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

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As for the second zw|~on of the passage, it has been taken to mean “living being.” 595 The word is mentioned within a context that connects it directly to the art of rhetoric as seen in speech and argument and also to that of painting: “it is more fitting to portray (dhlou~n) any zw|~on by speech and argument than by painting.” 596 The word dhlou~n suggests a direct link with the notion of “showing;” as such, it implies that zw|~on was shown or presented to listeners and spectators, therefore, its meaning is fitting as that of the subject of discussion and representation respectively. Such evidence accords well with Else’s demonstration of the notion of mimesis as being rooted in the concept of “mimicry” or the vocal and active imitation of voices and movement, and its application to material “images” in Plato’s time 597 ; as such, it suggests that zw|~on carries a direct connection with mimesis here. The meaning of this zw|~on as the subject of representation, when juxtaposed with the ambivalent meaning of the first zw|~on, which oscillated between the notions of image and subject, suggests that when used in an artistic context, the term did not have a fixed meaning, but rather mirrored the tendency to leave unmarked the distinction between image and subject. Further evidence for zw|~on in direct association with the arts is found in a section of the Laws, in which the term refers to the subject of representation in a work of art. Three persons—Kleinias from Crete, Megalus from Sparta, and an unnamed Athenian— 595 Fowler, Plato. The Statesman 77, and Rowe, Statesman, in Cooper, ed., Plato Complete Works 319, translate the second zw|~on of this passage as “living being” and “living beings” respectively. 596 For a discussion of the analogy between the words of sophists and the images of painters in ancient Greece, see J. P. Vernant, “The Birth of Images,” in F. I. Zeitlin, ed., Mortals and Immortals. Collected Essays (Princeton, 1992) 172-173. 597 Else, “‘Imitation’ in the Fifth Century” 87, where he traces the meaning of mimesis to the concept of mimicry, more specifically, “the rendering of characteristic look, action, or sound through human means” and further states that by the time Plato was born, “the concept of mimicry was transferred to material “images”: pictures, statues, and the like.” 304
form a group of discussants on the subject of laws and constitutions of the ideal state. The use of zw|~on occurs twice in the context of a discussion between the Athenian and Kleinias on the criticism of the arts: ATHENIAN. There are of course myriad images (a)peikasi/ai) which are visible to our eye. KLEINIAS. Yes. ATHENIAN. What then, if someone doesn’t know what each of the bodies of the memimhme/nwn is? Would he ever know what is correctly executed in them? What I mean is something like this: doesn’t he have to know whether the imitation captures the number and the arrangement of each of the parts, how many there are and how they fit next to one another in the appropriate order, and also the colors and shapes, or whether all these things have been put together in a confused way? Do you think someone can ever know these things if he is completely ignorant of what is the memimhme/non zw|~on? KLEINIAS. How could he? ATHENIAN. What if we were to know that the gegramme/non and peplasme/non is a human being, and that all his own parts, colors, and shapes have been captured by the art? Does it follow necessarily that whoever knows about these things also readily knows whether the work is beautiful or just where it is deficient in beauty? KLEINIAS. That would mean, stranger, that all of us, so to speak, know what is beautiful in any zw|&wn. ATHENIAN. What you say is very correct. Isn’t it the case, then, that with regard to each image (ei0ko&na), in grafikh|~ and in music and in all the rest, the person who is going to be a prudent judge must have three kinds of knowledge? He must know first what the thing is, and then know how correctly, and then—the third thing—how well, any of the images (ei0ko&nwn) of it in words, tunes, and rhythms are produced. (Leg. 668c-669b) [144] By marking the abundance of images in the surrounding culture, the opening statement of the Athenian expresses a concern with the visual arts. This concern is reiterated next in the description of a hypothetical viewer, who is confronted with each of the bodies of the memimhme/nwn, yet ignorance of specific aspects of their composition and appearance 305
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
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Regarding modern translations of zw
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length of the causeway was 5 sta&di
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The fragment was initially assigned
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estates, whereas the middle part wo
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of sand and limestone chips. The po
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limestone mantle. 441 Its poor cond
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
Page 311 and 312: indicates that it was a term of gen
Page 313: government of the state. Four perso
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
Page 353 and 354: ku&nej de\ e0cai/fnhj oi0kouroi\ pe
Page 355 and 356: 17 Anonymous, Anthologia Palatina 9
Page 357 and 358: 26 Anonymous, Anthologia Palatina 9
Page 359 and 360: 33 Antipater of Sidon, Anthologia P
Page 361 and 362: watches, and when you happen to gap
Page 363 and 364: 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
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
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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
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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
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_____, “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
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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
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
Page 483:
Fig. 29 Figure of a horrified femal
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