The six large temples of Selinus lie in a worse condition than that in which the Carthaginians left them. Earthquakes have been more active here than at Akragas. But these ruins, in two large groups, one on the acropolis and one on a plateau to the east, are the most interesting, as well as the most impressive, ruins in Europe. Their interest lies in the fact that they present us in tangible form the history of Greek architecture as it unfolded itself in a provincial town. There is Temple C (probably a Herakles temple; but archæologists have refrained from giving doubtful names, and designated the temples by letters. Perhaps the names given at Syracuse and Girgenti, though false, are better pegs to serve the memory than letters), with "shapeless sculpture," the well-known metope representing Perseus cutting off the head of Medusa, and another with Heracles carrying the mischievous Kerkopes flung over his shoulder. These grotesque attempts at sculpture, as well as the general consideration that the first thought of a colony was to erect a temple, allow us to date this oldest temple of Selinus as early as 600 B.C. The architecture is vastly better than the sculpture, a complete Doric style, with something of the clumsiness which marks the venerable ruin at Corinth. Then we may notice Temple E, probably a Hera temple, the southernmost of the three on the eastern plateau, a large and beautiful temple, once most gorgeously painted, and giving us, perhaps, more light than any other temple on the subject of polychromy in Doric architecture. The metopes, the best of which is Zeus receiving Hera on Mount Ida, mark this temple as a product of the early part of the fifth century, about the time of the temple of Zeus at Olympia. Then, at the other end of this line, on the eastern plateau, is Temple G, so enormous that it is supposed, like its brother at Akragas, to have been meant for none other than Zeus, the King of the gods. It is a few feet longer and a few feet wider than the great Akragas temple. Its date is given with a melancholy certainty; for it, as well as the Akragas temple, was never finished. It may well have taken a small community like this as much as the "forty and six years" which the Temple of Jerusalem required to put up such a colossal building. An especial interest attaches to it because we see it, as it were, stopped midway in a lively process of coming into being. Some of the huge drums are combined into columns, a few of which are fluted from top to bottom, while others have a little start of fluting at the top and bottom, and still others are only cut in the form of a twenty-sided polygon. But one must go to Campo Bello, about five miles distant, to feel in a still more lively manner the interruption of the building process. Here one sees a cliff where in one case workmen had just marked out, with a circular groove, a column-drum to be detached from its bed. In another place is one around which workmen have hewn