This name is derived from a story long current, that the monument was built by Demosthenes as a place of retirement.  It was in reality a monument erected in honour of Lysicrates, and the musicians or actors who carried off the palm in musical or dramatic entertainments.  This monument is interesting as being the oldest existing specimen of the Corinthian order of architecture.  The frieze, of which there are specimens before the visitor, represents the story of the revenge Bacchus indulged in towards some Tyrrhenian corsairs, who endeavoured to convey him to Asia to sell him as a slave.  It is related that discovering their infamous project, he transformed the masts and oars of the vessel into snakes.  The frieze is divided into nine compartments, and the central figure is Bacchus seated with his panther before him, a vessel in his hand, and attendant fauns.  The fantastic punishment of the pirates is forcibly depicted.  Here one bound to a rock finds the cord changed into a powerful serpent; there men leaping into the sea are already half changed to dolphins; and others are receiving severe castigation.  Having examined these curious sculptures, the visitor may rapidly review the rest of the relics which he will care to examine.  Passing the inscriptions (all interesting to the antiquarian), the votive altars, and other fragments, he may halt here and there before various interesting bas-reliefs.  Among these are a bas-relief representing Vesta and Minerva crowning a young man (375); a bas-relief of Jupiter and Juno; a bas-relief representing a sacrifice before an altar (380); an imperfect bas-relief representing three goddesses (383); a lion’s head from the roof of the Parthenon (393); a fragment from Mantell’s collection, of a female figure found on the plains of Marathon (397); the upper part of a female figure, in bas-relief, from Athens (419); two women and a child making offerings found in Laconia (430); another bas-relief from Laconia (431); a curious subject in bas-relief from Athens, representing the upper part of a youth holding something, supposed to be a lantern, with a boy near him, and a cat on a column (432); a cast from a tablet representing in bas-relief Pan seated on a rock with a draped nymph, supposed to be Echo, before him (433); a cast of the tablet of Euthydia, daughter of Diogenes, who is taking leave of friends (435); and lastly, a bas-relief representing the shape of a shield, on which the names of the ephebi of Athens, under Alcamenes, are inscribed.  This is said to have belonged originally to the Parthenon.  And here the visitor will close his inspection of the Elgin Saloon.  That he will return to these fine relics of the old Greeks, if he have the opportunity, is certain.  He may come again and again, and each time gain something in the contemplation of these classical models; noble thoughts before the masterly figure of Theseus, a keen sense of beauty near the beautiful forms of the Parthenon frieze.  Of all