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

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Plato, Cratylus 429a 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.] zwgra&foi ei0si/n pou oi9 me\n xei/rouj, oi9 de\ a)mei/nouj; [KR.] Pa&nu ge. [SW.] Ou)kou~n oi9 me\n a)mei/nouj ta_ au(tw~n e1rga kalli/w pare/xontai, ta_ zw|~a, oi9 de\ faulo&tera; kai\ oi0kodo&moi w(sau&twj oi9 me\n kalli/ouj ta_j oi0ki/aj e0rga&zontai, oi9 de\ ai0sxi/ouj; [KR.] Nai/. [SW.] ]Ar' ou}n kai\ nomoqe/tai oi9 me\n kalli/w ta_ [e1rga] au(tw~n pare/xontai, oi9 de\ ai0sxi/w; SOCRATES: Some painters are better, and others worse, are they not? CRATYLUS: Certainly. SOCRATES: And the better produce better works—that is, their paintings—and the others worse works? And likewise some builders build better houses and others worse? 143 Plato, Critias 107b-107e IV B.C. Text and translation: R. Bury, ed., tr., Plato IX (Cambridge, Mass. and London, 1960). mi/mhsin me\n ga_r dh_ kai\ a)peikasi/an ta_ para_ pa&ntwn h(mw~n r(hqe/nta xrew&n pou gene/sqai: th_n de\ tw~n grafe/wn ei0dwlopoii/an peri\ ta_ qei=a& te kai\ ta_ a)nqrw&pina sw&mata gignome/nhn i1dwmen r(a|stw&nhj te pe/ri kai\ xalepo&thtoj pro_j to_ toi=j o(rw~sin dokei=n a)poxrw&ntwj memimh~sqai, kai\ katoyo&meqa o3ti gh~n me\n kai\ o1rh kai\ potamou_j kai\ u3lhn ou)rano&n te su&m- panta kai\ ta_ peri\ au)to_n o1nta kai\ i0o&nta prw~ton me\n a)gapw~- men a1n ti/j ti kai\ braxu_ pro_j o(moio&thta au)tw~n a)pomimei=sqai dunato_j h|}, pro_j de\ tou&toij, a3te ou)de\n ei0do&tej a)kribe\j peri\ tw~n toiou&twn, ou1te e0ceta&zomen ou1te e0le/gxomen ta_ gegramme/na, skiagrafi/a| de\ a)safei= kai\ a)pathlw|~ xrw&meqa peri\ au)ta&: ta_ de\ h(me/tera o(po&tan tij e0pixeirh|~ sw&mata a)peika&- zein, o)ce/wj ai0sqano&menoi to_ paraleipo&menon dia_ th_n a)ei\ su&noikon katano&hsin xalepoi\ kritai\ gigno&meqa tw|~ mh_ pa&saj pa&ntwj ta_j o(moio&thtaj a)podido&nti. tau)to_n dh_ kai\ kata_ tou_j lo&gouj i0dei=n dei= gigno&menon, o3ti ta_ me\n ou)ra&nia kai\ qei=a a)gapw~men kai\ smikrw~j ei0ko&ta lego&mena, ta_ de\ qnhta_ kai\ a)nqrw&pina a)kribw~j e0ceta&zomen. e0k dh_ tou~ paraxrh~ma (e.) nu~n lego&mena, to_ pre/pon a2n mh_ dunw&meqa pa&ntwj a)podido&- nai, suggignw&skein xrew&n: ou) ga_r w(j r(a|&dia ta_ qnhta_ a)ll' w(j xalepa_ pro_j do&can o1nta a)peika&zein dei= dianoei=sqai. 396
The accounts given by all us must be, of course, of the nature of imitations and representations; and if we look at the portraiture of divine and of human bodies as executed by painters, in respect of the ease or difficulty with which they succeed in imitating their subjects in the opinion of onlookers, we shall notice in the first place that as regards the earth and mountains and rivers and woods and the whole of heaven, with the things that exist and move therein, we are content if a man is also able to represent them with even a small degree of likeness; and further, that, inasmuch as we have no exact knowledge about such subjects, we do not examine closely or criticize the paintings, but tolerate, in such cases, an inexact and deceptive sketch. On the other hand, whenever a painter tries to render a likeness of our own bodies, we quickly perceive what is defective because of our constant familiar acquaintance with them, and become sever critics of him who fails to bring out to the full all the points of similarity. And precisely the same thing happens, as we should notice, in the case of discourse: in respect of what is celestial and divine we are satisfied if the account possesses even a small degree of likelihood, but we examine with precision what is mortal and human. To an account given now on the spur of the moment indulgence must be granted, should we fail to make it a wholly fitting representation; for one must conceive of mortal objects as being difficult, and not easy, to represent satisfactorily. 144 Plato, Leges 668c-669b IV B.C. Text: J. Burnet, ed., Platonis opera V (Oxford, 1907; repr. 1967). Translation: T. L. Pangle, tr., The Laws of Plato (New York, 1980). [AQ.] Ei0si\n dh&pou kata_ th_n o1yin h(mi=n a)peikasi/ai muri/ai. [KL.] Nai/. [AQ.] Ti/ ou}n ei1 tij kai\ e0n tou&toij a)gnooi= tw~n memimhme/nwn o3ti pot' e0sti\n e3kaston tw~n swma&twn; a}r' a1n pote to& ge o)rqw~j au)tw~n ei0rgasme/non gnoi/h; le/gw de\ to_ toio&nde, oi[on tou_j a)riqmou_j tou~ sw&matoj kai\ e9ka&stwn tw~n merw~n ta_j qe/seij ei0 e1xei, o3soi te/ ei0sin kai\ o(poi=a par' o(poi=a au)tw~n kei/mena th_n prosh&kousan ta&cin a)pei/lhfen—kai\ e1ti dh_ xrw&mata& te kai\ sxh&mata—h2 pa&nta tau~ta tetaragme/nwj ei1rgastai: mw~n dokei= tau~t' a1n pote diagnw~nai/ tij to_ para&pan a)gnow~n o3ti pot' e0sti\ to_ memimhme/non zw|~on; [KL.] Kai\ pw~j; [AQ.] Ti/ d' ei0 gignw&skoimen o3ti to_ gegramme/non h2 to_ peplasme/non e0sti\n a1nqrwpoj, kai\ ta_ me/rh pa&nta ta_ e9autou~ kai\ xrw&mata a3ma kai\ sxh&mata a)pei/lhfen u(po_ th~j te/xnhj; a}ra& ge a)nagkai=on h1dh tw|~ tau~ta gno&nti kai\ e0kei=no e9toi/mwj gignw&skein, ei1te kalo_n ei1te o3ph| pote\ e0llipe\j a2n ei1h ka&llouj; [KL.] Pa&ntej menta2n w(j e1poj ei0pei=n, w} ce/ne, ta_ kala_ tw~n zw|&wn e0gignw&skomen. [AQ.] 0Orqo&tata le/geij. a}r' ou}n ou) peri\ e9ka&sthn ei0ko&na, kai\ e0n grafikh|~ kai\ e0n mousikh|~ kai\ pa&nth|, to_n me/llonta e1mfrona krith_n e1sesqai dei= tau~ta tri/a e1xein, o3 te/ e0sti prw~ton gignw&skein, e1peita w(j o)rqw~j, e1peiq' w(j eu}, to_ tri/ton, ei1rgastai tw~n ei0ko&nwn h(tisou~n r(h&masi/ te kai\ me/lesi kai\ toi=j r(uqmoi=j; ATHENIAN. There are of course myriad images which are visible to our eye. 397
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.
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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
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Socrates likens the use of colors b
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on a surface produced by painting,
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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
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contrasted to the representations o
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Aristotle likens the formation of t
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paintings—also connected with zw&
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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
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scholarly interpretations of the pr
Page 345 and 346:
The literary, epigraphical, and scu
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APPENDIX: TESTIMONIA Note to the re
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Eu)po&lidi tw|~ th~j kwmw|di/aj poi
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with no seal broken in the length o
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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 and 404: a)festhko&j. e0ntau~qa e9kate/ra mo
Page 405: Text and translation: W. R. Paton,
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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