Lastly, architecture exhibits similar tendencies towards technical facility and a less austere spirit in the use of ornament. To this period belong the new temple at Ephesus and the Mausoleum already mentioned, and the kindred sepulchral monument from Lycia known as the Nereid Monument, from the graceful figures of sea-nymphs set between the columns on the tall basis of the shrine. In Athens we have the new stone theatre of Dionysus, the new stadium for athletic contests, the little choragic monument of Lysicrates, and the new walls to the Peiræus constructed by Conon with Persian help. The luxurious Corinthian order is now more popular than the staid Doric. The invention of this beautiful type, with its curling acanthus leaves embowering the original volutes of the Ionic capital, is attributed to the Athenian sculptor Callimachus, a versatile artist of Periclean days.[104] It was the discovery of a new drill for stone-cutting which made it possible. A legendary explanation of its origin was naturally provided. Callimachus had been struck with the beauty of a column on which a woman had placed a basket of flowers in memory of the maiden whose tomb it marked, and a live acanthus had sprung from the cracked stone below the basket. The earliest appearance of the Corinthian capital is, so far as we know, to be found in the [Illustration: PLATE LXXVI. ATHLETES BOXING. FROM A PANATHENAIC AMPHORA] temple at Bassæ. It became increasingly popular, especially in Roman times. Owing to its slenderer shaft, Vitruvius compares the Corinthian order to a young girl, while he likens the Ionic to a matron and the Doric to a man. In the terra-cotta statuettes which have been found in such large numbers at Tanagra and elsewhere we have some of the most delightful as well as the most characteristic examples of fourth-century art.[105] They are generally found in tombs, and seem to have been made for the purpose. They seldom represent deities, though we have several examples of Eros, and perhaps Aphrodite. Far the commonest subject is a young girl draped in a mantle. Indeed, the maker of such ware is called in Greek Koroplastes--“Girl-modeller.” Domestic scenes are common, girls talking, dancers, animals, and so forth. Some are jointed, and many of them were obviously designed as toys. Sometimes they were glazed, but far more often the colours were applied directly to the clay after it came from the mould. The colours have therefore in many cases entirely disappeared. Apart from their singular grace and charm, they give us extremely interesting examples of Greek costume. The British Museum has a very fine collection, which well deserves study. A few of them appear to be modelled from famous statues of the period. LITERATURE AND PHILOSOPHY