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The deme Aixone honours the
Auteas and Philoxenides
36.186 Athens, EM 13262 313/12 (?) Plate 81

Found in Glyphada in 1941. Broken at bottom, central, and side akroteria; back rough-picked. Relief framed by antae supporting pediment with palmette akroteria; theatre masks and ΘΕΟΙ inscribed on architrave. Two large olive wreaths below text. White, medium-grained marble. p.h. 0.96, p.h. of relief 0.40, w. 0.36 (top), 0.40 (bottom), th. 0.05 (top), 0.06 (bottom), relief h. very low, h. of letters 0.006- 0.007.

The decree of the deme Aixone honours Auteas son of Autokles and Philoxenides son of Philippos, successful choregoi for their choregia in the local Dionysia, and awards each of them a 100-drachmai gold crown. The stele was to have been set up in the local theatre (lines 11-13 The relief depicts a young satyr carrying an oinochoe toward a seated figure of Dionysos, who holds a kantharos in his right hand. The satyr is depicted as a nude boy with a short tail. The youthful Dionysos sits on a rock, with his left hand raised and holding a sceptre. A long lock of hair hangs down over his left shoulder, and he wears a wreath. Carved in low relief on the architrave above the relief panel are five comic masks.

The decree was passed in the archonship of Theophrastos, but whether this is the archon of 340/39 or of 313/12 is not specified. Its editors accepted the later date to which for prosopographical reasons Kirchner assigned the contemporary decree from Aixone that has the same archon, proposer, and demarch (no. 155); the only other choregic decrees from Aixone are dated 326/25 and 317/16 (IG II2 1198, 1200). Webster, however, has since argued for the earlier date because the masks on the architrave more closely resemble those of Middle than of New Comedy. He also cited prosopographical arguments to counter those for the later date, but they are not conclusive. The style of the relief, with its stiff drapery and poorly articulated anatomy, is more consistent with the later date, although its frame with flattened anta capitals resembles those of a group of somewhat earlier reliefs (nos. 38, 143-148). It is not by the same hand as no. 155.

N. Kyparissis and W. Peek, AM 66 (1941) 218-19 no. 1, pl. 73; Lippold, 276 n. 9; T. B. L. Webster, JHS 71 (1951) 222 n. 7; Studies in Later Greek Comedy (1953) 75-76, pl. 3; ArchEph (1954) 193, 194; Greek Theatre Production (1956) 56, 61-62, 64-66, 73, 81, 117, 142, 182, pl. 19; AntK 3 (1960) 32, 34; Hesperia 29 (1960) 264, 265, 268, 272; M. Bieber, A History of the Greek and Roman Theatre2 (1961) 51-52, fig. 215; C. W. J. Eliot, Coastal Demes of Attika: a study of the policy of Kleisthenes (1962) 218-19; Picard IV.2, 1266-67; A. Pickard-Cambridge, The Dramatic Festivals of Athens2 (1968) 49, fig. 25; Guarducci, 49-51, fig. 3; A. D. Trendall and Webster, Illustrations of Greek Drama (1971) IV 8a, fig. p. 122; P. Ghiron-Bistagne, Recherches sur les acteurs dans la Grèce antique (1976) 86-90, 95, 96, 133, fig. 34; Zagdoun, FdD IV.6, 60, fig. 41; Webster, Monuments Illustrating Old and Middle Comedy3 (1978) 118 AS 2; LIMC III, 495 no. 854, pl. 403, s.v. Dionysos (C. Gasparri); Whitehead, 235-52; Meyer, 305 A 141, pl. 44.2.

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