accurately—in literature, for example, when Euripides seems commonplace or Socrates illogical.

While the white marble columns and the white marble roof presented this appearance of simple strength and purity, the decorative mouldings between were enriched not only with the sculpture we have described, but with brilliant colour. The background behind the sculpture of the pediment was red, the ground of the metopes probably red, and that of the frieze probably blue. The simple echinus and abacus mouldings of the capitals were enriched with leaf patterns in red, blue, and gold. The architrave, has holes which once held bronze pegs for a row of gilt shields and wreaths. The grooves of the triglyphs were painted blue. A bright key-pattern ran along the upper edge of the triglyph. The guttæ, or “drops,” were probably gilt. On each corner of the roof-angle stood a golden oil-jar, and at the apex of the gable an acroterion carved and