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

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Vita I was born in Thessaloniki, Greece. I received a Bachelor of Arts in Archaeology and Classical Studies from Wilson College in 1998. In 2001, I attained a Master of Arts in Classical and Near Eastern Archaeology from Bryn Mawr College. i
Table of Contents Acknowledgments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .vi Notes to the Reader . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .vii Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1 Chapter 1: Animals as Guides to the Ancient View of Naturalistic Style in Greek Art 1. Modern Attitudes and the Neglect of Animal Form in the Study of Greek Art . . . . . . . . 10 a. Animals as Valuable Subjects in the Visual Arts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 b. Scholarly Remarks on the Neglect of Animals in Greek Art . . . . . . . . . . . . . . . . . . . . 14 (in Particular Sculpture) 2. Why Have Representations of Animals in Greek Sculpture Been Neglected? . . . . . . . . .17 3. Ancient Texts on Famous Artists and Representations of Animals in Greek Art . . . . . . .20 4. The Study of Naturalism in Greek Art . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 a. The Use of “Naturalism” and “Realism” in the Modern Study of Greek Art . . . . . . . 31 b. Modern Theories of the Development of Greek Art in Terms of Naturalism . . . . . . . 39 Emanuel Löwy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39 Ernst H. Gombrich . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42 John Boardman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48 William A. P. Childs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .53 5. Not Naturalism and Realism. The Concept of Lifelikeness in Greek Art and Animals . . 57 a. Ancient Texts on Lifelikeness as a Quality of Works of Art in Classical Greece . . . . 59 b. Ancient Texts on Animals as Lifelike Images and Judges of Lifelike Art . . . . . . . . . .66 Animals as Lifelike Images in Art . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67 A. Myron’s Cow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .67 The Conventional Nature of the Praise of Lifelike Works of Art . . . . . . .68 The Epigrams of Euenos of Paros . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .72 The Statue Acts Fantastically . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73 The Statue Acts Naturally . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .76 The Deception of Herdsmen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .79 The Deception of a Calf . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82 ii
Page 1 and 2: The Judgment of Animals in Classica
Page 3: the meaning of the term zw|~on—us
Page 7 and 8: Section 2 a. Dogs Stealing and Gobb
Page 9 and 10: Acknowledgements First and foremost
Page 11 and 12: Introduction It is generally though
Page 13 and 14: of their art while maintaining awar
Page 15 and 16: connection between animals and life
Page 17 and 18: Chapter three, “The Classical Gre
Page 19 and 20: turn, shaped by contemporary ideas
Page 21 and 22: with the animal kingdom. 5 Regardin
Page 23 and 24: The examples just cited show that r
Page 25 and 26: studying freestanding statues of li
Page 27 and 28: particular, has dominated twentieth
Page 29 and 30: Regarding classical antiquity, the
Page 31 and 32: their grip, for a “tooth” on ea
Page 33 and 34: discussion of the sculpture to whic
Page 35 and 36: them. Consequently the Athenians wi
Page 37 and 38: subjects on the basis of which arti
Page 39 and 40: of the later (Hellenistic) developm
Page 41 and 42: The theory that naturalism played t
Page 43 and 44: we have seen or sensed in the past,
Page 45 and 46: valued criterion of judging works o
Page 47 and 48: more accurate observation and rende
Page 49 and 50: judged by the ancient Greeks? As su
Page 51 and 52: is still central to his argument, b
Page 53 and 54: wars, the symmetry of their tense p
Page 55 and 56:
Archaic and Classical phases, follo
Page 57 and 58:
the acquired skill of craftsmanship
Page 59 and 60:
prevalence of naturalism in his vie
Page 61 and 62:
The statement shows clearly that Bo
Page 63 and 64:
of Kollytos in the Athenian Keramei
Page 65 and 66:
Having expressed this idea, he pres
Page 67 and 68:
5. Not Naturalism and Realism. The
Page 69 and 70:
animals, but rather highlights thei
Page 71 and 72:
instead of a message highlights the
Page 73 and 74:
quality of Cleiton’s statues, or,
Page 75 and 76:
valuable guide to the ancient inter
Page 77 and 78:
importance of these notions in defi
Page 79 and 80:
made of bronze, if Myron had worked
Page 81 and 82:
first century A.D., the statue pres
Page 83 and 84:
lifelikeness of the statue, in quit
Page 85 and 86:
Wilt thou not lead me into the hous
Page 87 and 88:
a real animal might act in the real
Page 89 and 90:
The fourth epigram, an anonymous, a
Page 91 and 92:
In the fourth epigram, also an anon
Page 93 and 94:
mistaken a bronze cow for a real on
Page 95 and 96:
The statue proclaims its lifelikene
Page 97 and 98:
and the man leading it, and the wom
Page 99 and 100:
orrowed voice, the boundary between
Page 101 and 102:
oundary between lifeless art and re
Page 103 and 104:
had made a success of that as well,
Page 105 and 106:
eference to the error of the Pliny
Page 107 and 108:
form of equine connoisseurship resp
Page 109 and 110:
Chapter 2: Representations of Anima
Page 111 and 112:
markers of both sexes.” 138 He ca
Page 113 and 114:
little in the way of explanation. I
Page 115 and 116:
een noted, a confluence of three di
Page 117 and 118:
The Possibility of Influence from B
Page 119 and 120:
“in the later fifth and fourth ce
Page 121 and 122:
speaking of the style of Classical
Page 123 and 124:
It is perhaps Xenophon’s use of t
Page 125 and 126:
William Brown suggests that this pa
Page 127 and 128:
the expense of realism, or to a com
Page 129 and 130:
B.C. 178 Although not described in
Page 131 and 132:
inconsistent style. That of Vermeul
Page 133 and 134:
and degrees in which this combinati
Page 135 and 136:
2. Two Cases Studies: The Lion and
Page 137 and 138:
just as odd a man and the beast doe
Page 139 and 140:
The Motif of the Lion Holding the H
Page 141 and 142:
ehavior, the description of Hector
Page 143 and 144:
Despite its unclear authorship and
Page 145 and 146:
animals and have the softest hair;
Page 147 and 148:
with it. He provides this descripti
Page 149 and 150:
Further, Willemsen’s observation
Page 151 and 152:
The body of the Kerameikos hound ap
Page 153 and 154:
that the author of the Physiognomic
Page 155 and 156:
Those [animals] who have thin lips
Page 157 and 158:
knowledge of the dog mating with ot
Page 159 and 160:
serve their arrangement in Classica
Page 161 and 162:
Chapter 3: The Classical Greek Cont
Page 163 and 164:
SECTION 1 a. Dogs Living in the Hou
Page 165 and 166:
eferring first to the human family
Page 167 and 168:
Aristotle’s Politics, so pervasiv
Page 169 and 170:
that of a dog: his location on the
Page 171 and 172:
In contrast to this suggestion, Joh
Page 173 and 174:
Aeschylus’s intention to liken th
Page 175 and 176:
thing is possible then,” said I,
Page 177 and 178:
If anyone’s out of bread but has
Page 179 and 180:
c. Molossian Dogs as Guardians of t
Page 181 and 182:
incident, Aegeas was a ferocious Mo
Page 183 and 184:
Aristotle indicates that Molossian
Page 185 and 186:
untrustworthy animal. So pervasive
Page 187 and 188:
the dog’s stealing of food within
Page 189 and 190:
mythological dogs, such as those of
Page 191 and 192:
Cleon of embezzling money while cam
Page 193 and 194:
Although not provoked by the act of
Page 195 and 196:
Apart from labeling dogs as indiscr
Page 197 and 198:
190 B.C.), and cited in Athenaeus
Page 199 and 200:
Detienne and Vernant that wisdom an
Page 201 and 202:
egarding mh~tij, the canine behavio
Page 203 and 204:
e. The Savage Nature of Dogs Histor
Page 205 and 206:
The textual evidence discussed in t
Page 207 and 208:
efers to some countries as consumer
Page 209 and 210:
living together with humans brings
Page 211 and 212:
example, states that “these lines
Page 213 and 214:
and thus poor men. 317 On the basis
Page 215 and 216:
with dog flesh. 322 Further, on the
Page 217 and 218:
flesh as medicinal food notwithstan
Page 219 and 220:
ordinary food, but is not connected
Page 221 and 222:
2. Disease of the Back Similar to t
Page 223 and 224:
ensured only if one is willing to
Page 225 and 226:
The literary evidence contained in
Page 227 and 228:
practice of eating dog meat indicat
Page 229 and 230:
product of an artistic process,”
Page 231 and 232:
Georgopapadakos. 344 On the basis o
Page 233 and 234:
that is Friendship. They made her k
Page 235 and 236:
assume that they referred to images
Page 237 and 238:
the meaning of zw|~on in the fifth
Page 239 and 240:
tendency not to distinguish between
Page 241 and 242:
zw|~a. Thus, they translate the fir
Page 243 and 244:
econstructed as five consecutive fr
Page 245 and 246:
To conclude the discussing of Herod
Page 247 and 248:
Turning to zw|~a, one sees that Her
Page 249 and 250:
With regard to the modern definitio
Page 251 and 252:
Regarding modern translations of zw
Page 253 and 254:
length of the causeway was 5 sta&di
Page 255 and 256:
The fragment was initially assigned
Page 257 and 258:
estates, whereas the middle part wo
Page 259 and 260:
of sand and limestone chips. The po
Page 261 and 262:
limestone mantle. 441 Its poor cond
Page 263 and 264:
Undoubtedly, these zw|~a did show s
Page 265 and 266:
statement accords well with the pro
Page 267 and 268:
pyramid in Egypt. Tu&pon is the acc
Page 269 and 270:
Herodotus provides further insight
Page 271 and 272:
evidence should be also added an Ar
Page 273 and 274:
g. The Zw|~a of Mandrocles’ Paint
Page 275 and 276:
The passage is instructive for the
Page 277 and 278:
the representations of enthroned Da
Page 279 and 280:
Herodotus gives no details about th
Page 281 and 282:
Grene, who says “little figures.
Page 283 and 284:
theory has dominated scholarship. 5
Page 285 and 286:
iders on horses that gallop to the
Page 287 and 288:
inscription is in the form of a hea
Page 289 and 290:
The existing blocks that form the b
Page 291 and 292:
suggests a distinctive technique of
Page 293 and 294:
The same type of information is rec
Page 295 and 296:
addition, the inscriptions provide
Page 297 and 298:
stone and zw~ia suggests a standard
Page 299 and 300:
description for something, and ther
Page 301 and 302:
Erechtheion, and also fragments of
Page 303 and 304:
uilding, and also marked a technica
Page 305 and 306:
Socrates likens the use of colors b
Page 307 and 308:
on a surface produced by painting,
Page 309 and 310:
outstanding allotment of happiness
Page 311 and 312:
indicates that it was a term of gen
Page 313 and 314:
government of the state. Four perso
Page 315 and 316:
form a group of discussants on the
Page 317 and 318:
prominently in Plato’s discussion
Page 319 and 320:
“animals,” and Pangle, as “li
Page 321 and 322:
general. Trevor Saunders attempts t
Page 323 and 324:
And I do not think it is right that
Page 325 and 326:
contrasted to the representations o
Page 327 and 328:
Aristotle likens the formation of t
Page 329 and 330:
paintings—also connected with zw&
Page 331 and 332:
The third occurrence of the term in
Page 333 and 334:
kaq' au(to_ ei]nai…qew&rhma), and
Page 335 and 336:
temple.” Now the statue [a1galma]
Page 337 and 338:
of real bodies. When this meaning i
Page 339 and 340:
Conclusions Animals are fundamental
Page 341 and 342:
animals—as essential elements of
Page 343 and 344:
scholarly interpretations of the pr
Page 345 and 346:
The literary, epigraphical, and scu
Page 347 and 348:
APPENDIX: TESTIMONIA Note to the re
Page 349 and 350:
Eu)po&lidi tw|~ th~j kwmw|di/aj poi
Page 351 and 352:
with no seal broken in the length o
Page 353 and 354:
ku&nej de\ e0cai/fnhj oi0kouroi\ pe
Page 355 and 356:
17 Anonymous, Anthologia Palatina 9
Page 357 and 358:
26 Anonymous, Anthologia Palatina 9
Page 359 and 360:
33 Antipater of Sidon, Anthologia P
Page 361 and 362:
watches, and when you happen to gap
Page 363 and 364:
ou)de\n ga_r e1rgon h}n a1r' a)qliw
Page 365 and 366:
835 ba&ll' e0j ko&rakaj. toioutoni\
Page 367 and 368:
Prw~ton me\n ou}n to_ a1nw ku&toj a
Page 369 and 370:
xai/rousin a)lla_ th|~ brw&sei, th_
Page 371 and 372:
In Phasis there is a breed of small
Page 373 and 374:
Text and translation: D. M. Balme,
Page 375 and 376:
ou)de\n de\ oi[on eu)nh_ malqakh_ k
Page 377 and 378:
e1ti de\ kai\ eu)w&desi ta_j xei=ra
Page 379 and 380:
μέν[a έν f]ρo[uρ ί k ]do[ς
Page 381 and 382:
λίθος πρὸς ℎο̑ι τ
Page 383 and 384:
the horse and the man appearing beh
Page 385 and 386:
As for dogs, what can I say? In som
Page 387 and 388:
Tou&twn te w}n ei3neken oi9 Lakedai
Page 389 and 390:
Herodotus 2.148 oi9 ga_r e0pestew~t
Page 391 and 392:
asile/a te Darei=on e0n proedri/h|
Page 393 and 394:
110 Hippocrates, De affectionibus i
Page 395 and 396:
Hippocrates, De morbis ii 44.16-44.
Page 397 and 398:
Rub well silphium equal to one grai
Page 399 and 400:
that on the peaks of a mountain fig
Page 401 and 402:
Text and translation: W. R. Paton,
Page 403 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 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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