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

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ATHENIAN. That’s no hindrance for you. We’ll still make use of this allusion to it that’s cropped up in our discussion now, in something like the following way: suppose someone once took it into his head to paint (gra&yai) the most ka&lliston zw|~on possible, one that would never get worse but would always improve as time went by. Don’t you see that since he’s mortal, he’ll have to leave behind a successor, able to make it right if the zw|~on suffers from decay at the hands of time, as well as to make future touch-ups that improve the deficiencies left by his own artistic weaknesses? Otherwise, won’t his very great labor last but a brief time? KLEINIAS. That’s true. ATHENIAN. Well, then, don’t you think the lawgiver has such a purpose? He first writes (gra&yai) his laws with as nearly adequate a precision as he can muster. Then, with the passage of time, as his opinions are tried out in deed, do you suppose there’s any lawgiver who is so imprudent as to be ignorant of the fact that he must necessarily have left very many such things that require being set right by some follower, if the regime and order of the city he has founded are always to become in no way worse but instead better? (Leg. 769a-769d) [145] In this dialogue, the prominence of painting is striking. Plato uses three different terms: zwgra&fwn (“painters”), gra&yai (“painting”), and gegramme/na (“paintings”) all of which bring to mind the previous connection between gra&fw and painting, and therefore, establish firmly the context of this artistic process. Additional support for this context derives also from the terms xrai/nein and a)poxrai/nein. Although their exact meaning remains elusive, the suggestions of “touching-up” and “highlighting,” as in the above translation, and also “coloring” and “shading,” show preoccupation with certain technical aspects of painting; as such, these terms enhance the connection with the technical vocabulary of the arts. 604 Within this context, the word zw|~on occurs three times. The first time, the term appears in its genitive plural form—zw|&wn. The Athenian states that painters never finish working on each of the zw|~a. Like the good and bad works (zw|~a) of painters in the Cratylus, these zw|&wn stand for the works of painters in 604 For this suggestion and a discussion of the meaning of these terms and their translations as “coloring” and “shading,” see Keuls, Plato and Greek Painting 115-117. 310
general. Trevor Saunders attempts to capture this general sense by rendering the phrase “each of the zw|&wn” as “painting a picture of anything.” 605 His translation does not follow Plato’s text literally, and therefore, it qualifies as a paraphrase. Pangle, on the contrary, understands zw|&wn as “figures,” and Bury as “subjects.” Bury’s equation of zw|&wn with “subjects” seems appropriate, especially when seen in light of earlier evidence that Plato perceived zw|~on as the subject of representation in painted works of art. The second zw|~on occurs in the part of the dialogue in which the Athenian asks Kleinias to consider a hypothetical situation: “suppose someone once took it into his head (e0pinoh&seie) to paint the most beautiful zw|~on possible.” The designation of zw|~on as ka&lliston (“most beautiful”) makes it a construction of fine quality, a characteristic that accords well with previous evidence from the Laws, which discussed zw|~a in conjunction with the concept of beauty. As for the meaning of this zw|~on it is not without difficulties. Pangle translates the term as “figure,” Bury as “object,” and Saunders as “picture.” 606 The truth is that it is not possible to determine whether this zw|~on refers to the subject, image, or painting as a physical object. Given the situation, Plato appears to be using the word in a similar manner as the earlier zw|&wn, which blurred the boundary between subject, image, and object. What is worth noticing in this zw|~on, however, is that it is perceived as the outcome of a mental process: “suppose someone took it into his head to paint the most beautiful zw|~on,” says the Athenian. This comment is instructive, for it links zw|~on with the realm of fourth-century discourse of visual perception. 605 T. Saunders, tr., Laws, in J. M. Cooper, ed., Plato. The Complete Works (Indianapolis and Cambridge, 1997) 1443. 606 Figure: Pangle, The Laws of Plato 156; Object: Bury, Plato. Laws I 451; Picture: Saunders, Laws, in Cooper, ed., Plato. Complete Works 1443. 311
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
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Undoubtedly, these zw|~a did show s
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statement accords well with the pro
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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 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: “animals,” and Pangle, as “li
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
Page 365 and 366: 835 ba&ll' e0j ko&rakaj. toioutoni\
Page 367 and 368: Prw~ton me\n ou}n to_ a1nw ku&toj a
Page 369 and 370: 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
Page 443 and 444:
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
Page 451 and 452:
_____, “Cario and the New World o
Page 453 and 454:
S. B. Pomeroy, Xenophon. Oeconomicu
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C. Rolley, La tombe princière de V
Page 457 and 458:
W. Smith, ed., Dictionary of Greek
Page 459 and 460:
C. Thorne, “Feeding Behavior of D
Page 461 and 462:
S. Simpson, eds., Pictorial Narrati
Page 463 and 464:
Young, Archaic Marble Sculpture fro
Page 465 and 466:
Fig. 1 Classical statue of a dog fr
Page 467 and 468:
Fig. 4 Classical Inscription from a
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Fig. 7 Classical statue of a lion f
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Fig. 10 The lion of Amphipolis (fou
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Fig. 13 Late Geometric II stand fro
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Fig. 16 Late Archaic Boeotian terra
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Fig. 21 Reconstruction of part of a
Page 479 and 480:
Fig. 24 Capstone of the pyramid of
Page 481 and 482:
Fig. 26 Archaic bronze krater from
Page 483:
Fig. 29 Figure of a horrified femal
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