36) One argument against reconstructing the statue dedicated by -chares as a horse with rider rather than some other type of quadruped is the fact that horses with riders were usually inscribed on the narrow end rather than the long side of the base; it also seems unlikely that the two dedicators -chares and Tychandros would have chosen to juxtapose equestrian portraits of such different sizes with one another on the same inscribed base.
39) In the case of DAA 210, the contribution of two dedicators apparently resulted in duplication of the same sculptural type; in the other two examples discussed here, duplication within groups of four statuettes is also possible.
Despite D'Onofrio having recently collected 16 possible examples of name matches between the clienteles of Archaic funerary monuments and dedications in Athens, the lack of patronymics for two-thirds of the individuals named on funerary monuments significantly weakens any argument for identity with the dedicators of votive monuments, or even for family relationships.
may reflect is an attempt by the craftsmen who carved the inscriptions to mediate between their own training in Ionic spelling and the wishes of Athenian dedicators.
72) We have already seen that the dedicators of DAA 217, the Acropolis base for four statuettes described in the first part of this article, may be identified as the red-figure vase painter Onesimos and his son.
In truth, the name matches between the dedicators Aischines (DAA 48) and Smikros (DAA 53) and the known potter and painter of the same names constitute the sole evidence for identifying their Acropolis dedications as vases rather than statues: the round, shallow cuttings with level floors on the tops of both bases fit Raubitschek's own criteria for identifying the plinth cuttings of marble korai.
Raubitschek's third hypothetical vase dedication is a fragmentary rectangular pillar capital (DAA 209) inscribed with the partially preserved names of the joint dedicators Iatrokles and Kepha[los].
42, 48, 53, 209) have circular cuttings on top in which may have fitted the bases of vases made of clay, stone, or bronze; the names of the dedicators are incidentally known as potters or painters: Aischines, Kephalos, Smikros, Xenokles.
Since the three plinth cuttings are equally spaced over the top surface of the base, they may have comprised the original dedication, to which a bronze quadruped statuette without a plinth was later added by a second dedicator, Diphilos.
Though the dedicator Iphidike has often been assumed to be an Ionian woman, the correction instead suggests that she was an Athenian, and that either Archermos himself or an Ionian letter cutter in his workshop carved the inscription.
75) If correctly reconstructed and interpreted, these dedications would represent an unusually direct link between the banausic occupation of the patron and the form of a monumental dedication, and would identify as potters or vase painters four patrons whose occupation would otherwise remain unknown: Aischines (DAA 48), Smikros (DAA 53), Kepha[los] (the joint dedicator of DAA 209 with Iatrokles), and Xenokles, son of Sosineos (DAA 42).