statue [a1galma]
Page 337 and 338: of real bodies. When this meaning i
Page 339 and 340: Conclusions Animals are fundamental
Page 341 and 342: 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
Page 429 and 430:
“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
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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
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
Page 473 and 474:
Fig. 13 Late Geometric II stand fro
Page 475 and 476:
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
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Fig. 29 Figure of a horrified femal
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