The Judgment of Animals in Classical Greece: Animal Sculpture and ...

variety of poses, which has been interpreted as a variety of action, has led to the
suggestion that the subject of the frieze was arranged “in separate groups or scenes rather
than in a continuous representation.” 559
Apart from this material, additional evidence regarding the sculpture of the frieze
of the Erechtheion derives from two fragmentary inscriptions that form part of the
building accounts that date to 408/7 B.C. These inscriptions record the payment that each
sculptor received for the works of sculpture he created. The text of the first of these
inscriptions (XVI, col. I; IG I 3 . 476) runs as follows:
- - the youth who is writing
and the man standing beside him, 120 dr.
- -, living in Kollytos
- - and the wagon without
the two mules, 90 dr.
Agathanor, living in Alopeke,
the two women beside the wagon,
and the two mules, 240 dr.
(IG I 3 . 476 [fr. XVI, col I. 150-157]) [87] 560
shape” and holding a headless naked boy on her lap: Fowler 263, no. 84, pl. XLIV; also Boulter 15, no. 84,
pls. 22, 23a. For a group of two male figures—one standing, the other kneeling in front of him—see
Fowler, 259, no. 66, pl. XLIII, who maintains that the plinth on which the group stands is intended to
imitate rock; also M. Brouskari, The Monuments on the Acropolis (Athens, 1997) 199, fig. 133, which
depicts the group against a dark, almost black background, probably in an attempt to capture the darkness
of the Eleusinian stone of the frieze. Also a group of two fragments depicts a frontal view of a standing
woman from the waist down. Behind the drapery of her garment at her left side is preserved the remnant of
what has been identified as a tree trunk. For this suggestion and an illustration of the figure, see Fowler
262, no. 8, pl. XLIV; also Boulter 9, 78, pls. 3-4; and Brouskari 188, fig. 130. For a fragment of the bodies
of a pair of horses pulling a chariot, see Fowler 267-268, no. 106, pl. XLVI; and also 268, no. 107, pl.
XLVI for a fragment of the broken forelegs and breast of a horse galloping to the left. As for objects,
chairs appear to be repeatedly represented on the sculpture of the frieze. For the depiction of an armchair on
which a female sits by leaning back, see Fowler 263, no. 85, pl. XLIV; also Boulter 12, no. 85, pls. 13-14,
16b. A partially preserved chair of which only the seat and one leg remain is also depicted beside the lower
part of a female figure standing next to it: Fowler 257, no. 56, pl. XLIII, and Boulter 14, no. 56, pls. 21,
23b. For a fragment of a helmet identified as that of Athena and set upon a mass that is thought to
represent stone, see Glowacki, “A New Fragment of the Erechtheion Frieze” 326, pl. 65, figs. a-b.
559 Fowler, “The Sculptures,” in Paton, ed., The Erechtheum 244, who further explains that “some division
of scenes is inevitable in view of the different heights of the frieze of the cella and that of the North
Portico.”
560 This text corresponds to lines 1-8 of the first column of a marble inscribed fragment (XVI) that was
discovered in excavations southeast of the Erechtheum in 1839: Caskey, “The Inscriptions,” in Paton, ed.,
The Erechtheum 375, 389. The fragment is part of a larger inscription comprising several fragments (XII-
XXV), some of which (i.e., XIII-XX) follow a stoichedon arrangement. All fragments deal with the
payments of workmen. Fragment XV preserves the name of the archon Euktemon, and, therefore, dates the
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