For the earliest biological achievements of Greek peoples we have to rely largely on information gleaned from artistic remains. It is true that we have a few fragments of the works of both Ionian and Italo-Sicilian philosophers, and in them we read of theoretical speculation as to the nature of life and of the soul, and we can thus form some idea of the first attempts of such workers as Alcmaeon of Croton (_c._ 500 B. C.) to lay bare the structure of animals by dissection.[7] The pharmacopœia also of some of the earliest works of the Hippocratic collection betrays considerable knowledge of both native and foreign plants.[8] Moreover, scattered through the pages of Herodotus and other early writers is a good deal of casual information concerning animals and plants, though such material is second-hand and gives us little information concerning the habit of exact observation that is the necessary basis of science. [7] The remains of Alcmaeon are given in H. Diel's _Die Fragmente der Vorsokratiker_, Berlin, 1903, p. 103. Alcmaeon is considered in the companion chapter on _Greek Medicine_. [8] Especially the περι γυναικειης φυσιος {peri gynaikeiês physios}, _On the nature of woman_, and the περι γυναικειων {peri gynaikeiôn}, _On the diseases of women_. Something more is, however, revealed by early Greek Art. We are in possession of a series of vases of the seventh and sixth centuries before the Christian era showing a closeness of observation of animal forms that tells of a people awake to the study of nature. We have thus portrayed for us a number of animals--plants seldom or never appear--and among the best rendered are wild creatures: we see antelopes quietly feeding or startled at a sound, birds flying or picking worms from the ground, fallow deer forcing their way through thickets, browsing peacefully, or galloping away, boars facing the hounds and dogs chasing hares, wild cattle forming their defensive circle, hawks seizing their prey. Many of these exhibit minutely accurate observation. The very direction of the hairs on the animals' coats has sometimes been closely studied, and often the muscles are well rendered. In some cases even the dentition has been found accurately portrayed, as in a sixth-century representation on an Ionian vase of a lioness--an animal then very rare on the Eastern Mediterranean littoral, but still known in Babylonia, Syria, and Asia Minor. The details of the work show that the artist must have examined the animal in captivity (Figs. 1 and 2). [Illustration: FIG. 1. Lioness and young from an Ionian vase of the sixth century B. C. found at Caere in Southern Etruria (Louvre, Salle E, No. 298), from _Le Dessin des Animaux en Grèce d'après les vases peints_, by J. Morin, Paris (Renouard), 1911. The animal is drawing itself up to attack its hunters. The scanty mane, the form of the paws, the udders, and the dentition are all heavily though accurately represented.]