Within the temple stood, as shown in Defrasse’s drawing, Plate VI, the great chryselephantine statue of Asklepios made by Thrasymedes of Paros, a work somewhat resembling the Parthenon figure, or the vast Zeus of Olympia, or the Hera at the Argive Heræon; the flesh was ivory, the rest gold splendidly enamelled in colours. So many small replicas of this figure remain—sculptured copies found at Epidauros, or small representations on ancient coins—that by the aid of Pausanias’ description M. Defrasse has doubtless reproduced the image with a near approach to accuracy. The god was sitting on a throne, a large golden serpent rising up to his left hand; on his right lay a dog, and in front was an altar. [Illustration: PLATE VI—Restoration of chryselephantine figure of Asklepios (Defrasse)] Gold and ivory were beautiful materials for the sculptor, though involving much difficulty when combined. The disappearance of all attempts at chryselephantine sculpture in modern times is perhaps due to this difficulty in production and to the cost, but probably more to the fact that the ivory usually tended to crack. The great figure of Athena in the Parthenon needed, we know, to be frequently moistened on its ivory surface with water. At Olympia, oil was applied to the great figure of Zeus, but curiously enough the Asklepios at Epidauros needed neither. As the god of medicine, it may be supposed that he was able to preserve his own integument, but Pausanias tells us that a well, beneath the pavement of the temple, diffused sufficient moisture to prevent contraction and cracking of the ivory.[2] On the throne were representations, doubtless in relief, of Bellerophon killing the Chimæra, and of Perseus with the head of the Medusa. [Illustration: PLATE VII—Base of Temple of Asklepios] Plate VII. represents the remains of the temple as they exist to-day. Fragments of column, capital, pediment, &c., with pavements and bases of walls, render the hypothetical reconstruction of the building fairly easy.