rian: supplying to the one models of beauty,
and to the other the most undeniable data, upon which to establish the
identity of this with the temple raised by the Athenians to the
Hero-God.

[Illustration: TEMPLE OF THESEUS.]

After having been successively denominated the remains of the Palace of
Pericles, of the temple of Jupiter Olympus (an unaccountable blunder),
the Painted Portico, the Forum of the inner Ceremeicus, the magnificent
wreck of which the following engraving may convey a general idea, has
been finally decided to have formed a portion of the Pantheon of
Hadrian. For some time after this opinion had been started by Mr.
Wilkins, and sanctioned by Sir William Gell, great doubts, despite the
remarkable verification afforded by the language of Pausanias, remained
as to its truth; but the Earl of Guildford has at length placed the
matter beyond question. Some extensive excavations made under his
personal direction resulted in the discovery of the Phrygian stone so
minutely described by the enthusiastic traveller.

[Illustration: PANTHEON OF HADRIAN.]

The portico forming the next illustration was a long time considered the
only remaining portion of a temple dedicated to the Emperor Augustus,
but it is now clearly established as having been one of the entrances to
a market-place. This idea, suggested to the mind of Stuart, by certain
minute yet well marked variations in the proportion of the columns from
those devoted to sacred purposes, has been sustained by research, and
finally demonstrated to be correct by the discovery of an inscription
which has put the question at rest for ever. In one of these the names
of two prefects of the market are preserved; and another, still perfect,
is an edict of Hadrian respecting the duties to be levied on certain
articles of consumption, and regulating the sale of oils, &c. Nothing
can be more picturesque than the present condition of this portico, the
latest specimen of the pure Greek Art. Its coloring is rich and varied,
while its state of ruin is precisely that in which the eye of the
painter delights, sufficient to destroy all hardness or angularity, yet
not so great as to rob it of one element of grandeur.

[Illustration: ENTRANCE TO THE MARKET-PLACE: FORMERLY SUPPOSED TO BE
PART OF A TEMPLE DEDICATED TO AUGUSTUS.]

The building called the Monument of Philopappus, despite its somewhat
fantastic elaboration of detail, is very remarkable and interesting; it
was c