Dogs in the Athenian Agora

Colin M. Whiting, Dogs in the Athenian Agora. Agora Picture Book 28 (Princeton: American School of Classical Studies at Athens, 2022). 9780876616468. https://www.ascsa.edu.gr/publications/book/?i=9780876616468.

Reviewed by Yusi Liu, Bryn Mawr College, yliu2@brynmawr.edu.

Since 1931, the Athenian Agora excavations conducted by the American School of Classical Studies at Athens (ASCSA) have continuously enriched our understanding of ancient Greece and the broader Mediterranean region. The ASCSA publishes the materials from the Agora excavations in Hesperia and the Athenian Agora volumes for scholarly audiences and in the Agora Picture Book series for a more general audience. Whiting’s contribution to the Agora Picture Book series represents one of the latest additions to this endeavor. In just over forty pages, Whiting presents a refined and enjoyable examination of the relationship between dogs and human life in the Athenian Agora from antiquity to the present day. The touching emotion evoked by the stories of dogs resonates throughout this picture book. 

Citing archaeological evidence from physical remains and artistic representations discovered in the Athenian Agora, Dogs in the Athenian Agora delves into the various roles dogs have played in ancient Greek daily and social life in four sections. Whiting commences with a poignant illustration of the longstanding bond between humans and dogs: the epitaph of Eumelos and Argos, his cherished and faithful dog. In the “Dogs in Athenian Life and Death” section (pp. 9–24), Whiting examines depictions found on figural pottery and various funerary artifacts, such as reliefs, figurines, rattles, and lamps, to illustrate dogs within the realms of hunting and domesticity. The second section (pp. 25–33) offers a general overview of how dogs are associated with myths. Whiting chooses specific deities—Artemis, Hekate, Herakles, and Anubis—to explore the animal’s association with death and the underworld. 

The subsequent two sections, though notably shorter in length, offer equally substantive information and insights. The third section (pp. 34–37), titled “In the Agora,” portrays an ancient world that is likely familiar to contemporary audiences, yet liable also to appall them with details about dog consumption in the Archaic period. Readers shall feel uplifted to learn about the livelier presence these furry companions had in the cityscape, delighted to see the paw prints on terracotta tiles, and touched by how the ancient Greeks buried their beloved pets. In this section, Whiting also meditates on the more personal aspect of archaeological fieldwork, exemplified by an anecdote wherein excavator Rodney S. Young’s affection for canines influenced the naming of a dog buried in a stamnos in an ancient workshop, now known as “Fido’s Grave.” Moreover, Whiting integrates the latest scholarly inquiries by highlighting the Agora Bone Well, an amassed second-century BCE burial deposit of over 150 dogs and more than 450 infants. 

The local relationship with dogs beyond the ancient Greek period is evidenced by the iconography on ceramics of the Byzantine and Ottoman periods, examined in the concluding section (pp. 38–41), “To Modernity.” Whiting’s discussion of the appropriation of residential neighborhoods (Vrysaki and Vlassarou) for incorporation into the Athenian Agora archaeological zone, viewed through the eye of the canine, is of particular note, serving as a subtle reminder of the inherent, albeit often overlooked, disruptiveness of archaeological excavation.¹ The frequent sightseeing of dogs and their interaction with archaeologists, site guards, local residents, and visitors is a moving note on the vibrancy of the Athenian Agora today, underscoring the enduring nature of the human-animal relationship across time. 

Overall, Whiting delivers an insightful and illuminating narrative on the presence of dogs in the Athenian Agora. He skillfully utilizes diverse sources to bolster and enliven his narrative, striking a harmonious balance between material culture, literary references, and philosophical reflections on the role of animals. Touching on more complicated issues such as gender, sexuality, and death (especially in the introduction and the first section), Whiting astutely underlines the multifaceted roles dogs occupy within the urban landscape and their significance in people’s daily experiences. Apart from a few in situ photographs (fig. 35, 44, 48, 50), most objects are shown in a studio- or storage-shot environment; however, this could make contextualizing them in the Agora landscape challenging, especially for non-specialists. The plan (p. 2) provides a helpful overview of where the evidence of dogs is located in the Agora. The evidence presented by Whiting primarily caters to the sensibilities of Western readers, emphasizing the emotional connections between humans and dogs. This focus prioritizes the roles of dogs as pets and hunting companions while softening their historical use in ancient economies. This emphasis on human-animal relationships also omits the broader interactions between dogs and other animals. Considering the constraints inherent in a picture book format, which necessitates brevity and simplicity, Whiting’s public-facing prose remains informative and thought-provoking. It stimulates readers’ contemplation and incites further inquiry, complemented by the inclusion of further readings at the end of the book (p. 43).  

The Agora Picture Book Series was established by ASCSA in 1958 with the objective of disseminating the most significant findings of the Agora excavations to a broader audience.² The inaugural publication,Pots and Pans of Classical Athens, released in 1959 at the price of 50 cents, garnered considerable success, such that Lucy Shoe Meritt chronicled how: 

it had paid for itself by November. So was launched not only the sole money-making activity of the School but also one which carried the word of the School’s excavations far and wide throughout the world to school children and university students, to tourists in Athens and interested laymen everywhere.³

Today, these picture books can be found at various venues internationally. Priced at under five US dollars, they are written in accessible language, interspersed with high-quality images, and sport a portable softcover. This upholds the commitment to making the ongoing excavations available to a broader readership in a quality, affordable format. Three picture books, including this one, have been translated into Modern Greek, rendering them available to the local audience in Greece.  

The momentum of the Picture Book Series has dwindled over the past two decades, gaining only five additions since 2000. Whiting’s latest contribution is an excellent reminder of the series’ significance and necessity. Echoing the story of Eumelos and Argos at the beginning, Whiting ends his book with an equally touching story of the late Rex, one of the many stray dogs in the Agora who have accompanied excavators and visitors. Humans are not the only ones attracted to archaeological sites; stray dogs have often seen “padding about the ancient streets of the Agora, on the lookout for cats that skip among the ancient stones” (p. 41). Whiting muses in his concluding words; perhaps cats in the Athenian Agora shall be next? 

Notes

1. Sylvie Dumont, Vrysaki: A Neighborhood Lost in Search of the Athenian Agora (Princeton: American School of Classical Studies at Athens, 2020).

2.  Lucy S. Meritt, History of the American School of Classical Studies at Athens, 1939-1980 (Princeton: American School of Classical Studies at Athens, 1984), 261–62.

3. Ibid., 262.