Hadrian had made the drawings of the double temple of Venus at Rome, which he submitted to Apollodorus, doubtless for his commendation rather than his criticism. The architect saw at a glance that the sitting figures of the two goddesses, Roma and Venus, which the Emperor had introduced in the little temple, were out of proportion, and so large that if they stood up they would bump their heads against the roof, if they did not take it off entirely. He called the Emperor’s attention to this fact with the result that Hadrian became very angry, or pretended to be so, and Apollodorus lost his head for his frankness. The favorite architect of Hadrian was Detrianus, to whom he entrusted many of his most important undertakings. We find that he restored the Pantheon of Agrippa, the Basilica of Neptune, the Forum of Augustus and the Baths of Agrippina. As original works he designed the Mausoleum of Hadrian, to which we have already alluded; the bridge of Ælius, ornamented with its covering of brass, and supported by its forty-two columns, terminating at the top with as many statues, and the villa at Tivoli. He also erected many structures for his royal patron in Gaul, among which was the Basilica Plotina, the most superb building in that country, and again other buildings in England. The Roman wall from Eden in Cumberland to Tyne in Northumberland, a distance of eighty miles, which was built as a defence against the Caledonians, is attributed to Detrianus. In Greece he embellished the famous temple of Jupiter Olympus, and in Palestine he rebuilt Jerusalem, erected a theatre and various pagan temples out of the stone from the Jewish temples, and completed his sacrilege there by placing a statue of Jupiter on the spot where Christ rose from the dead, and one of Venus on Mount Calvary. A feat, however, which has perpetuated his fame quite as much as any other of his professional achievements was the removing of the colossal bronze statue of Nero, which stood in the court of the “Golden Palace.” This difficult task he is said to have accomplished without changing the erect posture of the huge figure, which, it will be remembered, was one hundred and twenty-eight feet high, by the assistance of twenty-four elephants. In returning once more to the Greek architects who have been left, while a rather garrulous ramble has been made into the architectural personality of Rome, it may be well not to attempt to do so at once, but to pause for a moment, since we are so far from the chronology of our subject, while the reader makes the acquaintance of two Hellenic artists who, in the time of Quintius Metellus, 147 B.C., found professional employment in Roman territory.