Patrons of Athenian Votive Monuments of the Archaic and Classical

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Keesling, C. "Patrons of Athenian Votive Monuments of the Archaic and Classical
Periods: Three Studies". Hesperia: The Journal of the American School of Classical
Studies at Athens, Vol. 74, No. 3 (Jul. - Sep., 2005), pp. 395-426
Collection Permanent Link: http://hdl.handle.net/10822/555436
© 2005 The American School of Classical Studies at Athens
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PATRONS OF
hesperia
74 (2005)
Pages 395-42 6
ATHENIAN VOTIVE
MONUMENTS OF
THE ARCHAIC AND
CLASSICAL PERIODS
Three Studies
ABSTRACT
In three studies of votive the author the role
offerings, explores played by
private patrons in the production of art and inscriptions in Athens in the
Archaic and Classical periods. The studies concern additive sculptural groups
produced by the contributions of multiple dedicators, a form of display ex
within the context of votive evidence for col
plained religion; epigraphical
laboration between East Greek sculptors and Athenian patrons on 6th- and
5th-century votive monuments; and dedications that have either been mis
identified as belonging to Athenian potters and vase painters or erroneously
reconstructed as metal or stone vases.
INTRODUCTION
The most pressing concern for most studies of artistic patronage in Ath
ens in the Archaic and Classical periods has been public patronage, namely,
identifying the patrons responsible for the construction of temples and
other and for the choice of in architectural
buildings subjects sculpture.1
After 480 b.c., the best-attested patron is the Athenian demos itself. In
Archaic Athens, by contrast, the tyrant Peisistratos and his sons and the
have been identified modern scholars as
post-Kleisthenic democracy by
patrons or sponsors of public art.2 Even the study of Athenian black
and red-figure pottery, an obvious realm for the exploration of the role of
1.1 would like to thank the follow Agora Excavations. Aileen Ajootian, 1989,1995; alsoA ngiolillo 1997 and
ing individuals for granting me per Nancy Bookidis, Ben Millis, Peter the essays in Sancisi-Weerdenburg
mission to see objects and otherwise Nulton, Olga Palagia, and two anon 2000 for up-to-date bibliography.
facilitating my research: former ephor ymous Hesperia readers contributed Kleisthenic democracy: see esp. Coul
Ismene Trianti and Christina Vlasso references that improved this paper. son et al. 1994, Boedeker and Raaflaub
poulou of the Acropolis Museum; Finally, extra thanks go to Karen E. 1998, andM orris and Raaflaub 1998,
director Charalambos Kritzas and Rasmussen for producing Fig. 8 and collections of essays inspired by the
Chara Karapa-Molisani of the Epi to Robert Houston for scanning my 2,500th anniversary in 1992-1993 of
graphical Museum; and director John drawings. Kleisthenes' reforms.
Camp and Jan Jordan of theA thenian 2. Peisistratid tyranny: see Shapiro
? The American School of Classical Studies at Athens
396 CATHERINE M. KEESLING
private patrons, has been approached in light of Peisistratid iconography
and cult sponsorship since the publication of John Boardmans first article
on Peisistratos and Herakles in 1972.3 In the private realm, Archaic Attic
monuments have attracted the lion's share of attention. A consid
funerary
erable number of studies the of their
concerning significance sculpture
and followed the of G. M. A. Richters
inscriptions publication sculptural
catalogue (1961) and L. H. Jefferys 1962 epigraphical catalogue of in
scribed monuments from Athens and the Attic One
funerary countryside.4
major issue regarding patronage raised by private funerary monuments in
Athens?the apparent gap between the Archaic monument series and the
of inscribed stelai individ
resumption funerary commemorating private
uals late in the third quarter of the 5 th century b.c.?has been explained as
the outcome of various factors at work in the
larger public sphere.5
Votive monuments dedicated in sanctuaries inA thens and Attica have
been less intensively studied as products of patronage than architecture,
vase painting, and funerary sculpture.6 Though the Athenian demos emerges
as a patron of votive statues in the Late Archaic period, the majority of
inscribed, monumental sanctuary dedications of the Archaic and Classical
periods attest to the patronage of private individuals.7 The bulk of the
evidence for dedications of in sanctuaries is con
freestanding sculpture
centrated on the Athenian Acropolis. The Acropolis material, in particu
lar the preserved votive inscriptions, permits the study of patronage by
individual, named patrons. The rich prosopographical evidence for the
3. Boardman 1972. For subsequent private sphere to the public realm of major exception is Jacquemin 1999 on
bibliography, see Shapiro 1989, pp. 15 inscribed casualty lists and collective monumental votive offerings at Delphi.
17, 61-64,157-163; Angiolillo 1997, commemoration of the war dead in the For Archaic and Classical votive statues
pp. 134-142; Blok 2000, pp. 28-30. Demosion Sema (Stupperich 1994); on the Acropolis, see Keesling 2003,
4. On Archaic funerary monuments, the Athenian plague of 429 b.c. (Mi and also Hurwit 1999, pp. 57-63,116
see Richter 1961; Jeffery 1962; and kalson 1984, pp. 223-224); and the 136 passim, 145-153,199,250-253;
esp. D'Onofrio 1982,1988; Sourvinou Periklean citizenship law of 451/0 b.c. Kissas 2000; Shapiro 2001.
Inwood 1995; Kaltsas 2002, on the (Meyer 1993, pp. 112-119; Stears 7. The only certain example of a
Phrasikleia kore and kouros from 2000, p. 52, who also dates the earliest dedication of freestanding sculpture by
Merenda in Attica; and Niemeier 2002, Classical stelai to the 430s or 440s b.c. the Athenian state in the Archaic pe
the preliminary publication of new rather than after ca. 430 b.c.). White riod is the quadriga group commemo
sculptures found in the Kerameikos. ground lekythoi used as grave goods rating the victory over the Boiotians
5. The head of a kouros found in the in the period between ca. 480 and and Chalkidians in 506 b.c. (replaced
Kerameikos and dated stylistically to ca. 430 continued to represent monu after the Persian sack of the Acropolis
ca. 480 b.c. is now interpreted as the mental grave markers (I.M orris 1992, in 480); the preserved inscriptions are
latest monument in the Archaic series pp. 104-118); Clairmont (1983, pp. 60 DAA 168 and 173 (IG I3 501). A colos
(Knigge 1969; 1991, pp. 33-34, fig. 32). 73) argued that these represented sal votive column without a preserved
Explanations for the gap in funerary public monuments in the Demosion inscription, published by Korres (1997),
monuments in Athens include a sump Sema. Role of the Parthenon sculptors: was destroyed in 480 but cannot be
tuary law dated after Solon's reforms Friis Johansen 1951; Richter 1961, dated precisely, and thus it could be at
(Garland 1989; Seaford 1994, pp. 74 pp. 54-55; cf. Engels 1998, pp. 113 tributed either to the Peisistratids or to
92; Parker 1996, pp. 133-135; Engels 119. the Athenian demos. If the monument
1998, pp. 97-106); the dismantling of 6. Exceptions: Schneider 1975 and was replaced after 480, as Korres sug
Archaic tombs for reuse in the Themis Holloway 1992 on the Acropolis korai, gests, it is more likely to have been a
toklean city wall in 478 b.c. (S.M orris but now cf. Keesling 2003, pp. 85-88. public monument of the democracy, by
1992, pp. 305-307); a 5th-century Most studies of votive offerings focus analogy with the quadriga group noted
culture of restraint in public display on portable, nonmonumental votives; above and the Tyrannicides in the
(Morris 1994); the displacement of see, e.g., the conference papers pub Agora.
commemorative monuments from the lished in ScAnt 3-4 (1989-1990). One
PATRONS OF ATHENIAN VOTIVE MONUMENTS 397
dedicators of votives in Athens intersects in interesting ways with data
from other sources, among them funerary monuments, Attic black- and
red-figure pottery, and ostraka. In addition, the inscribed dedications of
the Archaic period in Athens were less conventional than the funerary
monuments of the same period, presenting greater variations in size, me
dium, and sculptural types that may express more directly the patrons con
tribution to the monument's form. Unlike funerary monuments, private
dedications inA thens also bridge the gap between the Archaic and Clas
sical periods without any apparent break.8
In this article I present three separate studies concerned with private
patrons and their dedications inA thenian sanctuaries. The first study deals
exclusively with Archaic material, but the phenomena treated in the sec
ond and third studies extend into the Classical period. Joint dedications?
votive monuments inscribed with the names of dedicators?have
multiple
been studied L?hr under the rubric of "Fami
recently by Christoph larger
Three of one class of
lienweihungen."9 well-preserved examples particular
dedications are examined here in the first these are inscribed
joint study:
bases for votive statues or statuettes later additions to the
featuring origi
nal monument, as indicated by separate inscriptions and multiple phases
of for the attachment of ture. These additions resulted in the
cuttings sculp
dedication of statues or statuettes on the same
multiple grouped together
base, but clearly not conceived as thematically unified sculptural "groups."
In the second I reevaluate the of letter forms and
study, significance
spelling as evidence for the ethnic origins of the sculptors, letter cutters,
and patrons of votive monuments in Athens and Attica. Though the in
on monuments have been used to link
scriptions funerary closely sculptors
from Ionia and the Cyclades with East Greek clienteles living inA thens,
the evidence of inscribed dedications from the same seems to attest
period
collaboration between East Greek craftsmen and Athenian patrons.
The third study deals with a group of inscribed stone bases from the
Acropolis identified by A. E. Raubitschek as supports not for statues, but
instead for stone or bronze vessels dedicated by Athenian potters and vase
Iw ill show that one of these bases is to have
painters. only likely supported
a bronze vase, and that this should be interpreted as agonistic or sacrificial
in significance rather than as the dedication of a potter or vase painter. In
addition, a fragmentary 4th-century dedication attributed to the Athe
nian potter Kittos may in fact be an anatomical votive from the Athenian
on the South of the
Asklepieion Slope Acropolis.
JOINT DEDICATIONS
One subset among the sanctuary dedications of the Archaic and Classical
8. For the chronology of the periods recently collected by L?hr consists of private joint dedications made
Acropolis dedications, see Keesling together by more than one named member of the same family. As many as
2003, pp. 60-61. 60 of these from sanctuaries the Greek world were included
throughout
9.L?hr2000.
M. L. Lazzarini in her of Archaic votive consist
10. Altars: Lazzarini 1976, nos. 762, by catalogue inscriptions,
764, 766; ceramic vase: no. 314; metal ing not only of freestanding statues, but also of votive altars, ceramic vases,
vessel: no. 689. and metal vessels.10 L?hr discusses 74 preserved examples dedicated jointly
398 CATHERINE M. KEESLING
by relatives, dating from the Archaic period through the end of the 4th
century b.c.11 The Athenian Acropolis has produced by far the largest con
centration of joint dedications in the Greek world, with at least 33 ex
between ca. 600 and ca. 450 b.c. and for
amples dating accounting nearly
a tenth of 6th- and dedications inscribed on stone from the
5th-century
sanctuary.12
Some observations about the dedications from the
general joint
are in order. few of the the re
Acropolis Surprisingly inscriptions specify
between the dedicators. Nine were dedicated rela
lationship jointly by
tives, and two by fellow demesmen; the remaining 22 were dedicated by
individuals whose to one another remains uncertain.
relationship Though
many of these probably were relatives, it seems unsafe to assume a priori
that all were connected ties.13T he familial
by family relationships directly
attested the formulas of the all fall within the
by dedicatory inscriptions
definition of the anchisteia, the bilateral kin group extending to the degree
of second cousins.14 The Acropolis material does not appear to include any
joint dedications by men and women, and the only examples of such in
Lazzarini s catalogue are a mid-5th-century dedication from Locri (no.
342), an altar from Eretria dedicated jointly by a father and daughter (no.
262), and the Late Archaic dedication of the husband and wife Demokydes
and Telestodike from Paros (no. 803) made from their common property
(arco xolvc?v).15
The for the lack of dedications men and
simplest explanation joint by
women before the 4th century may be that husbands and wives normally
did not hold property in common, and that (in Athens at least) daughters
received their inheritance in the form of a from their
dowry separately
brothers.16 One indication that inheritance have been an
might important
occasion for dedications is the use in their of
joint frequent inscriptions
the term apar che, "first-fruits"; though inheritance was not the only occa
sion for dedicating an apar che, this is the term used by Herodotos (1.92.1
4) in the later 5th century to describe Croesus's dedications in various
Greek sanctuaries from the of his inheritance.17
proceeds
11. L?hr's (2000, passim) examples DAA29, HO, 112, 384 (two brothers); Telestodike: Kr?n 1996, pp. 157-158;
of joint dedications appear under the 297 (two sisters); 53,217,228,291 CEG 414. Telestodike made another
classification "von mehreren Ver (father and children or siblings). dedication on her own on Paros (Laz
wandten errichtet." Demesmen: DAA 94,160; for the zarini 1976, no. 726; CEG 413), on
12. Joint dedications from the financial role of neighbors and demes which the names of her father (Ther
Acropolis dating to the 6th and 5th men in the Athenian household, see siles) and son (Asphalios) also appear.
centuries: DAA 8,29, 30,41,53, 80, Cox 1998, pp. 194-195. DAA 178 was 16. The dowry as daughters' share
90, 93,94, 99,110,112,114,115,117, dedicated by Mnesiades kerameus and of inheritance inA thens: Foxhall 1989,
131a (IG I3 843), 160,178,186,209, Andokides; there are known Athenian pp. 32-43.
210,217,221,227,228,291,292,297, potters of both names (Wagner 2000, 17. Of the 13 joint dedications that
317, 331, 339, 382, 384. My list dif p. 383). preserve some indication of motive, 10
fers from that of Raubitschek (DAA, 14. Littman 1979; L?hr 2000, (DAA 29,41, 94,114,117,160,210
p. 466), in some cases (DAA 131a, 191) pp. 165-167. Cf. the prevalence of [both dedications], 217 [original dedi
because I favored alternative restora commemoration of the patrilineal line cation], 291,292 [one of two dedica
tions or interpretations, and in others of descent (especially fathers and sons) tions]) are called apar chai, compared
(e.g.,D AA 75, 83,162,279) because I on Archaic Attic gravestones (D'Ono with two designated dekate, or "tithe"
adopted a more conservative approach frio 1998, pp. 116-117). (DAA 186,292 [one of two dedica
to restoration. 15. Eretria dedication: L?hr 2000, tions]). For the significance o? apar che
13. Joint dedications by relatives: no. 54; CEG 323. Demokydes and and dekate, see Keesling 2003, pp. 6-10.
PATRONS OF ATHENIAN VOTIVE MONUMENTS 399
The of dedications from the took the same
majority joint Acropolis
form as the other dedications of the same a statue
private period: single
with a single dedicatory inscription. Here I examine three Archaic joint
dedications?one found built into the below the
Klepsydra springhouse
and two found on the attest com
Acropolis Acropolis?that particularly
forms of collaboration between the dedicators and show the
plex impact
that different forms of patronage could have upon the display of Greek
In each of these three earlier statue dedications were
sculpture. examples,
renovated when new dedicators, in one case a son of the original dedicator,
added new statues or statuettes and new to the base.
inscriptions original
The results are additive sculptural groups consisting of statues added to
the monument at different times, and in one case statues of drastically
different sizes, all with no recognizable thematic relationship to one an
other apart from their patrons' desire to associate them by placing them on
the same statue base.18
The first inscribed base for a dedication to be examined here
joint
dates to the Late Archaic but was reused in the Hellenis
originally period,
tic period in the parapet of the Klepsydra springhouse on the North Slope
below the where it remains in situ The base
just Acropolis, today.19 (Agora
15517; Fig. 1) originally stood vertically on one of its narrow ends just like
an architectural orthostate, an Archaic dedication type similar to examples
from the Most of the written retro
Acropolis.20 dedicatory inscription,
grade in a smoothed band near the top edge of the front face of the block
and divided over two inscribed lines, has been preserved: [ca. 4-5]? :? cv?
?exev :d ex?xev :x al h[o]i rcqc??e? [:A tt?]aIaovi :x al Mcpikoq ("-s and his
children dedicated a tithe to Apollo, and Diphilos"). The final two words,
xal AicpiXo?, appear from their placement to be a later addition to the
original inscription, though not certainly carved by a different hand. Though
B. D. Meritt associated the Klepsydra base with the sanctuary of Apollo
on the North all of the inscribed dedications
Hypoakraios nearby Slope,
found in that sanctuary date to the Roman Imperial period. Since the
Klepsydra base, however, was flipped over and reused at least twice even
before itw as built into the of the in the Hellenistic
springhouse Klepsydra
indicated the dowel holes for a bronze statue and the re
period?as by
mains of two architectural dowels on the back of the base?it is
possible
18. For a distinction between "para sion: asN ulton (2003, p. 25) points
tactic" and "syntactic" (narrative or in out, it might date soon after 480 b.c.
teracting) sculptural groups, see Jacque (cf. Parsons 1943, p. 240).
min 1999, pp. 159-161; cf. L?hr (2000, 20. See DAA 80 (IG I3 802; Kissas
pp. 153-155), who questions the valid 2000, pp. 267-268, no. C48), a pillar
ity of this distinction. base in the shape of an orthostate with
19. Meritt, Lethen, and Stamires a three-line vertical inscription on one
1957, p. 79, no. 24, pis. 16 (photograph of its narrow ends and a single bronze
of the inscription) and 25 (drawings); statuette originally attached to its top
Travlos 1971, pp. 323-331; IG I3 950. surface above the inscription. The third
For the block's location and the date of line of the inscription (a sculptor's sig
its reuse, see Parsons 1943, pp. 239 nature?) appears to have been added to
240, fig. 9. The date of the inscription, the original text recording a joint dedi
given as ca. 500-480 b.c. in IG P, cation by Philon, Aristion, Nau-, and
cannot be determined with any preci Pyrion.
4-00 CATHERINE M. KEESLING
. ,o -,
-'i
\
'
-
v
N .
? .'.? i
Figure 1. Archaic orthostate base
built into the parapet of the Klepsy
dra springhouse (Agora 15517).
Inscribed face (above) and four cut
tings for the attachment of bronze
statuettes on the top of the base
(below). After Meritt, Lethen, and
Stamires 1957, pi. 25
that it traveled from any one of several sanctuaries of Apollo in the vicinity
of the
Acropolis.21
Three small plinth cuttings, two rectangular and one oval, can be seen
clearly in the drawing of the Klepsydra base published by Meritt in 1957,
reproduced here as Figure 1. All three most likely held the bronze plinths
of small bronze statuettes in lead a
clamped place by soldering, technique
well attested by examples from the Acropolis and elsewhere. The irregu
larly shaped holes surrounding the oval cutting on the far right can be 21. For the sanctuary of Apollo
explained if an oval statuette standing on a rectangular bronze plinth with H9y5p;o Nakuraltioosn, 200s3ee.T Oratvhloesr li1k9e7l1y, pprpo.v e9 1
feet at the corners were attached both beneath the statuette and at the four
niences include the sanctuary of Apollo
corners of the plinth. Judging by the sizes and length-to-width propor Patro?s on the west side of the Agora
tions of their plinths, it is safe to say only that these lost statuettes were (Travlos 1971, pp. 96-99; Hedrick
probably standing human figures. 1988) and the Pythion, probably to be
Though previous publications mention only the plinth cuttings for located near the Ilissos River south
three statuettes, the four round dowel holes located between the two rec etahset Noof rtthhe ASclrooppoel is (Nulrtaotnhe r2 00th3a;n cfo.n P ar
tangular plinth cuttings (see Fig. 1) also look ancient. Since the three plinth sons 1943, pp. 233-237; Travlos 1971,
cuttings are equally spaced over the top surface of the base, they may have pp. 100-103).
PATRONS OF ATHENIAN VOTIVE MONUMENTS 4OI
Fsiimguosr e an2d. JTohienotd ordoes dicatifornom oft hOe ne comprised the original dedication, to which a bronze quadruped statuette
Athenian Acropolis (DAA 217 = without a plinth was later added by a second dedicator, Diphilos.22 Though
Acr. 4184). Courtesy Deutsches Arch?o the plinth of the statuette on the far left was rotated slightly toward the
logisches Institut, Athens (neg. 1995/121); center, there is no other evidence to suggest physical interaction or the
photo Aehnen matic coherence in the original group of three statuettes. If, as I suggest, a
quadruped (or a horse and rider) were added at some point after the origi
nal dedication, the lack of coherence would only have become more pro
nounced.23 This type of monumental sanctuary dedication, consisting of a
changing assemblage of individual figures combined on top of the same
inscribed base, resembles nothing so much as a cult table of the type placed
in front of cult statues to receive offerings, both temporary and perma
nent, from multiple worshippers.24
The inscribed base DAA 217 (Acr. 4184) from the Acropolis consists
of four joining fragments of a rectangular pillar capital reconstructed in
the storerooms of the Acropolis Museum. Two separate dedicatory inscrip
tions appear on the front of the base: a two-line inscription on the lower
abacus below a painted cymation molding, and a very fragmentary one
line inscription on a second, shorter abacus above the molding (Fig. 2).25
Differences in the letter forms of the two four-barred
inscriptions?e.g.,
sigma in the upper inscription, compared with three-barred sigma in the
lower one?indicate that they were carved by different letter cutters.
Given that the dedicators' names are Onesimos, son of Smikythos
(lower), and Theodoros, son of [Onejsimos (upper), the natural inference
is that the joint dedicators were father and son, and that the sonTheodoros's
inscription was added to his father Onesimos's original dedication. Since
Raubitscheks publication of DAA 217, it has been generally accepted that
22. For a similar example of a of Psakythe from theA cropolis (DAA the Persian destruction of the sanctuary
bronze statuette attached to a stone 81; IG I3 656; Kissas 2000, pp. 100 in 480 b.c. The table, like the Klepsydra
base without a plinth, see the quad 101, no. B23) consisted of three bronze base, resembles an architectural ortho
ruped dedicated by Timarchos and statuettes on a single base, with the state. Among the offerings found on
signed by the Early Classical sculptor right- and left-hand statuettes both the Kalapodi offering table was a
Onatas (DAA 236; IGV 773; Kissas rotated toward the center one. bronze kouros statuette attached with
2000, pp. 161-162, no. B99). 24. For cult or offering tables in lead soldering to a cutting (Felsch
23. Cf. IG V 950 for the suggestion general, see Gill 1991. At Kalapodi 1991).
that the three statuettes with plinths (ancient Hyampolis) in Boiotia, an 25. In addition to DAA, pp. 239
represented Apollo, Artemis, and offering table was found inside a tem 241, see Kissas 2000, pp. 123-124,
Leto. The Late Archaic dedication porary cult building constructed after no. B52; IG I3 699 (ca. 500-480 b.c.?).
402 CATHERINE M. KEESLING
Figure 3. Joint dedication of One
simos andTheodoros (DAA 217).
Top view showing four cuttings for
the attachment of statuettes. C. M.
Keesling
the dedicator Onesimos, son of Smikythos, is identical to the red-figure
cup painter Onesimos because few other examples of the name Onesimos
can be found inA thens before the Roman period.26 In addition to appear
ing on DAA 217, the name of Onesimos Smikythou appears (or can be
restored) on a series of eight inscribed marble perirrhanteria dedicated on
the Acropolis {DAA 349-353, 357, 358, and IG I3 933). Though Raubit
schek at one point suggested that the pillar capital DAA 217 was damaged
in the Persian sack of 480 B.c. and restored after 480 Onesimos's son
by
Theodoros, the best-preserved, left-hand fragment was found in February
1886 together with 14 marble korai in a large Perserschutt deposit west of
the Erechtheion likely to date soon after the Persian sack.27 Thus, both
inscriptions, and the two phases of dedication they represent, should date
before 480 B.c., a result that agrees with the identification of Onesimos
with the Athenian vase of the same name. It is not to
painter possible
determine how long an interval may have passed between Onesimos's origi 26. For the vase painter Onesimos,
nal dedication and the second inscription added by his son Theodoros. see LGPN11, s.v. 'Ovyjgiuoc 3; Robert
The top surface of this base (Fig. 3) is difficult to interpret because it son 1992, pp. 43-50 (identified as the
features a series of four cuttings of different shapes and dimensions, ap Panaitios Painter), 117-118; Cook
for the attachment of four statuettes different 1997, p. 165 (Onesimos's career dated
parently using techniques.
Cutting 1, on the far left, a long rectangle with an irregularly shaped exten fcrao. m4 80 theB .cl.a)t. e 6th century through
sion on its right side, was entirely filled with lead (now broken off at the 27. See DAA, pp. 247-248, contra
back). The rounded protrusion (crosshatched in Fig. 3) about halfway be dicting p. 462; for the findspot, see
tween the front and back edges of the cutting almost certainly marks the Kawadias 1886, col. 81, no. 5, fig. 2;
original location of the foot of a bronze statuette, its bronze plinth com Lindenlauf 1997, pp. 70,107-108;
pletely submerged beneath the lead soldering. A hole in the lead covering 2c0f.0 0L, ollinpgp . 371-83980, , pn.o . 424, 0. no. 4, and L?hr
the bronze plinth just in front of this protrusion (blackened in Fig. 3) may 28. Cf. Kissas 2000, pp. 123-124,
or may not mark the position of another foot.28 no. B52.
Nearly all of the floor of cutting 2 has broken away, but a series of 29. A similar "extension" for lead
small, round dowel holes used to help lead soldering (now lost) adhere to soldering appears on the pillar capi
the sides of the show where the left and were. talD AA 291 (IG I3 697; Kissas 2000,
cutting cutting's right edges
2 also features a shallow extension at the front left pp. 162-165, no. B101). For the func
Cutting rectangular tion of the round dowel holes along the
corner.29 The floor of cutting 3, a long, narrow rectangle with length-to sides of the plinth cutting, see Raubit
width proportions of approximately 3:1, features a shallow round hole schek 1938, p. 143; Kissas 2000, p. 9.
PATRONS OF ATHENIAN VOTIVE MONUMENTS 403
^ S.
Figure 4. Joint dedication of One
simos andTheodoros (DAA 217). 1
Hypothetical section through the
pillar capital. C. M. Keesling
that have received the end of a nail used to attach a bronze
might plinth
to the The floor of 4 is shallower and more
cutting. cutting roughly
worked than that of cuttings 2 and 3, and it is the only plinth cutting
on DAA 217 whose full dimensions have been preserved (0.31 x 0.16 m).
The of 4 is 2:1.W ith
length-to-width proportion cutting approximately
out any evidence for the fastening technique used, it is conceivable that
4 received either a small marble statuette or a bronze statuette on
cutting
a bronze
plinth.
A hypothetical section through DAA 217 (Fig. 4) suggests possible
reconstructions. This inscribed capital originally rested on top of a thick
rectangular pillar as wide or nearly asw ide as the capital itself, with a large
tenon into the mortise on the under
fitting rectangular preserved capitals
side. The differences in size, shape, and technique between the cuttings on
the top surface suggest that they were not contemporary.30 The original
dedication Onesimos have consisted either of a statuette
by might single
in cutting 2, centered over the supporting pillar, or three statuettes roughly
equidistant from one another in cuttings 1, 2, and 4. In a second phase,
corresponding with the dedicatory inscription ofTheodoros, a fourth statu
30. On another Acropolis base for ette in cutting 3 may have been added.
multiple statuettes, DAA 81 (Kissas Alternatively, Theodoros may have replaced one or more original statu
2000, pp. 100-101, no. B23), slightly ettes dedicated by Onesimos on the base in cuttings 1,2, or 4 at the same
different attachment techniques were time that he added another statuette in 3. The addition of the
used simultaneously. In this case, there cutting
is a single dedicator (Psakythe) and a added weight of a fourth statuette in cutting 3 in a second phase after the
signature of the sculptor Hermippos. original dedication would help to explain why the pillar capital eventually
The plinth cuttings in the center and broke apart into two halves, completely shattering cutting 2. The occasion
on the right feature shallow round nail for Theodoros's dedication may have been damage to one or more statu
holes approximately a centimeter in ettes dedicated by his father, or might simply have been the result of
dthiaem elteefrt, haws hmileu ch thes mpalilnletrh hoculetst ing for onn ails Theodoros's intent to complete the dedication or to fulfill his own or his
or for lead soldering around its edges. father's vow. Though there is insufficient evidence to reconstruct the types
The statuettes on the left and right of statuettes dedicated by Onesimos and Theodoros, the long, narrow shapes
were turned toward the center one, of all four cuttings find parallels in preserved bronze statuettes represent
suggesting a thematically related group. ing quadrupeds and striding, attacking Athenas of the "Promachos" type:
2003,3 1. ppS.e e, 81m-8o5s.t Trheec entllye,n gtKh-eteos-lwinidgt h several contemporary examples of the latter type were found on the Acropo
proportions of the plinth for the best lis.31 It is even possible that the four statuettes were repeated images, rep
preserved Athena Promachos statuette resenting the same subject in the same pose.
from the Acropolis, the Athena dedi DAA 210, assembled from four fragments found on the Acropolis and
cated byM eleso (NM 6447), are 2.23:1 now on display in the EpigraphicalM useum (EM 6320B + 6392 + 6501 +
p(r0o.1p1o38r2 ti.o DnxsA 0A.05, 3o fp pmc.u) ,t2 ti3n9cgl -o2se44 1 ;ot no IDGthAe AV 2 :61 29157 . 261377.63)2, Heirs ea, latrwgeor seexpaamraptlee deodf ictahteo rys amein stcyrpipet ioonf s,r ectiann tghuilsa rc asec apcaitravl eda sb DyA Ath e
(ca. 500-480 b.c.?); Kissas 2000, same hand, appear on the front and right sides of the capital. The incom
pp. 114-115, no. B42. plete three-line inscription on the front of the base (Fig. 5) names Chares