The temple which Scopas built was not the first to the goddess to occupy the same site, but followed a very much more ancient one, which was destroyed by fire in the year 394 B.C. The tendency to introduce the Corinthian order, which followed after the Peloponnesian wars, and which continued to grow as Greece became more and more intermixed with Roman ideas, is here early displayed. The columnar arrangement of the temple was unusual; for the outside the Ionic style was used, there being six columns at each end and fourteen on the sides; but on the inside the Doric order was employed surmounted by the Corinthian. Both pediments of the building were sculptured by Scopas or from his designs under his immediate supervision. The pediment over the front portico portrayed the chase of the Calydonian boar, and that in the rear the battle of Telephus with Achilles; both being, according to Pausanias, very animated compositions. The statue of the goddess Athene Alea, contained in the cell, was carried off by the Emperor Augustus and placed at the entrance of his new forum in Rome. Some fragments of the pedimental sculptures have been discovered and placed in the British Museum. To Scopas, in co-operation with Praxiteles, is also attributed the graceful and beautiful Choragic monument of Lysicrates, at one time called “the lantern of Demosthenes,” from the mistaken supposition that the great orator used it as a study—a very strange use when it is remembered that the little structure possessed neither doors nor windows. In its day this monument was the pride of the street of Tripods, and it still stands one of the best preserved evidences of the taste and skill of its designers. In this monument the Corinthian style of decoration is displayed in its perfection of grace, better, perhaps, than in any other structure of that early time which is known to us. Stuart describes it as follows: “The colonnade was constructed in the following manner: six equal panels of white [Pentelic] marble, placed contiguous to each other on a circular plan, formed a continued cylindrical wall, which of course was divided from top to bottom into six equal parts by the junctures of the panels. These columns projected somewhat more than half their diameters from the surface of the cylindrical wall, and the wall entirely closed up the intercolumination. Over this was placed the entablature and the cupola, in neither of which any aperture was made, so that there was no admission to the inside of this monument, and it was quite dark.” The “flower,” or crowning ornament of the monument, was a particularly graceful and beautiful arrangement of acanthus leaves and volutes, and the roof was worked out with great delicacy and originality in the form of a thatch of laurel leaves and Vitruvian scrolls. If there was any apportionment of the work on this monument between Scopas and Praxiteles, it would be interesting to know what it was.