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

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KLEINIAS. Yes. ATHENIAN. What then, if someone doesn’t know what each of the bodies of the things imitated is? Would he ever know what is correctly executed in them? What I mean is something like this: doesn’t he have to know whether the imitation captures the number and the arrangement of each of the parts, how many there are and how they fit next to one another in the appropriate order, and also the colors and shapes, or whether all these things have been put together in a confused way? Do you think someone can ever know these things if he is completely ignorant of what the living thing is that has been imitated? KLEINIAS. How could he? ATHENIAN. What if we were to know that the thing that has been painted and sculptured is a human being, and that all his own parts, colors, and shapes have been captured by the art? Does it follow necessarily that whoever knows about these things also readily knows whether the work is beautiful or just where it is deficient in beauty? KLEINIAS. That would mean, stranger, that all of us, so to speak, know what is beautiful in any paintings of living things. ATHENIAN. What you say is very correct. Isn’t it the case, then, that with regard to each image, in painting and in music and in all the rest, the person who is going to be a prudent judge must have three kinds of knowledge? He must know first what the thing is, and then know how correctly, and then—the third thing—how well, any of the images of it in words, tunes, and rhythms are produced. 145 Plato, Leges 769a-769d 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.] Oi]sq' o3ti kaqa&per zwgra&fwn ou)de\n pe/raj e1xein h( pragmatei/a dokei= peri\ e9ka&stwn tw~n zw|&wn, a)ll' h2 tou~ xrai/nein h2 a)poxrai/nein, h2 o(tidh&pote kalou~si to_ toiou~ton oi9 zwgra&fwn pai=dej, ou)k a1n pote dokei= pau&sasqai kosmou~sa, w3ste e0pi/dosin mhke/t' e1xein ei0j to_ kalli/w te kai\ fanerw&tera gi/gnesqai ta_ gegramme/na. [KL.] Sxedo_n e0nnow~ a)kou&wn kai\ au)to_j tau~ta a4 le/geij, e0pei\ e0ntribh&j ge ou)damw~j ge/gona th|~ toiau&th| te/xnh|. [AQ.] Kai\ ou)de/n ge e0bla&bhj. xrhsw&meqa& ge mh_n tw|~ nu~n paratuxo&nti peri\ au)th~j h(mi=n lo&gw| to_ toio&nde, w(j ei1 pote/ tij e0pinoh&seie gra&yai te w(j ka&lliston zw|~on kai\ tou~t' au} mhde/pote e0pi\ faulo&teron a)ll' e0pi\ to_ be/ltion i1sxein tou~ e0pio&ntoj a)ei\ xro&nou, sunnoei=j o3ti qnhto_j w1n, ei0 mh& tina katalei/yei dia&doxon tou~ e0panorqou~n te, e0a&n ti sfa&llhtai to_ zw|~on u(po_ xro&nwn, kai\ to_ paraleifqe\n u(po_ th~j a)sqenei/aj th~j e9autou~ pro_j th_n te/xnhn oi[o&j te ei0j to_ pro&sqen e1stai faidru&nwn poiei=n e0pidido&nai, smikro&n tina xro&non au)tw|~ po&noj paramenei= pa&mpoluj; [KL.] 0Alhqh~. [AQ.] Ti/ ou}n; a}r' ou) toiou~ton dokei= soi to_ tou~ nomoqe/tou bou&lhm' ei]nai; prw~ton me\n gra&yai tou_j no&mouj pro_j th_n a)kri/beian kata_ du&namin i9kanw~j: e1peita proi"o&ntoj tou~ xro&nou kai\ tw~n doca&ntwn e1rgw| peirw&menon, a}r' oi1ei tina_ ou3twj 398
a1frona gegone/nai nomoqe/thn, w3st' a)gnoei=n o3ti pa&mpolla a)na&gkh paralei/pesqai toiau~ta, a4 dei= tina sunepo&menon e0panorqou~n, i3na mhdamh|~ xei/rwn, belti/wn de\ h( politei/a kai\ o( ko&smoj a)ei\ gi/gnhtai peri\ th_n w| )kisme/nhn au)tw|~ po&lin; ATHENIAN. You know how the painters’ activity, for example, never seems to finish working on each of the figures, but keeps touching up or highlighting—or whatever the painters’ disciples call such activity? It seems never to cease its adorning, and hence never to reach a point where there can be no further improvement of the paintings as regards beauty and clarity. KLEINIAS. I too know pretty well these things you’re talking about, by hearsay—for I am not at all practiced, at least, in such an art. 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 the most beautiful figure 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 painting 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 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? 146 Plato, Politicus 277c IV B.C. Text: J. Burnet, ed., Platonis opera I (Oxford, 1900; repr. 1967). Translation: H. N. Fowler, ed., tr., Plato. Politicus. Philebus (Cambridge, Mass. and London, 1962). dio_ makrote/ran th_n a)po&deicin pepoih&kamen kai\ pa&ntwj tw|~ mu&qw| te/loj ou)k e0pe/qemen, a)ll' a)texnw~j o( lo&goj h(mi=n w3sper zw|~on th_n e1cwqen me\n perigrafh_n e1oiken i9kanw~j e1xein, th_n de\ oi[on toi=j farma&koij kai\ th|~ sugkra&sei tw~n xrwma&twn e0na&rgeian ou)k a)peilhfe/nai pw. grafh~j de\ kai\ sumpa&shj xeirourgi/aj le/cei kai\ lo&gw| dhlou~n pa~n zw|~on ma~llon pre/pei toi=j duname/noij e3pesqai: toi=j d' a1lloij dia_ xeirourgiw~n. So we have made our discourse too long and after all have never made an end of the tale, but our talk, just like a picture of a living creature, seems to have a good enough outline, but not yet to have received the clearness that comes from pigments and the blending of colors. And yet it is more fitting to portray any living being by speech and argument than 399
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
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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 and 406: Text and translation: W. R. Paton,
Page 407: The accounts given by all us must b
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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