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

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138 Pausanias 6.12.1 A.D. II Text: F. Spiro, ed., Pausaniae Graeciae descriptio (3 vols.; Leipzig, 1903; repr. Stuttgart, 1967). Translation: J. J. Pollitt, The Art of Ancient Greece: Sources and Documents (1965; second ed., Cambridge, 1990; repr. 1998). plhsi/on de\ a3rma te/ e0sti xalkou~n kai\ a)nh_r a)nabebhkw_j e0p' au)to&, ke/lhtej de\ i3ppoi para_ to_ a3rma ei[j e9kate/rwqen e3sthke kai\ e0pi\ tw~n i3ppwn kaqe/zontai pai=dej: u(pomnh&mata de\ e0pi\ ni/kaij 0Olumpikai=j e0stin 9Ie/rwnoj tou~ Deinome/nouj turannh&santoj Surakousi/wn meta_ to_n a)delfo_n Ge/lwna. ta_ de\ a)naqh&mata ou)x 9Ie/rwn a)pe/steilen, a)ll' o( me\n a)podou_j tw|~ qew|~ Deinome/nhj e0sti\n o( 9Ie/rwnoj, e1rga de\ to_ me\n 0 Ona&ta tou~ Ai0ginh&tou to_ a3rma, K a l a & m i d o j de\ oi9 i3ppoi te oi9 e9kate/rwqen kai\ e0p' au)tw~n ei0sin oi9 pai=dej. Nearby is a bronze chariot and a man mounted on it; race-horses stand by the chariot, one on each side, and there are children seated on the horses. These are memorials to the Olympic victories of Hieron the son of Deinomenes, who ruled as tyrant over the Syracusans after his brother Gelon. But Hieron did not send these offerings: rather it was Deinomenes the son of Hieron, who gave them to the god. The chariot was the work of Onatas of Aigina, while the horses on either side of it and the children upon them are the works of Kalamis. 139 Pausanias 9.30.1 A.D. II Text: F. Spiro, ed., Pausaniae Graeciae descriptio (3 vols.; Leipzig, 1903; repr. Stuttgart, 1967). Translation: J. J. Pollitt, The Art of Ancient Greece: Sources and Documents (1965; second ed., Cambridge, 1990; repr. 1998). tai=j Mou&saij de\ a)ga&lmata me\n prw~ta& e0sti Khfisodo&tou te/xnh pa&saij, proelqo&nti de\ ou) polu_ trei=j me/n ei0sin au}qij K h f i s o d o & t o u , Strogguli/wnoj de\ e3tera tosau~ta, a)ndro_j bou~j kai\ i3ppouj a1rista ei0rgasme/nou: The first images of the Muses are the work of Kephisodotos, all of them; a little farther on there are three more again by Kephisodotos, and then three others by Strongylion, an artist responsible for excellent [images of] cattle and horses. Philemon fr. 139 Kock IV-III B.C. See Athenaeus 13.606a-13.606b [77]. 140 Phillipus, Anthologia Palatina 9.742 A.D. I 394
Text and translation: W. R. Paton, ed., tr., The Greek Anthology III (London and New York, 1915; repr. 1925). 1Apaire/ mou te/nontoj, w} gewpo&ne, le/padna kai\ si/daron au)lakerga&tan: xalko_n ga_r a(mw~n ou)k e0sa&rkwsen Mu&rwn, te/xna d' e0zwpo&nhsen o1yin e1mpnoon, w(j polla&kij me ka)pomuka~sqai qe/lein: ei0j e1rga d' ou)k ei1ase prosdh&saj ba&sei. Take off from my neck, husbandman, the collar, and free me from the iron furrow-cutter; for Myron did not make my bronze into flesh, but his art gave me the aspect of being alive, so that often I even wish to low. He did not, however, let me go to work, but tied me to the base. 141 Plato, Cratylus 424d-425a IV B.C. Text: J. Burnet, ed., Platonis opera I (Oxford, 1900; repr. 1967). Translation: H. N. Fowler, ed., tr., Plato. Cratylus. Parmenides. Greater Hippias. Lesser Hippias (Cambridge, Mass. and London, 1926; repr. 1963). [SW.] w3sper oi9 zwgra&foi boulo&menoi a)fomoiou~n e0ni/ote me\n o1streon mo&non e0ph&negkan, e0ni/ote de\ o(tiou~n a1llo tw~n farma&kwn, e1sti de\ o3te polla_ sugkera&- santej, oi[on o3tan a)ndrei/kelon skeua&zwsin h2 a1llo ti tw~n toiou&twn—w(j a2n oi]mai dokh|~ e9ka&sth h( ei0kw_n dei=sqai e9ka&stou farma&kou—ou3tw dh_ kai\ h(mei=j ta_ stoixei=a e0pi\ ta_ pra&gmata e0poi/somen, kai\ e4n e0pi\ e3n, ou{ a2n dokh|~ dei=n, kai\ su&mpolla, poiou~ntej o4 dh_ sullaba_j kalou~sin, kai\ sullaba_j au} suntiqe/ntej, e0c w{n ta& te o)no&mata kai\ ta_ r(h&mata sunti/qentai: kai\ pa&lin e0k tw~n o)noma&twn kai\ r(hma&twn me/ga h1dh ti kai\ kalo_n kai\ o3lon susth&somen, w3sper e0kei= to_ zw|~on th|~ grafikh|~, e0ntau~qa to_n lo&gon th|~ o)nomastikh|~ h2 r(htorikh|~ h2 h3tij e0sti\n h( te/xnh. SOCRATES. Just as painters, when they wish to produce an imitation, sometimes use only red, sometimes, some other color, and sometimes mix many colors, as when they are making a picture of a man or something of that sort, employing each color, I suppose, as they think the particular picture demands it. In just this way we, too, shall apply letters to things, using one letter for one thing, when that seems to be required, or many letters together, forming syllables, as they are called, and in turn combining syllables, and by their combination forming nouns and verbs. And from nouns and verbs again we shall finally construct something great and fair and complete. Just as in our comparison we made the zw|~on by the art of painting, so now we shall make language by the art of naming, or of rhetoric, or whatever it be. 142 395
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
Page 63 and 64:
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
Page 137 and 138:
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
Page 171 and 172:
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
Page 191 and 192:
Cleon of embezzling money while cam
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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
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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
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,”
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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
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
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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
Page 267 and 268:
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
Page 281 and 282:
Grene, who says “little figures.
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theory has dominated scholarship. 5
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iders on horses that gallop to the
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inscription is in the form of a hea
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The existing blocks that form the b
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suggests a distinctive technique of
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The same type of information is rec
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addition, the inscriptions provide
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stone and zw~ia suggests a standard
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description for something, and ther
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Erechtheion, and also fragments of
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uilding, and also marked a technica
Page 305 and 306:
Socrates likens the use of colors b
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on a surface produced by painting,
Page 309 and 310:
outstanding allotment of happiness
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indicates that it was a term of gen
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government of the state. Four perso
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form a group of discussants on the
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prominently in Plato’s discussion
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“animals,” and Pangle, as “li
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general. Trevor Saunders attempts t
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And I do not think it is right that
Page 325 and 326:
contrasted to the representations o
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Aristotle likens the formation of t
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paintings—also connected with zw&
Page 331 and 332:
The third occurrence of the term in
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kaq' au(to_ ei]nai…qew&rhma), and
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temple.” Now the statue [a1galma]
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of real bodies. When this meaning i
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Conclusions Animals are fundamental
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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
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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
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: a)festhko&j. e0ntau~qa e9kate/ra mo
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
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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