the choragus Lysicrates in token of his victory in the choral competitions, belongs to this period (330 B.C.). It is circular, with a slightly domical imbricated roof, and is decorated with elegant engaged Corinthian columns (Fig. 38). In the Imperial Museum at Constantinople are several sarcophagi of this period found at Sidon, but executed by Greek artists, and of exceptional beauty. They are in the form of temples or shrines; the finest of them, supposed by some to have been made for Alexander’s favorite general Perdiccas, and by others for the Persian satrap who figures prominently on its sculptured reliefs, is the most sumptuous work of the kind in existence. The exquisite polychromy of its beautiful reliefs and the perfection of its rich details of cornice, pediment, tiling, and crestings, make it an exceedingly interesting and instructive example of the minor architecture of the period. [Illustration: FIG. 38.--CHORAGIC MONUMENT OF LYSICRATES. (Restored model, N.Y.)] +THE DECADENCE.+ After the decline of Alexandrian magnificence Greek art never recovered its ancient glory, but the flame was not suddenly extinguished. While in Greece proper the works of the second and third centuries B.C., are for the most part weak and lifeless, like the +Stoa of Attalus+ (175 B.C.) and the +Tower of the Winds+ (the Clepsydra of Andronicus Cyrrhestes, 100 B.C.) at Athens or the Portico of Philip in Delos, there were still a few worthy works built in Asia Minor. The splendid +Altar+ erected at +Pergamon+ by Eumenes II. (circ. 180 B.C.) in the Ionic order, combined sculpture of extraordinary vigor with imposing architecture in masterly fashion. At +Aizanoi+ an Ionic +Temple to Zeus+, by some attributed to the Roman period, but showing rather the character of good late Greek work, deserves mention for its elegant details, and especially for its frieze-decoration of acanthus leaves and scrolls resembling those of a Corinthian capital. [Illustration: FIG. 39.--TEMPLE OF OLYMPIAN ZEUS. ATHENS.]