This tower still stands a fairly well-preserved ruin, and retains many of its original architectural features and decorations. There are two entrances through distyle porticos, the capitals of the columns presenting an original treatment of the Corinthian order. One of these entrances is on the northeast side and the other on the southwest. On the south side is a circular apsidical projection. This was probably originally used for a reservoir to hold the water brought from the spring Clepsydra, on the northwest of the Acropolis, which was employed as the power to run a clepsydra, or water-clock, taking its name, as may be inferred, from the spring. The remains of this clock are still visible. The exterior of the building was also arranged as a sun-clock, having lines engraved upon the different sides, with gnomons above them, forming a series of sun-dials which indicated the time by shadows. Thus were the people of Athens kept publicly posted as to the time of day—by the sun when it shone, or by the water-clock when it was obscured by clouds. The character of the architecture, the proportions of the building, as well as its secular uses, were all quite out of harmony with Grecian art and methods, and are essentially Roman. As a similar structure existed at one time in Rome, supposed to have been built by the same scientist, the thought is naturally suggested that Cyrrhestes may have been a Roman. In closing this reference to the prominent architects of the disintegrating period of Grecian history, it would seem that it only remains to recall Philo, or Philon, as some of the writers have preferred to call him, once more, who flourished about 318 B.C. As there were several artists of his name who became conspicuous at about the same time, our Philo will be distinguished from the others in being a native Athenian. The reader will probably remember that he has been already mentioned as the architect employed by Demetrius Phalerus, to build a portico of twelve Doric columns to the great temple of Ceres and Proserpine at Eleusis, originally erected by Ictinus; but his most ambitious work was probably the armory, so called, which he designed for Lycurgus in the Piræus, and which it is said was large enough to contain the arms for one thousand ships. He was also engaged in enlarging the port of Piræus, and was the architect of the white marble theatre at Athens, which was finished by Ariobarzanes, and many years afterward rebuilt by Hadrian. Vitruvius says that he also designed a number of Greek temples. Philo must have been a man of considerable versatility, for it is related that in giving an account of his work at Piræus “he expressed himself with such precision, purity and eloquence that the Athenian people—excellent judges of those matters—pronounced him equally a fluent orator and an admirable architect.” He wrote also several works on the architecture of temples and one on the naval basin which he constructed in the Athenian port.