length of not more than eight thousand feet, and the interval is a plain without any declivity. Within our own time, when the base of the colossal statue of Apollo in the temple of that god was decayed through age, to prevent the fall and destruction of it, a contract for a base from the same quarry was made with Pæonius. It was twelve feet long, eight feet wide, and six feet high. Pæonius, driven to an expedient, did not use the same as Metagenes did, but constructed a machine for the purpose by a different application of the same principle. He made two wheels about fifteen feet in diameter, and fitted the ends of the stone into these wheels. To connect the two wheels he framed into them, round their circumference, small pieces of two inches square, not more than one foot apart, each extending from one wheel to the other, and thus enclosing the stone. Round these bars a rope was coiled, to which the traces of the oxen were made fast, and as it was drawn out the stone rolled by means of the wheels; but the machine, by its constant swerving from a direct, straightforward path, stood in need of constant rectification, so that Pæonius was at last without money for the completion of his contract.” The uninitiated who have speculated as to how the ancients succeeded in moving and transporting considerable distances such huge blocks of stone, without the assistance of our modern machinery and contrivances, are given in this quotation from Vitruvius some hint as to the ingenuity and inventive ability of the early architects and builders. The temple, however, was slow in building, and Ctesiphon and Metagenes, after writing a book on their great architectural work, passed away in due course of time. Their places were filled by other architects, of whom there is no record, but Demetrius, a priest of Diana, together with Daphnis and Peonius, Ephesian architects, finally completed the work some two hundred and twenty years after it was begun by Ctesiphon and his son. In the course of that long interval, Scopas, an architectural sculptor of Paros, of whom there will be more to relate as we go on, contributed one column, which was regarded as so beautiful that it was accepted as a model for those that followed. Together with its architectural glories, the interior was made a depository for many of the finest works of the great artists of antiquity, and Scopas is said to have introduced Caryatides here. This is doubted, but he certainly furnished a very grand statue of Hecate; and Praxiteles, with his almost equally gifted son, adorned the shrine.