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

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anks this artist’s skill higher than the capacity of the bronze used for the creation of the statue. The poet holds the use of bronze responsible for delaying his impression that the statue will low. 121 His comment reveals a positive attitude towards bronze as a suitable material for lifelike art perceived as alive. His reference to bronze as “senseless,” acknowledges the status of the heifer as an inanimate object, and further notes his awareness that he is looking at art and not “life.” The third epigram, by Geminus, also from the first century B.C., contains the same praise of the aliveness the statue as the epigrams attributed to Antipater. The poet addresses the viewer directly, by noting that the heifer acts naturally: It is the base to which it is attached that keeps back the heifer, and if freed from it will run off to the herd. For the bronze lows. See how much alive the artist made it. If you yoke a fellow to it, perhaps it will plough. (Geminus, Anth. Pal. 9.740) [95] The heifer is acknowledged as a statue fixed on a base; yet if freed, the heifer will run off to its herd, and if yoked to another animal, will plough. Again, the boundary between art and reality is freely crossed here, without any concern on the side of Geminus, who acts here as both a viewer and a narrator. He further states, like Antipater above, that the bronze lows. He is aware that this is lifeless art, but allows himself to imagine that the heifer behaves naturally as if it were alive. His comment reveals a positive attitude towards bronze as a suitable material for lifelike art that is consciously equated here with “reality.” Further, his remark that the artist of the heifer made it to look alive suggests that lifelikeness was thought to result from the skill of the artist combined with the use of bronze. 121 Pliny (NH 34.5.10) states that Myron used Aeginetan bronze, which he ranks second in fame after that of Corinth. 78
The fourth epigram, an anonymous, also praises the aliveness of the statue by drawing attention to its natural behavior. In it, the poet exclaims that: The cow has just returned from plowing, and owing to that is lazy and will not advance. (Anonymous, Anth. Pal. 9.721A) [18] The statue is identified as that of a cow, and is described as acting naturally. The viewer is told that the cow is lazy and immobile owing to its employment in plowing. The implication is that the cow is a tired, laboring animal; as such, it remains fixed at a spot like an inanimate work of art. The epigram plays with the viewer’s awareness of the fact that he is looking at a lifeless cow. The Deception of Herdsmen Further evidence for the exceptional lifelikeness of Myron’s statue and its conception as alive comes from a set of epigrams, in which the statue is viewed by herdsmen, that is, persons well acquainted with the appearance and behavior of a cow in real life; yet they are deceived into thinking that the statue is a living cow. In the first epigram, an anonymous, the statue says: Myron placed me the heifer, here, but the herdsmen throw stones at me thinking I have strayed. (Anonymous, Anth. Pal. 9.731) [23] The statue addresses the viewer directly, and through the use of the first person, identifies itself as a heifer. The statue blames Myron for its placement at a spot, thus suggesting its reality as a fixed object, and the viewer’s awareness of that fact. The statue communicates to the viewer that herdsmen throw stones at it, a statement which advertises its treatment as a living heifer. The conceit of the speaking animal urges the 79
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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
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: a real animal might act in the real
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
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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
Page 195 and 196:
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
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xai/rousin a)lla_ th|~ brw&sei, th_
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In Phasis there is a breed of small
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Text and translation: D. M. Balme,
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ou)de\n de\ oi[on eu)nh_ malqakh_ k
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e1ti de\ kai\ eu)w&desi ta_j xei=ra
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μέν[a έν f]ρo[uρ ί k ]do[ς
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λίθος πρὸς ℎο̑ι τ
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the horse and the man appearing beh
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As for dogs, what can I say? In som
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Tou&twn te w}n ei3neken oi9 Lakedai
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Herodotus 2.148 oi9 ga_r e0pestew~t
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asile/a te Darei=on e0n proedri/h|
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110 Hippocrates, De affectionibus i
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Hippocrates, De morbis ii 44.16-44.
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Rub well silphium equal to one grai
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that on the peaks of a mountain fig
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Text and translation: W. R. Paton,
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a)festhko&j. e0ntau~qa e9kate/ra mo
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Text and translation: W. R. Paton,
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The accounts given by all us must b
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a1frona gegone/nai nomoqe/thn, w3st
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The eyes, the most beautiful featur
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153 Pliny 34.72 A.D. I Text and tra
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Another habit of his was when he ha
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for the earth-goddess Hecate, it ha
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dia_ pollw~n de\ o( Qeo&frastoj e0k
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The characteristics of the brave ma
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oi[j ta_ xei/lh lepta_ kai\ e0p' a1
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185 Sophocles, Antigone 198-206 V B
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the taste will make them less incli
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“Cleiton, that your statues of ru
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B. Arntsen, Dog On The Roof…No La
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_____, Early Greek Vase Painting. 1
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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
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S. Simpson, eds., Pictorial Narrati
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Young, Archaic Marble Sculpture fro
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Fig. 1 Classical statue of a dog fr
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Fig. 4 Classical Inscription from a
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Fig. 7 Classical statue of a lion f
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Fig. 10 The lion of Amphipolis (fou
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Fig. 13 Late Geometric II stand fro
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Fig. 16 Late Archaic Boeotian terra
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Fig. 21 Reconstruction of part of a
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Fig. 24 Capstone of the pyramid of
Page 481 and 482:
Fig. 26 Archaic bronze krater from
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Fig. 29 Figure of a horrified femal
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