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

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y painting or any handicraft whatsoever to persons who are able to follow the argument; but to others it is better to do it by means of works of craftsmanship. 147 Plato, Respublica 375d-375e IV B.C. Text: J. Burnet, ed., Platonis opera IV (Oxford, 1902; repr. 1968). Translation: P. Shorey, ed., tr., Plato. The Republic I (London and Cambridge, Mass., 1930; repr. 1963). 1Idoi me\n a1n tij kai\ e0n a1lloij zw|&oij, ou) menta2n h3kista e0n w| { h(mei=j pareba&llomen tw|~ fu&laki. oi]sqa ga&r pou tw~n gennai/wn kunw~n, o3ti tou~to fu&sei au)tw~n to_ h}qoj, pro_j me\n tou_j sunh&qeij te kai\ gnwri/mouj w(j oi[o&n te pra|ota&touj ei]nai, pro_j de\ tou_j a)gnw~taj tou)nanti/on. Oi]da me/ntoi. Tou~to me\n a1ra, h}n d' e0gw&, dunato&n, kai\ ou) para_ fu&sin zhtou~men toiou~ton ei]nai to_n fu&laka. Ou)k e1oiken. “It may be observed in other animals, but especially in that which we likened to the guardian. You surely have observed in well-bred hounds that their natural disposition is to be most gentle to their familiars and those whom they recognize, but the contrary to those whom they do not know.” “I am aware of that.” “The thing is possible then,” said I, “and it is not an unnatural requirement that we are looking for in our guardian.” “It seems not.” 148 Plato, Respublica 420c IV B.C. Text: J. Burnet, ed., Platonis opera IV (Oxford, 1902; repr. 1968). Translation: G. R. F. Ferrari, ed., and T. Griffith, tr., Plato. The Republic (Cambridge, 2000). nu~n me\n ou}n, w(j oi0o&meqa, th_n eu)dai/mona pla&ttomen ou)k a)polabo&ntej o)li/gouj e0n au)th|~ toiou&touj tina_j tiqe/ntej, a)ll' o3lhn: au)ti/ka de\ th_n e0nanti/an skeyo&meqa. #Wsper ou}n a2n ei0 h(ma~j a)ndria&nta gra&fontaj proselqw&n tij e1yege le/gwn o3ti ou) toi=j kalli/stoij tou~ zw|&ou ta_ ka&llista fa&rmaka prosti/qemen, oi9 ga_r o)fqalmoi\ ka&lliston o2n ou)k o)strei/w| e0nalhlimme/noi ei]en a)lla_ me/lani, metri/wj a2n e0dokou~men pro_j au)to_n a)pologei=sqai le/gontej: “ ]W qauma&sie, mh_ oi1ou dei=n h(ma~j ou3tw kalou_j o)fqalmou_j gra&fein, w3ste mhde\ o)fqalmou_j fai/nesqai, mhd' au} ta}lla me/rh, a)ll' a1qrei ei0 ta_ prosh&konta e9ka&stoij a)podido&ntej to_ o3lon kalo_n poiou~men.” kai\ dh_ kai\ nu~n mh_ a)na&gkaze h(ma~j toiau&thn eu)daimoni/an toi=j fu&laci prosa&ptein, h4 e0kei/nouj pa~n ma~llon a)perga&setai h2 fu&lakaj. What we are doing at the moment, we believe, is not separating off a few of the inhabitants, and making them happy, but constructing a complete city, and making that happy. We’ll have a look at its opposite later. Imagine we were putting the colours on a statue of a man, and someone came along and told us we were doing it wrong, since we weren’t using the most beautiful colors for the most beautiful parts of the living creature. 400
The eyes, the most beautiful feature, had been colored black, not purple. We would regard it as a quite reasonable defense to say to him: “Hang on a minute. You surely don’t think, do you, that we should make the eyes—or any of the other parts of the body—so beautiful that they don’t even look like eyes. The thing to ask yourself is whether by giving the right colours to everything we are making the whole thing beautiful.” It’s the same with us. You mustn’t start forcing us to give the guardians the kind of happiness which will turn them into anything other than guardians. 149 Plato, Respublica 514c-515a IV B.C. Text: J. Burnet, ed., Platonis opera IV (Oxford, 1902; repr. 1968). Translation: G. R. F. Ferrari, ed., and T. Griffith, tr., Plato. The Republic (Cambridge, 2000). 3Ora toi/nun para_ tou~to to_ teixi/on fe/rontaj a)nqrw&pouj skeu&h te pantodapa_ u(pere/xonta tou~ teixi/ou kai\ a)ndria&ntaj kai\ a1lla zw|~a li/qina& te kai\ cu&lina kai\ pantoi=a ei0rgasme/na,oi[on ei0ko_j tou_j me\n fqeggome/nouj, tou_j de\ sigw~ntaj tw~n parafero&ntwn. Picture also, along the length of the wall, people carrying all sorts of implements which project above it, and statues of people and animals made of stone and wood and all kinds of materials. As you’d expect, some of the people carrying the objects are speaking, while others are silent. 150 Plato, Respublica 598b-598c IV B.C. Text: J. Burnet, ed., Platonis opera IV (Oxford, 1902; repr. 1968). Translation: P. Shorey, ed., tr., Plato. The Republic II (London and Cambridge, Mass., 1935; repr. 1963). [SW.] pro_j po&teron h( grafikh_ pepoi/htai peri\ e3kaston; po&tera pro_j to_ o1n, w(j e1xei, mimh&sasqai, h2 pro_j to_ faino&menon, w(j fai/netai, fanta&smatoj h2 a)lhqei/aj ou}sa mi/mhsij; [GL.] Fanta&smatoj, e1fh. [SW.] Po&rrw a1ra pou tou~ a)lhqou~j h( mimhtikh& e0stin kai/, w(j e1oiken, dia_ tou~to pa&nta a)perga&zetai, o3ti smikro&n ti e9ka&stou e0fa&ptetai, kai\ tou~to ei1dwlon. oi[on o( zwgra&foj, fame/n, zwgrafh&sei h(mi=n skutoto&mon, te/ktona, tou_j a1llouj dhmiourgou&j, peri\ ou)deno_j tou&twn e0pai5wn tw~n texnw~n: a)ll' o3mwj pai=da&j ge kai\ a1fronaj a)nqrw&pouj, ei0 a)gaqo_j ei1h zwgra&foj, gra&yaj a2n te/ktona kai\ po&rrwqen e0pideiknu_j e0capatw|~ a2n tw|~ dokei=n w(j a)lhqw~j te/ktona ei]nai. SOCRATES. To which is painting directed in every case, to the imitation of reality as it is or of appearance as it appears? GLAUCON. Is it an imitation of a phantasm or of the truth? “Of a phantasm,” he said. SOCRATES. Then the mimetic art is far removed from truth, and this, it seems, is the 401
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
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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
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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 and 408: The accounts given by all us must b
Page 409: a1frona gegone/nai nomoqe/thn, w3st
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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