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

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mould this heifer, but its image.” (Euenos, Anth. Pal. 9.718) [92] Additional evidence regarding Myron and his bronze cow comes from Pliny, who explicitly connects the fame of this artist with this animal statue: Myron, who was born at Eleutherai, and was a pupil of Ageladas, was most renowned for his statue of a heifer, a work which is praised in well-known verses—for many people gain their reputations through someone else’s inventiveness rather than their own. He also made a dog, a Discus-thrower, a Perseus and the sea-monster, a Satyr marveling at the flutes, and an Athena, contestants in the pentathlon at Delphi, pankratiasts, and a Herakles which is now in the round temple of Pompey the Great in the Circus Maximus. He also made a monument to a cicada and a locust, as Erinna indicates in her poem. (NH 34.57-34.58) [151] In addition to the celebrated statue of the heifer, the passage attributes also to Myron those of a dog and, perhaps, a cicada and a locust, if the monument mentioned here is to be equated with images of the insects themselves. 32 Along with the famous heifer, reference to all these non-human figures by Myron indicates that such subjects were not excluded from his oeuvre, but rather considered fundamental components of his legacy, as was the case with Kalamis. In this way, animals again emerge as valued subjects of works of art and of artists’ eminence in antiquity. Myron, while the best-known case, is not the only example of a Classical artist renowned for animals. Pliny also refers to the sculptor, Amphicrates, whose name he associates with a statue of a lioness: Amphicrates is praised for his Leaena; she was a harlot admitted to the friendship of Harmodius and Aristogeiton because of her skill as a harpist, who though put to the torture by the tyrants till she died refused to betray their plot to assassinate 32 Regarding these insects, Pollitt, Sources and Documents 49, n. 9 states that “Pliny probably presents garbled information here derived from a poem in the Greek Anthology (7.190) which refers to a tomb for a pet locust and a pet cicada set up by a girl named Myro.” The epigram runs as follows: “For her locust, the nightingale of the fields, and her cicada that resteth on the trees one tomb hath little Myro made, shedding girlish tears; for inexorable Hades hath carried off her two pets”; translation: W. R. Paton, ed., tr., The Greek Anthology II (London and New York, 1917; repr. 1925) 109. 24
them. Consequently the Athenians wishing to do her honour and yet unwilling to have made a harlot famous, had a statue made of a lioness, as that was her name, and to indicate the reason for the honour paid her instructed the artist to represent the animal as having no tongue. (NH 34.72) [153] The passage clearly states that Amphicrates made a statue of a lioness for which he received laudatory comments. An animal again emerges as the celebrated subject of a work of art by an artist, whose name Pliny considered worth recording. The passage is also important for it demonstrates the commemorative and historical function of animal statues in post-Peisistratid Athens. Thus, Amphicrates’ tongue-less lioness stood as an emblem of Leaena’s silence in connection with a historical event: the Tyrannicides’ assassination attempt against Hippias in 514 B.C. A similar account of the event is provided by Pausanias, who gives a detailed description of the historical circumstances and set-up location of the statue. Unlike Pliny, however, Pausanias does not attribute the statue to Amphicrates, but to Kalamis, that is, an early fifth-century sculptor: When Hipparchos [the son of Peisistratos] died—and what I am saying has never before come to be written down but is generally believed by many Athenians— Hippias tortured and killed [an Athenian woman named] Leaena [“Lioness”], knowing that she was the mistress of Aristogeiton and believing that there was no way in which she could have been ignorant of the plot. In reaction to this, when the tyranny of the Peisistratids came to an end, the Athenians set up a bronze lioness as a memorial to the woman, next to the image of Aphrodite, which they say, was a dedication of Kallias and a work of Kalamis. (1.23.2) [135] Further evidence directly connecting animal subjects to renowned artists is found in the case of Strongylion, another Classical sculptor, whose fame Pausanias associates with statues of cattle and horses. Pausanias conveys this association while viewing some statues of the Muses made by this artist and placed along the road to the grove of the Muses on mount Helicon: 25
Page 1 and 2: The Judgment of Animals in Classica
Page 3 and 4: the meaning of the term zw|~on—us
Page 5 and 6: Table of Contents Acknowledgments .
Page 7 and 8: Section 2 a. Dogs Stealing and Gobb
Page 9 and 10: Acknowledgements First and foremost
Page 11 and 12: Introduction It is generally though
Page 13 and 14: of their art while maintaining awar
Page 15 and 16: connection between animals and life
Page 17 and 18: Chapter three, “The Classical Gre
Page 19 and 20: turn, shaped by contemporary ideas
Page 21 and 22: with the animal kingdom. 5 Regardin
Page 23 and 24: The examples just cited show that r
Page 25 and 26: studying freestanding statues of li
Page 27 and 28: particular, has dominated twentieth
Page 29 and 30: Regarding classical antiquity, the
Page 31 and 32: their grip, for a “tooth” on ea
Page 33: discussion of the sculpture to whic
Page 37 and 38: subjects on the basis of which arti
Page 39 and 40: of the later (Hellenistic) developm
Page 41 and 42: The theory that naturalism played t
Page 43 and 44: we have seen or sensed in the past,
Page 45 and 46: valued criterion of judging works o
Page 47 and 48: more accurate observation and rende
Page 49 and 50: judged by the ancient Greeks? As su
Page 51 and 52: is still central to his argument, b
Page 53 and 54: wars, the symmetry of their tense p
Page 55 and 56: Archaic and Classical phases, follo
Page 57 and 58: the acquired skill of craftsmanship
Page 59 and 60: prevalence of naturalism in his vie
Page 61 and 62: The statement shows clearly that Bo
Page 63 and 64: of Kollytos in the Athenian Keramei
Page 65 and 66: Having expressed this idea, he pres
Page 67 and 68: 5. Not Naturalism and Realism. The
Page 69 and 70: animals, but rather highlights thei
Page 71 and 72: instead of a message highlights the
Page 73 and 74: quality of Cleiton’s statues, or,
Page 75 and 76: valuable guide to the ancient inter
Page 77 and 78: importance of these notions in defi
Page 79 and 80: made of bronze, if Myron had worked
Page 81 and 82: first century A.D., the statue pres
Page 83 and 84: lifelikeness of the statue, in quit
Page 85 and 86:
Wilt thou not lead me into the hous
Page 87 and 88:
a real animal might act in the real
Page 89 and 90:
The fourth epigram, an anonymous, a
Page 91 and 92:
In the fourth epigram, also an anon
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mistaken a bronze cow for a real on
Page 95 and 96:
The statue proclaims its lifelikene
Page 97 and 98:
and the man leading it, and the wom
Page 99 and 100:
orrowed voice, the boundary between
Page 101 and 102:
oundary between lifeless art and re
Page 103 and 104:
had made a success of that as well,
Page 105 and 106:
eference to the error of the Pliny
Page 107 and 108:
form of equine connoisseurship resp
Page 109 and 110:
Chapter 2: Representations of Anima
Page 111 and 112:
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
Page 117 and 118:
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
Page 123 and 124:
It is perhaps Xenophon’s use of t
Page 125 and 126:
William Brown suggests that this pa
Page 127 and 128:
the expense of realism, or to a com
Page 129 and 130:
B.C. 178 Although not described in
Page 131 and 132:
inconsistent style. That of Vermeul
Page 133 and 134:
and degrees in which this combinati
Page 135 and 136:
2. Two Cases Studies: The Lion and
Page 137 and 138:
just as odd a man and the beast doe
Page 139 and 140:
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
Page 145 and 146:
animals and have the softest hair;
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with it. He provides this descripti
Page 149 and 150:
Further, Willemsen’s observation
Page 151 and 152:
The body of the Kerameikos hound ap
Page 153 and 154:
that the author of the Physiognomic
Page 155 and 156:
Those [animals] who have thin lips
Page 157 and 158:
knowledge of the dog mating with ot
Page 159 and 160:
serve their arrangement in Classica
Page 161 and 162:
Chapter 3: The Classical Greek Cont
Page 163 and 164:
SECTION 1 a. Dogs Living in the Hou
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eferring first to the human family
Page 167 and 168:
Aristotle’s Politics, so pervasiv
Page 169 and 170:
that of a dog: his location on the
Page 171 and 172:
In contrast to this suggestion, Joh
Page 173 and 174:
Aeschylus’s intention to liken th
Page 175 and 176:
thing is possible then,” said I,
Page 177 and 178:
If anyone’s out of bread but has
Page 179 and 180:
c. Molossian Dogs as Guardians of t
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incident, Aegeas was a ferocious Mo
Page 183 and 184:
Aristotle indicates that Molossian
Page 185 and 186:
untrustworthy animal. So pervasive
Page 187 and 188:
the dog’s stealing of food within
Page 189 and 190:
mythological dogs, such as those of
Page 191 and 192:
Cleon of embezzling money while cam
Page 193 and 194:
Although not provoked by the act of
Page 195 and 196:
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
Page 209 and 210:
living together with humans brings
Page 211 and 212:
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
Page 219 and 220:
ordinary food, but is not connected
Page 221 and 222:
2. Disease of the Back Similar to t
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ensured only if one is willing to
Page 225 and 226:
The literary evidence contained in
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practice of eating dog meat indicat
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product of an artistic process,”
Page 231 and 232:
Georgopapadakos. 344 On the basis o
Page 233 and 234:
that is Friendship. They made her k
Page 235 and 236:
assume that they referred to images
Page 237 and 238:
the meaning of zw|~on in the fifth
Page 239 and 240:
tendency not to distinguish between
Page 241 and 242:
zw|~a. Thus, they translate the fir
Page 243 and 244:
econstructed as five consecutive fr
Page 245 and 246:
To conclude the discussing of Herod
Page 247 and 248:
Turning to zw|~a, one sees that Her
Page 249 and 250:
With regard to the modern definitio
Page 251 and 252:
Regarding modern translations of zw
Page 253 and 254:
length of the causeway was 5 sta&di
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The fragment was initially assigned
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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
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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 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
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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
Page 385 and 386:
As for dogs, what can I say? In som
Page 387 and 388:
Tou&twn te w}n ei3neken oi9 Lakedai
Page 389 and 390:
Herodotus 2.148 oi9 ga_r e0pestew~t
Page 391 and 392:
asile/a te Darei=on e0n proedri/h|
Page 393 and 394:
110 Hippocrates, De affectionibus i
Page 395 and 396:
Hippocrates, De morbis ii 44.16-44.
Page 397 and 398:
Rub well silphium equal to one grai
Page 399 and 400:
that on the peaks of a mountain fig
Page 401 and 402:
Text and translation: W. R. Paton,
Page 403 and 404:
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
Page 409 and 410:
a1frona gegone/nai nomoqe/thn, w3st
Page 411 and 412:
The eyes, the most beautiful featur
Page 413 and 414:
153 Pliny 34.72 A.D. I Text and tra
Page 415 and 416:
Another habit of his was when he ha
Page 417 and 418:
for the earth-goddess Hecate, it ha
Page 419 and 420:
dia_ pollw~n de\ o( Qeo&frastoj e0k
Page 421 and 422:
The characteristics of the brave ma
Page 423 and 424:
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
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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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