Pausanias, in his description of Greece, mentions the existence in his time of numerous ivory statues and of chryselephantine works. In the first section of the seventeenth chapter of the fifth book he enumerates ten or fifteen, which he says were all made of ivory and gold; and a table of ivory. At Megara he saw an ivory statue of Venus, the work of Praxiteles; at Corinth, many chryselephantine statues; near Mycenæ, a statue of Hebe, the work of Naucydes; in Altis, the horn of Amalthea; and in another treasury there, a statue of Endymion entirely of ivory, except his robe; at Elis, a statue made of ivory and gold, the work of Phidias; near Tritia, in Achaias, an ivory throne with the sitting figure of a virgin; at Ægira, a wooden statue of Minerva of which the face, hands, and feet were ivory. And, to name no more, a statue of Minerva, the work of Endius, all of ivory, long preserved at Tegea, but at the time when he wrote placed at the entrance of the new forum at Rome, having been taken there by Augustus. There are two men whose travels and the sights they saw we cannot but envy; one was Pausanias, the other our own Leland. It should be observed that Pausanias believed ivory to be the horn and not the tooth of the elephant: and he has a long argument about it in his fifth book, where he refers to and mentions the Celtic stag. Declaring it to be horn, he says that, like the horns of oxen, ivory can be softened by fire and changed from a round to a flat shape. The famous chryselephantine statues of Phidias and his contemporaries were somewhat later than the statues of the Dioscuri and the chest at Olympia. One of the most celebrated was the figure of Minerva in the Parthenon, which was in height nearly forty English feet. It would be wrong to omit all notice of the attempt to reproduce this statue which was made by order of the late Duc de Luynes, and was shown in the Paris Exhibition of 1855. “M. Simart, qui l’a exécutée, s’est montré le digne interprète de Phidias, et a su retrouver, par ses études approfondies, le vrai sentiment de l’art antique. La statue, de trois mètres de hauteur, est d’ivoire et d’argent: la face, le cou, le bras et les pieds, la tête de Méduse placée sur son égide, ainsi que le torse de la Victoire qu’elle tient dans la main droite, sont d’ivoire de l’Inde. La lance, le bouclier, le casque, et le serpent sont de bronze; la tunique et l’égide d’argent ont été repoussées et ciselées.” Even more colossal than the figure of Minerva was the Jupiter at Olympia; the god was represented sitting, and reached to the height of about fifty-eight feet. De Quincy has some conjectural restorations of this statue engraved in his book.