Abstract

This article analyzes the sculptural depiction of two nonhuman animals, Greyfriars Bobby in Edinburgh, Scotland and the Brown Dog in Battersea, South London, England. It explores the ways in which both these cultural depictions transgress the norm of nineteenth century dog sculpture. It also raises questions about the nature of these constructions and the way in which the memorials became incorporated within particular human political spaces. The article concludes by analyzing the modern "replacement" of the destroyed early twentieth century statue of the Brown Dog and suggests that the original meaning of the statue has been significantly altered