_D D_ in my first illustration is the Ionic portico or Abaton, a part of which is seen in Plates V. and X.; the western part is in two stories, the lower one being in the basement. It is open on the south side; a double colonnade supports the roof, the eaves of which, together with the walls and columns, showed colour decoration. This constituted the ward or sleeping place for the sick who were awaiting the miraculous interposition of the god. The Abaton was furnished with pallets, lamps, tables, altars, and probably curtains, the patients themselves supplying their own bed clothing. Other details of this building will be given in the next lecture. It may be added here that from one point of view these remains are highly interesting, for they constitute the earliest known example of a Hospital Ward. There is reason to believe that institutions closely related to Infirmaries or Hospitals existed in Egypt many centuries earlier than the founding of the Hieron, but no structural trace of such a building has been discovered. [Illustration: PLATE VIII—Remains of East Abaton] The back or north wall of the Abaton, the front or south line of Ionic columns and the central line of columns can be clearly made out from the remaining fragments. Plate VIII shows these remains of the eastern part of the Abaton. The photograph unfortunately is defective, and it gives the idea that the remains are less considerable and important than they really are. In Plate IX the remains of the lower story of the western part are shown. This photograph was taken from the top of the stairs leading down to the area-like court from which access was obtained to the lower story. [Illustration: PLATE IX—Remains of lower story of West Abaton] The Tholos or Thymele, shown at _E_ in Plate I and in the annexed restoration by Defrasse, Plate X, was probably the most beautiful circular temple that the Greeks ever built, far surpassing the Philippeion at Olympia. It was built in the fourth century B.C., by Polykleitos the younger, and took twenty-one years to build; externally it presented a beautiful doric colonnade, with peculiarly rich cornice, coloured. Within was a circle of sixteen graceful Corinthian columns of marble; the wall and floor were also decorated with variously coloured marbles. Here were two celebrated paintings by Pausias, the Greek artist; the first represented Methe (drunkenness), a woman holding a large wine goblet to her lips, the glass of which was so painted that the face was seen through, or reflected in it. The second, a picture of Eros (love) laying aside his bow and quiver and taking up his lyre, a less dangerous weapon. Perhaps we may suppose that the painter here indicated the relation of Bacchus and Venus to the ailments which afflict mankind. The scourges which we are told the gods make out of the pleasant vices of men doubtless often brought the wealthy Greek as a suppliant to Asklepios.