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

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Although dating to the third century B.C., explicit evidence in support of this point comes from two votive objects which, in the inventory lists from Delos, are called zw&idia. The first is a combination of two silver figurines, one of Apollo, the other of Artemis, mounted on a wooden base, and dedicated by a woman called Kleino in the temple of Artemis. The second is a dedication of a man called Apollodoros described as “two zw&idia on a semi-circular surface” that was kept at the temple of Apollo. 574 The fact that the third-century Delian zw&idia were made of silver, whereas those of the fifth- century frieze of the Erechtheion were made of marble, indicates with certainty that the material of manufacture was not a determining factor in the meaning of the term zw&idia. In sum, the meaning and usage of zw~ia and zw&idia in the inscriptions of the building accounts of the Erechtheion can be described in the following way: Zw~ia are figural images (representations) of animate and inanimate subjects taken from the real world and referring to the sculptural composition of the Erechtheion frieze. In this way, zw~ia appear to be directly connected with the visual arts set in a religious context as indicated by the designation of the Erechtheion as a temple. The inscriptions also refer to the sculpture of the frieze of this building as zw&idia. This term, which is the diminutive form of zw~ia, designated zw~ia of small size that were employed in the frieze of the 574 On the basis of thirteen different surviving inventories that date from 279 to 145 B.C., E. Kosmetatou, “Zw&idia in the Delian Inventory Lists,” Mnemosyne 57 (2002) 482, provides a composite description of the text referring to the silver figurines as: “Two silver figurines of Apollo and Artemis on a wooden base, unweighed. Inscription: Kleino, daughter of Admetos to Apollo and Artemis as fulfillment of a vow.” She does specify, 482, however, that the phrase “on a wooden base” does not start to appear on the lists until 195 B.C. This is also the year, when the term zw&idia for these figurines switches to andria&ntia and andrianti&dia. As for the second dedication and its reference to a semi-circular surface, she suggests, 483, that “we know that semi-circular exedrae were in vogue as bases for group monuments in Greek sanctuaries.” For additional discussion regarding the occurrence of zw&idia in the Delian inventory lists, see M. C. Hellmann, Recherches sur le vocabulaire de l’ architecture grecque d’après les inscriptions de Délos (Paris, 1992) 120, n. 9. 292
uilding, and also marked a technical aspect of them, namely, their fastening to the background blocks of the frieze by means of iron dowels fixed in place with lead. The extant sculpture attests, first, to this unusual method of attachment for the sculptured pieces of the frieze, and, second, to the variety of both animate and inanimate subjects represented by these pieces. The translations of both zw~ia and zw&idia as “figures” and “pictures” indicate how entrenched these latter terms are in our descriptive vocabulary of ancient works of art; it should be remembered, however, that such translations do not capture accurately the meaning that these terms carried when used in fifth-century contexts directly involved with the visual arts. Taken together, the evidence from the literary texts and inscriptions of the fifth century B.C. indicates that the word zw|~on and its derivative zw|&dion when used in direct association with the visual arts as defined by painting sculpture, bronze-work, and textiles held the meanings of “image,” “subject of representation” “representation of both animate and inanimate subjects taken from real life,” and “decorative element.” The fifth-century use of zw|~on indicates that no importance was placed on the distinction between image and subject in contemporary Greece, while that of zw|&dion points out that this was a term closely associated with the method of fastening images to a background as part of creating works of art in various media, such as bronze-work and sculpture. Contrary to the idea that fifth-century arguments about images in Greece are scarce, the usage of the word in the literary texts and inscriptions examined here indicates that there was a distinct vocabulary about the visual arts in fifth-century Greece. 575 575 For a discussion of the idea that “evidence for fifth-century arguments about images is scarce,” see Halliwell, “Plato and Painting,” in Rutter and Sparkes, eds., Word and Image in Ancient Greece 100. 293
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
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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
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 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: Erechtheion, and also fragments of
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
Page 343 and 344: scholarly interpretations of the pr
Page 345 and 346: The literary, epigraphical, and scu
Page 347 and 348: APPENDIX: TESTIMONIA Note to the re
Page 349 and 350: Eu)po&lidi tw|~ th~j kwmw|di/aj poi
Page 351 and 352: 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
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
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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
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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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