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Found west of Erechtheion in 1858. Top, right edge preserved. Relief bordered above and below by 0.065 wide moulding consisting of taenia and ovolo. Surface somewhat worn, chipped, corroded, with red-brown iron stains. White, medium-grained marble. p.h. 0.55, h. of relief 0.45, p.w. 0.355, th. 0.12, relief h. 0.015, h. of letters 0.007. The inscription is the inventory of the treasurers of Athena in 377/76; the board had been separated from the amalgamated boards of the treasurers of Athena and the Other Gods (nos. 13, 14) in 386/85. Only part of the heading is preserved, but the restoration of the eponymous archon Kalleas in line 1 is certain. The inventory would have been inscribed immediately after the end of the treasurers' term. Seated on a rock at the right is a bearded figure, probably Erechtheus. His left elbow rests on the rock behind him, and he cradles a sceptre in his left arm. He wears a himation and a fillet around his head. Further to the left is a female figure, of whom only part of the left arm and leg are preserved. She moves swiftly toward the left as the ends of her himation fly out behind her. In general type the male figure resembles the other figures, apparently Erechtheus, on an earlier record of the treasurers of Athena (no. 8) and on an inventory of the treasurers of Athena and the Other Gods (no. 14). The rocky seat of this relief, like the olive tree of the treasurers' accounts of 410/9 (no. 8), may refer to his rocky home on the Akropolis, where he shared a shrine with Athena and guarded her treasury. The fragmentary female figure resembles the last figure in the dancing triads of Nymphs and Charites on late fifth- and early fourth-century Attic votive reliefs (Mitropoulou, Corpus I, figs. 151, 152) and the dancing figures related to them, usually identified as Horai and Aglaurids, on neo-Attic reliefs (E. B. Harrison, AJA 81 (1977) figs. 4-7, 10, 11). The iconography of the dancing triads was already flexible in the late fifth century, however, and the figures could also represent the daughters of Erechtheus. The restoration of the first lines of the treasurers' inventory leaves room for all three dancers in the missing left half of the relief. The drapery of Erechtheus, particularly the parallel, rounded folds over his lap and the folds falling between his legs, resembles late fifth-century drapery and probably looks back to the models upon which the figures were based (cf. no. 5). K. S. Pittakys, ArchEph (1858) 1768-69 no. 3375; Schöne, 39-41 no. 71, pl. 15 (drwg.); F. von Duhn, AZ (1877) 170 no. 100; IG II 670; O. Walter, ÖJhBeibl 18 (1915) 90; Diepolder, 35; Binneboeßel, 9 no. 33, 20, 51-53, 66, 71; H. Speier, RM 47 (1932) 55, 91, pl. 19.2; Svoronos, 665 no. 435 (1), pl. 210.1; V. Müller, ArtB 20 (1938) 362; Süsserott, 50 n. 82; Hamdorf, 94 no. 254(c); J. Frel, Eirene 5 (1966) 85; Les sculpteurs anonymes, 27 no. 120; W. Childs, RA (1976) 286 n. 1; Kron, Phylenheroen, 262, K29; Palagia, Euphranor, 63; LIMC III, 381 no. 71, pl. 277, s.v. Demos (O. Alexandri-Tzachou); Meyer, 279 A 49, pl. 16.1; LIMC VI, 1089 no. 36, s.v. Kekrops (I. Kasper-Butz, I. Krauskopf).The Getty Grant program provided support for entering this text.
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