The sculptors and statuaries of ancient Greece are especially well remembered in the popular mind, and Myron and Phidias and Praxiteles and Polycletus call for no introduction to the ordinarily informed lover of art; not so the designer of the Parthenon or the Temple of Theseus, or the Erechtheum, or the Choragic monument of Lysicrates. It is strange that the artist who modelled or chiselled a bull or a cow or a Faun or a nude Venus, or any pagan god or goddess, however much we may praise the excellence of his skill, should be remembered by posterity, while the artist, his contemporary, who designed the most beautiful and graceful buildings of all time, which in their glory were the pride of their people, and which in their decay and ruin are still the loadstones that attract pilgrims from the most distant lands, is forgotten, and, it would appear, denied almost the humblest mention. Can it not be said of the Grecian architects, as well as the Grecian sculptors, that under the magic of their touch “Stones leap’d to form, and rocks began to live”? Were not the temples they reared in all the pride of surpassing beauty, which tempted the sculptor’s caress on frieze and pediment, and which gave shelter to those works of the statuary’s art which Shakespeare recalls so vividly when he draws the simile: “They spake not a word. But, like dumb statues, or unbreathing stones, Stared at each other, and look’d deadly pale,” as much entitled to give immortality to their creators as the works, however competitive, of other branches of art to their authors? And still so incidentally and indifferently have the historians and biographers of their time alluded to the Grecian architects, that little or nothing is to be found to quench that desire to know of them personally, which an interest in their grand achievements may well awaken. Did we not know it to be otherwise, we might think that they, too, were like the poor architect of whom Goethe speaks: “He is employed in lavishing all the luxury of his fancy upon halls from which he is to be ever excluded, and display his ingenuity in bestowing the utmost convenience upon apartments he must not enjoy.” But it does not appear that any social discrimination was exercised against the Greek architects to cast a shadow upon their present or future fame.