Lusieri classes the architecture of the temple of the Panhellenian Jupiter at Ægina with that of Pæstum in Lucania:--"In their buildings," says he, "the Doric order attained a pre-eminence which it never passed; not a stone has been there placed without some evident and important design; every part of the structure bespeaks its own essential utility. Of such a nature were works in architecture, when the whole aim of the architect was to unite grandeur with utility; the former being founded on the latter. All then was truth, strength, and sublimity." In 1811, several statues of Parian marble were discovered by two English gentlemen and two Germans[5], the rivals in the style of which are said nowhere to be found. They were excavated from the two extremities of the temple below the tympana, from which they had fallen at some unknown period. Mr. Dodwell has given the following account of them:--"I shall not attempt," says he, "a minute description of these precious remains of the Æginetic school; the discovery of which, in its importance, has not been surpassed by any of the kind in modern times. They are supposed by some to represent the principal heroes of the Iliad contending with the Trojans for the body of Patroclus. Minerva, armed with her helmet, is the principal figure; and from its superior size, is conjectured to have stood in the centre of the tympanum, below which it was found. The other figures are combatants in various costumes and attitudes; their shields are circular, and their helmets crowned with the lophos. The bodies of some are naked, while others are covered with armour or leather; their attitudes are judiciously adapted to the four tympana, and the places which they occupied. They were evidently made prior to the introduction of the beautiful ideal in Grecian sculpture. The muscles and the veins, which are anatomically correct, exhibit the soft flexibility of life, and every motion of the body is in scientific harmony with that of nature. The limbs are strong, though not Herculean, and elegant without effeminacy; no preposterous muscular protuberance, no unnatural feminine delicacy offends the eye. They are noble without being harsh or rigid, and are composed with Doric severity mingled with the airy grace of youthful forms; the perfection of the finish is quite wonderful; every part being in a style worthy of the most beautiful cameo. The extremities of the hands and feet merit more particular admiration. Indeed, the ancients thought that elegant fingers and nails were essential ingredients in the composition of the beautiful. The most extraordinary circumstance, however, in these statues, is the want of expression, and the sameness of countenance, which is to be observed in all the heads. This approximation to identity is certainly not fortuitous; for the artists, who were able to throw so much varied beauty into the forms of the bodies, were, no doubt, fully able to