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36.
Entered collection of the Venetian Nani in eighteenth century; acquired by Musée Calvet in 1841. Both edges preserved, broken top and bottom. Antae support moulding with first line of inscription, pediment. Surface worn. Reportedly Pentelic marble. p.h. 0.41, w. 0.41, th. 0.07, h. of letters 0.007 (line 1), 0.005 (lines 2 ff.). Not examined. The decree, of which only the heading is preserved, is a grant of proxeny to Phokinos, Nikandros, and a man whose name is probably to be restored as Dexippos. Their dress suggests that they are being honoured in connection with military activity. Phokinos may have been related, as Reinach suggested, to the fourth-century Megarian strategos Phokinos. The decree is securely dated to the ninth prytany of the archonship of [Theophra]st[os] I of 340/39 (lines 2-3) by the coincidence of its secretary to that of IG II2 233. The relief depicts the three men as warriors being honoured by Athena. Athena stands on the far right, her right hand holding a crown that she is about to place on the head of the figure nearest her. She wears a peplos and Corinthian helmet; her left hand rests on the rim of the shield standing beside her. The three smaller honorands all wear hoplite corselets over short tunics. The first, tallest figure wears a helmet with a crest. The position of his left hand suggests that he carried a painted shield which is not preserved. His right hand is raised, as are those of the other two figures, in a gesture of adoration. The second figure is slightly smaller and wears a helmet without a crest. His raised left hand holds a spear which is lightly incised on the relief ground. The third, still smaller figure wears a cap-like helmet with a spike on top and in his left hand carries a bow which is also incised on the background. It is not clear whether the differences in the scale of the honorands or their helmet types are significant. The relief is very crudely carved, with details of the honorands sharply gouged in the relief and cursorily incised into the relief ground. In its low relief, flat frame, and figure types, it resembles a number of reliefs of the third quarter of the fourth century (nos. 38, 143-148). P. M. Paciaudi, Monumenta Peloponnesia (1761) II, 153; B. Stark, AZ II (1853) 367-68; C. Bötticher, AZ 15 (1857) 70; P. Pervanoglu, AZ 25 (1867) 45, 47 no. 10; IG II 198; A. Dumont, BCH 2 (1878) 568 n. 3; T. Reinach, REG 13 (1900) 158-69, pl. 2; Binneboeßel, 13 no. 55, 20, 58-59, 63-64; Süsserott, 85, pl. 5.1; Lambrechts, pl. 11; Picard IV.2, 1262; Frel, Les sculpteurs anonymes, 35 no. 216; Guarducci, 595, fig. 187; Schmaltz, 50 n. 64; Rauscher, 157-58, fig. 41; Meyer, 291 A 91, pl. 27.2; C. Habicht, Festschrift für Nikolaus Himmelmann (1989) 321-22.The Getty Grant program provided support for entering this text.
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