The name Peirene seems to have belonged not only to the city fountain but also to another spring, crystal clear, a little below the summit of Acrocorinth, which, like Hippocrene on Helicon, was struck out by the hoof of Pegasus. In a translation of Euripides’s “Trojan Women,” Mr. Murray goes beyond his original in specifying this upper Peirene, vividly including in the women’s dread anticipation of their Greek slavery the steep climb up Acrocorinth:— “Or pitchers to and fro to bear To some Peirene on the hill Where the proud water craveth still Its broken-hearted minister.” Two other fountains have also been discovered in Corinth, one the spring of Glauke, Medea’s rival, and the other an unnamed well-house with bronze lion heads still _in situ_. It is no wonder that St. Clement in his epistle to the Corinthians, when he enumerated the blessings of God, remembered especially the perennial fountains, shaped for pleasure and health, which give their breasts to sustain the life of men. The canal across the Isthmus recalls several periods of Corinth’s history. Periander conceived the idea of making a canal, inspired perhaps by the engineering marvels he had seen in Egypt, and probably the lack of slave labour, rather than the popular Greek feeling of impiety, prevented him from joining the “two seas” on either side of the narrow isthmus. Julius Cæsar also thought of undertaking the work, but Nero was the first to begin its execution. His vanity saw in it an opportunity for dramatic display. Suetonius relates that he appeared in person, chanted hymns in honour of the deities of the sea, and with a golden pick-axe made a few motions before the thousands of soldiers and prisoners who were to do the cutting. Troubles at Rome, however, deflected his attention, and the making of the canal was left for the French engineers of 1881. Two cuttings made by Nero’s workmen were still visible when the French began.