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

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Sweet-scented; and they poured upon the ground Libations from the tawny bees. These practices are still preserved among some peoples, like traces of truth: the altar was not soaked by violent deaths of bulls. Pseudo-Aristotle, Physiognomonica III B.C The text and translations of all passages of Pseudo-Aristotle’s Physiognomonica are taken from the edition of W. S. Hett, ed., tr., Aristotle. Minor Works (Cambridge, Mass. and London, 1936; repr. 2000) 167 Pseudo-Aristotle, Physiognomonica 806b III B.C. ta_ de\ trixw&mata ta_ me\n malaka_ deilo&n, ta_ de\ sklhra_ a)ndrei=on. tou~to de\ to_ shmei=on ei1lhptai e0c a(pa&ntwn tw~n zw|&wn. deilo&taton me\n ga&r e0stin e1lafoj lagwo_j pro&bata, kai\ th_n tri/xa malakwta&thn e1xei: a)ndreio&taton de\ le/wn, u{j a1grioj, kai\ tri/xa sklhrota&thn fe/rei. Soft hair shows timidity and stiff hair courage. This is based on observation of all the animal kingdom. For the deer the hare and sheep are the most timid of all animals and have the softest hair; the lion and wild boar are the bravest and have very stiff hair. 168 Pseudo-Aristotle, Physiognomonica 807a III B.C. tw~n d' au} zw|&wn ta_ me\n a)ndrei=a baru&fwna& e0sti, ta_ de\ deila_ o)cu&fwna, le/wn me\n kai\ tau~roj, kai\ ku&wn u(laktiko&j, kai\ tw~n a)lektruo&nwn oi9 eu1yuxoi baru&fwnoi fqe/ggontai: The brave animals have deep voices, and the cowardly high-pitched voices, the lion and the bull, the barking dog, and the brave cocks are all deep-voiced. 169 Aristotle, Physiognomonica 807a III B.C. 0 Andrei/ou shmei=a tri/xwma sklhro&n, to_ sxh~ma tou~ sw&matoj o)rqo&n, o)sta~ kai\ pleurai\ kai\ ta_ a)krwth&ria tou~ sw&matoj i0sxura_ kai\ mega&la, kai\ koili/a platei=a kai\ prosestalme/nh: 410
The characteristics of the brave man are stiff hair, an erect carriage of body, bones, sides and extremities of the body strong and large, broad and flat belly. 170 Pseudo-Aristotle, Physiognomonica 808a III B.C. qumw&douj shmei=a. o)rqo_j to_ sw~ma, tw|~ sxh&mati eu1pleuroj, eu1qumoj, e0pi/purroj: w)mopla&tai diesthkui=ai kai\ mega&lai kai\ platei=ai: a)krwth&ria mega&la kai\ e0gkrath~: lei=oj kai\ peri\ ta_ sth&qh kai\ peri\ boubw~naj, eu)pw&gwn: eu)auch_j o( peri/dromoj tw~n trixw~n, ka&tw katelhluqw&j. These are the marks of the passionate temperament. The body is erect, in appearance it is broad at the ribs, sanguine and ruddy, the shoulder-blades are wide apart, large and broad; the extremities are large and powerful; he is smooth about the chest and groin, and well-bearded; the growth of hair is considerable and starts low down. 171 Pseudo-Aristotle, Physiognomonica 808b III B.C. tw~n me\n ou}n lofou&rwn koino&n e0stin u3brij, tw~n de\ o1nwn te kai\ suw~n h( peri\ ta_ a)frodi/sia e3cij. All animals with bushy tails are aggressive, while asses and pigs show sexual excitement. 172 Pseudo-Aristotle, Physiognomonica 809b III B.C. fai/netai tw~n zw|&wn a(pa&ntwn le/wn telew&tata meteilhfe/nai th~j tou~ a1rrenoj i0de/aj. e1sti ga_r e1xwn sto&ma eu)me/geqej, to_ de\ pro&swpon tetragwno&teron, ou)k a1gan o)stw~dej, th_n a1nw te ge/nun ou) proecesthkui=an a)lla_ i0sorropou~san th|~ ka&tw, r(i=na de\ paxute/ran h2 leptote/ran, xaropou_j o)fqalmou_j e0gkoi/louj, ou) sfo&dra periferei=j ou1te a1gan promh&keij, me/geqoj de\ me/trion, o)fru_n eu)mege/qh, me/twpon tetra&gwnon, e0k me/sou u(pokoilo&teron, pro_j de\ ta_j o)fru~j kai\ th_n r(i=na u(po_ tou~ metw&pou oi[on ne/foj e0panesthko&j. a1nwqen de\ tou~ metw&pou kata_ th_n r(i=na e1xei tri/xaj e0kklinei=j oi[on a2n a1silon, kefalh_n metri/an, tra&xhlon eu)mh&kh, pa&xei su&mmetron, qrici\ canqai=j kexrhme/non, ou) fricai=j ou1te a1gan a)pestramme/naij: The lion of all animals seems to have the most perfect share of the male type. Its mouth is very large, its face is square, not too bony, the upper jaw not overhanging but equally balanced with the lower jaw, a muzzle rather thick than fine, bright deep-set eyes, neither very round nor very narrow, of moderate size, a large eyebrow, square forehead, rather hollow from the centre, overhanging towards the brow and nostril below the forehead like a cloud. Above on the forehead towards the muzzle hair slopping outwards and like 411
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
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33 Antipater of Sidon, Anthologia P
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watches, and when you happen to gap
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ou)de\n ga_r e1rgon h}n a1r' a)qliw
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835 ba&ll' e0j ko&rakaj. toioutoni\
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Prw~ton me\n ou}n to_ a1nw ku&toj a
Page 369 and 370: xai/rousin a)lla_ th|~ brw&sei, th_
Page 371 and 372: In Phasis there is a breed of small
Page 373 and 374: Text and translation: D. M. Balme,
Page 375 and 376: ou)de\n de\ oi[on eu)nh_ malqakh_ k
Page 377 and 378: e1ti de\ kai\ eu)w&desi ta_j xei=ra
Page 379 and 380: μέν[a έν f]ρo[uρ ί k ]do[ς
Page 381 and 382: λίθος πρὸς ℎο̑ι τ
Page 383 and 384: the horse and the man appearing beh
Page 385 and 386: As for dogs, what can I say? In som
Page 387 and 388: Tou&twn te w}n ei3neken oi9 Lakedai
Page 389 and 390: Herodotus 2.148 oi9 ga_r e0pestew~t
Page 391 and 392: asile/a te Darei=on e0n proedri/h|
Page 393 and 394: 110 Hippocrates, De affectionibus i
Page 395 and 396: Hippocrates, De morbis ii 44.16-44.
Page 397 and 398: Rub well silphium equal to one grai
Page 399 and 400: that on the peaks of a mountain fig
Page 401 and 402: Text and translation: W. R. Paton,
Page 403 and 404: a)festhko&j. e0ntau~qa e9kate/ra mo
Page 405 and 406: Text and translation: W. R. Paton,
Page 407 and 408: The accounts given by all us must b
Page 409 and 410: a1frona gegone/nai nomoqe/thn, w3st
Page 411 and 412: The eyes, the most beautiful featur
Page 413 and 414: 153 Pliny 34.72 A.D. I Text and tra
Page 415 and 416: Another habit of his was when he ha
Page 417 and 418: for the earth-goddess Hecate, it ha
Page 419: dia_ pollw~n de\ o( Qeo&frastoj e0k
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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