The third important work with which Ictinus is reported to have been connected was the Doric temple to Apollo in the village of Bassæ, near Cotylion, in Arcadia, which was known as the temple to Apollo Epicurus (the Preserver). Pausanias speaks of this as being next to that at Tagea, the finest temple in the Peloponnesus “from the beauty of its stone and the symmetry of its proportions.” This temple is still a beautiful ruin, thirty-four of the original thirty-eight columns of the peristyle standing. The structure, which in the interior possessed two rows of columns in the Ionic order, was originally admirably planned for sculptural decoration and statuary and held many fine specimens of the handiwork of Phidias and his school. Some of the carvings of the frieze and other parts of the building, which are to be seen in the British Museum, are spoken of by Lübke as the boldest and most animated compositions among all that is preserved to us of the productions of Greek art. On the southeast slope of the Acropolis Pericles caused to be erected a building which departed broadly from the prevailing rectangular construction of the time. In was oval on plan, Doric in order, and its portico was enclosed by thirty-two columns. The most original feature of the building, however, was the roof, which was constructed in the shape of a cone and was supported by rafters formed of the masts of the ships captured in the Persian wars. From just above the cornice of the drum there projected around the entire roof a row of windows which may possibly be credited with being the archetypes of our modern dormer windows. This building was called the Odeum, or, as it is now termed, the Odeon, and was devoted to music. Cratinus, the comic poet, who had levelled his satire at Pericles when building the “Long Walls,” found in the roof of the Odeon, the idea for the cone shape of which, by the way, it is claimed the architects borrowed from the pavilion of the King of Persia, another mark for his shafts of ridicule. He sings: “As Jove, an onion on his head he wears; As Pericles, a whole orchestra bears; Afraid of broils and banishments no more, He tunes the shell he trembled at before.” The allusion to an onion by Cratinus is explained when it is remembered that on account of the peculiar, long shape of his head the poets of Athens called Pericles _Schinocephalos_, or squill-head, from _schinos_, a squill, or sea-onion. Another version of Cratinus’s satire is given thus: “So, we see here, Jupiter Long-pate Pericles appear, Since ostracism time he’s laid aside his head, And wears the new Odeum in its stead.”