of bricks were turned for a covering. The front of the temple was towards the east. The temple was built on several narrow arches, one within another, to which there is a descent. It is probable these arches extended to the porticoes on each side of the western court, and served for foundations to the pillars. The site being a morass, made the expense of such a foundation necessary; so that it is said, as much cost was incurred beneath, as on the fabric above ground. It is probable, also, that the sewers of the city passed this way into the lake. There are great quantities of earthenware pipes in the passages beneath the arches.

There seems to have been in the east front of the temple a grand portico, as before this lay three pieces of red granite pillars, each about fifteen feet in length, and one of gray granite, broken in two pieces.

There are four pillars like the red granite ones in the mosque of St. John, at the village of Ajasalouk, also a fine entablature, and on one of the columns in the mosque is a most beautiful Composite capital, which, without doubt, had belonged to the temple.

There are vast remains of pillars of hewn stone upon which we conclude the arches were turned. The pillars, as well as the entire temple, appear to have been cased with marbles as on the stonework of the middle grand apartment there were many small orifices, which would appear to have been designed in order to fix the marble casing.

In the sixth century of our present era, the emperor Justinian filled Constantinople with the statues, and raised the Church of St. Sophia upon the columns of this once magnificent edifice.

From Vitruvius's description we infer that the building was of the Ionic order; but the fragments and columns now among the ruins are described by recent travellers as of the Composite order, and this is in some measure corroborated by ancient medals, which have representations of the grand front.

Magnificent, however, as was the temple of Diana, its length was only two-thirds of the measure of St. Peter's at Rome. In the other dimensions it was still more inferior to that sublime production of modern architecture. The spreading arms of a Christian cross require a much greater breadth than the oblong temples of the pagans; and the boldest artists of antiquity would have been startled at the proposal of raising in the air a dome of the size and proportions of the Pantheon. The Temple of Diana was, however, among the ancients admired as one of the wondrous buildings of the world. Successive empires-the Persian, the Macedonian, and the Roman—had revered its sanctity and enriched its splendour; but the rude savages of the Baltic were destitute of a taste for the elegant arts, and they despised the ideal terrors of a foreign superstition. It has been observed, that "The claims of Ephesus, however, to the praise of originality in the prosecution of the liberal arts, are but inconsiderable; and it must be content with the dubious reputation of having excelled in the refinements of a voluptuous and artificial civilization. With culture of this kind a practical belief in, and a constant use of, those arts which pretend to lay open the secrets of nature, and arm the hand of man with supernatural powers, have generally been found conjoined. Accordingly, the Ephesian multitude were addicted to sorcery; indeed,

in the age of Jesus and his Apostles, adepts in the occult sciences were numerous; they travelled from country to country, and were found in great numbers in Asia, deceiving the credulous multitude, and profiting by their expectations. They were sometimes Jews, who referred their skill and even their forms of proceeding to Solomon, who is still regarded in the East as head or prince of magicians."*

The ancient pagan idolatry having ceased, the mild and unsuperstitious worship of Jesus followed. Some centuries passed on, and the altars of the true and living God were thrown down, to make way for the delusions of Mahomet; the cross is removed from the dome of the church, and the crescent glitters in its stead, while, within, the keblé is substituted for the altar. A few years more, and all is silence in church and mosque: the busy hum of a mighty population is silent in death, even as the unbelievers turned into stone in the "Thousand and One Nights"! "Thy riches and thy fairs, thy merchandise, thy mariners and thy pilots, thy caulkers, and the occupiers of thy merchandise, and all thy men of war, are fallen !"

Of the three Christian churches that Ephesus could at one time boast, that of St. Paul's is wholly destroyed, St. Mark's is a heap of ruins, and St. John's, as above stated, has been converted into a Turkish mosque.

The Turkish village of Ajasalouk, or the Temple of the Moon, is the nearest to the ancient city of Ephesus.

The Diana of the Romans, or Artemis of the

* Kitto's Biblical Cyclopædia.

Greeks, was one of the most celebrated goddesses among the heathen, and one of the twelve superior deities. Diana we must consider to have been primarily the moon, although her attributes are as various as were the numerous names under which she was worshipped. According to Cicero, there were three goddesses of this name a daughter of Jupiter and Latona, a daughter of Jupiter and Proserpine, and a daughter of Opis and Glauce. The first is the most celebrated, and to her nearly all the great temples were devoted, and all the ancient writers allude. She is represented as of scrupulous virgin-like delicacy, and as therefore, from childhood, dedicated to perpetual celibacy. To avoid the society of men, she devoted herself to the chase and other manly sports, but was always accompanied in these Amazonian sports by a number of chosen virgins, who, like herself, had abjured marriage. She is represented by the Greeks and Romans with a crescent on her head, and a quiver, attended by dogs. She is depicted, agreeably to the ancient idea of expressing grandeur, as being much taller than her attendant nymphs; her face has a manly character, and yet bears exquisite traces of the loftier style of feminine beauty; her legs are bare, and her feet covered with buskins, as worn by huntresses among the ancients. Diana is, by some, erroneously supposed to be the same as the Isis of the Egyptians; but that goddess more nearly approaches to Ceres, both in attributes and in the character of her worship. She appears to have been called Luna, or Mené (the moon), in heaven, Diana on earth, and Hecaté in the infernal regions; thus her power extended over heaven, earth, and hell, and she was hence spoken of as Diva triformis.

But the Ephesian deity Diana evidently corresponded with the second above named, being represented with several rows of breasts, intimating that she was at Ephesus regarded as Nature, the mother of mankind,—a power analogous to the Ashtoreth adored in Palestine. The image wore a sort of high civic-crowned mitre, the head was involved in a nimbus, or circular glory, and its feet were involved in garments. And there is little doubt that the goddess to whom temples of worship were erected in various parts of the world was of this character. We are given to understand, that at Rome there is a full-length and complete image of this goddess, which is clearly an enigmatical representation of the dependence of all creatures on the power of nature, or the many and extensive blessings bestowed by nature on the whole animal kingdom, whether man, beasts, fish, or insects. This deity is symbolized as diffusing her benefits to each and all. Her numerous rows of breasts speak the same allegorical language-fountains of supply; whence figures of this kind were called Toλúμaoro (many-breasted). Cities especially were honoured by her protection, as is evinced by the turreted ornament, or rather civic diadem, with which she is crowned. She wears a necklace of pearls, and on her breastplate are the signs of the zodiac, in testimony that throughout all the seasons of the year Nature dispenses her various bounties. In fact, in this image the whole course of Nature, and her extensive distributions, are shadowed forth. But, as Pliny states, it is probable that the older image, which was of vine-tree wood, and was said to have survived seven restorations of the temple, was of far ruder and less complicated design. Diana, as a goddess of the