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

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that is, an image held by memory. This evidence confirms the meaning of zw|~on as image. It also provides a glimpse into how viewers approached this kind of image: as an object of speculation. Informative is also Aristotle’s additional comment that when one contemplates the object merely as a gegramme/non zw|~on, which has been translated as “painted picture,” then this object appears in the soul as a mere thought. 624 This clarification suggests that, apart from being an image in its own right, zw|~on was also understood as visual material that registered directly in the thinking faculty. This evidence, in turn, qualifies zw|~on as an important term in the fourth-century discourse on optical theory. Philemon The last Classical zw|~on to be associated with the arts appears in a fragment of Philemon, a comic poet of the mid-fourth to the mid-third centuries B.C. Athenaeus, writing in the second century A.D., cites a fragment of Philemon, which relates the story of a man becoming enamored of a stone zw|~on. Athenaeus uses the fragment of Philemon as supporting evidence for Alexis’s description of similar behavior attributed to someone whom he identifies as Cleisophus of Selymbria: For he [Cleisophus of Selymbria], becoming enamored of the statue [a)ga&lmatoj] in Parian marble at Samos, locked himself up in the temple, thinking he should be able to have intercourse with it; and since he found that impossible on account of the frigidity and resistance of the stone, he then and there desisted from that desire and placing before him a small piece of flesh he consorted with that. This deed is mentioned by the poet Alexis in the play entitled A Picture: “Another case of a like sort occurred, they say, in Samos. A man conceived a passion for a stone maiden, and locked himself up in the temple.” And Philemon, mentioning the same, says, “Why, once on a time, in Samos, a certain man fell in love with a stone zw|&ou; thereupon he locked himself in the 624 Painted picture: Hett, Aristotle VIII 293; Sachs, Aristotle’s On the Soul 172; White and Macierowski, St. Thomas Aquinas. Commentaries 202, ns. 17, 19. 324
temple.” Now the statue [a1galma] is the work of Ctesicles, as Adaeus of Mytilene says in his work On Sculptors [ 1Agalma-Makers]. (Deipn. 13.606a13.606b) [77] The fragment gives the impression that the genitive singular zw|&ou refers to an image of some kind. The fact that this zw|~on was li/qinon (“made of stone”) indicates that it was an image of some kind in sculpture. In agreement with this suggestion is Charles Gulick, who translates Philemon’s liqi&nou zw|&ou as “stone image.” 625 In view of the previous definition of zw|~on as an “object of speculation in its own right” this rendering seems appropriate. As for the position of the term within the general spectrum of its Classical usage, we see that once again zw|~on is used in a general sense and in connection with the language of the arts. What is new in this case is the use of the term in comedy. The fragment also shows that the context in which this zw|~on existed was a temple in Samos, which indicates a religious setting. This evidence along with the above reference to stone as the material of manufacture bring immediately to mind Herodotus’ assertion that temples and zw|~a carved on stones were, along with altars and a)ga&lmata, the primary components of religious activity first set by the Egyptians [100]. In this sense, the term zw|~on again appears to be connected with religion. Unlike Herodotus, who, in that case, distinguished between zw|~a and a)ga&lmata, in this passage, Athenaeus refers to Philemon’s stone zw|&ou as a1galma, that is, “statue.” This evidence suggests a second- century A.D. linguistic treatment, which is not distant, however, from that of Plato’s in the Republic, who, as seen earlier, perceived of an a)ndria&v as a zw|~on [148]. The similarity between the two authors hints at a consistent usage and understanding of the term zw|~on, which apparently permeated chronological boundaries. This impression is 625 C. B. Gulick, ed., tr., Athenaeus VI. The Deipnosophists (Cambridge, Mass. and London, 1937; repr. 1959) 267. 325
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
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Herodotus provides further insight
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evidence should be also added an Ar
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g. The Zw|~a of Mandrocles’ Paint
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The passage is instructive for the
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the representations of enthroned Da
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Herodotus gives no details about th
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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 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: kaq' au(to_ ei]nai…qew&rhma), and
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_
Page 371 and 372: In Phasis there is a breed of small
Page 373 and 374: Text and translation: D. M. Balme,
Page 375 and 376: ou)de\n de\ oi[on eu)nh_ malqakh_ k
Page 377 and 378: e1ti de\ kai\ eu)w&desi ta_j xei=ra
Page 379 and 380: μέν[a έν f]ρo[uρ ί k ]do[ς
Page 381 and 382: λίθος πρὸς ℎο̑ι τ
Page 383 and 384: 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
Page 469 and 470:
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
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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