After the close of the Peloponnesian war the perfection and application of the several orders of Grecian architecture were displayed in the laying out of cities on a grander scale, and by an increase of splendor in private residences, rather than by any marked change in the style of public buildings and temples. Alexandria in Egypt, and Antioch in Syria, were the finest examples of Grecian genius in this direction, both in the regularity and size of their public and private buildings, and in their external and internal adornment. This period was also distinguished for its splendid sepulchral and other monuments. Of these, probably the most exquisite gem of architectural taste is the circular building at Athens, the Cho-rag'ic Monument, or "Lantern of Demosthenes," erected in honor of a victory gained by the chorus of Lysic'rates in 334 B.C. "It is the purest specimen of the Corinthian order," says a writer on architecture, "that has reached our time, whose minuteness and unobtrusive beauty have preserved it almost entire among the ruins of the mightiest piles of Athenian art." Other celebrated monuments of this period were the one erected at Halicarnas'sus by the Ca'rian queen Artemi'sia to the memory of her husband Mauso'lus, adorned with sculptural decorations by Sco'pas and others, and considered one of the seven wonders of the world; and the octagonal edifice, the Horolo'gium of Androni'cus Cyrrhes'tes, at Athens. In sculpture, Athens still asserted its pre-eminence, but the style and character of its later school were materially different from those of the preceding one of Phid'ias. "Toward the close of the Peloponnesian war," says a recent writer, "a change took place in the habits and feelings of the Athenian people, under the influence of which a new school of statuary was developed. The people, spoiled by luxury, and craving the pleasures and excitements which the prosperity of the age of Pericles had opened to them, regarded the severe forms of the older masters with even less patience than the austere virtues of the generation which had driven the Persians out of Greece. The sculptors, giving a reflex of the times in their productions, instead of the grand and sublime cultivated the soft, the graceful, and the flowing, and aimed at an expression of stronger passion and more dramatic action. Jupiter, Juno, and Minerva, the favorite subjects of the Phidian era, gave place to such deities as Venus, Bacchus, and Amor; and with the departure of the older gods departed also the serene and composed majesty which had marked the representations of them." [Footnote: C. S. Weyman.]