Galatea (; ; "she who is milk-white") is a name popularly applied to the statue carved of ivory by Pygmalion of Cyprus, which then came to life in Greek mythology. In modern English, the name usually alludes to that story. Galatea is also the name of Polyphemus's object of desire in Theocritus's Idylls VI and XI and is linked with Polyphemus again in the myth of Acis and Galatea in Ovid's Metamorphoses. Galatea is mentioned in Book XVIII of The Iliad: "Bright Galatea quits her pearly bed". Etymology Though the name "Galatea" has become so firmly associated with Pygmalion's statue as to seem antique, its use in connection with Pygmalion originated with a post-classical writer. No extant ancient text mentions the statue's name, although Pausanias mentions a statue of Calm, Galene (γαλήνης). As late as 1763, a sculpture of the subject shown by Falconet at the Paris Salon (see illustration) carried the title Pygmalion aux pieds de sa statue qui s'anime ("Pygmalion at the feet of his statue that comes to life"). That sculpture, currently at the Walters Art Museum in Baltimore, now bears the expected modern title Pygmalion and Galatea. According to Meyer Reinhold, the name "Galatea" was first given wide circulation in Jean-Jacques Rousseau's scène lyrique of 1762, Pygmalion. The name had become a commonplace of pastoral fictions, because of the well-known myth of Acis and Galatea; one of Honoré d'Urfé's characters in L'Astrée was a Galatea, though not this sculptural creation. Myth The story of Pygmalion appeared earliest in a Hellenistic work, Philostephanus' history of Cyprus, "De Cypro". It is retold in Ovid's Metamorphoses, where the king Pygmalion is made into a sculptor who fell in love with an ivory statue he had crafted with his own hands. In answer to his prayers, the goddess Aphrodite brought it to life and united the couple in marriage. This novella remained the classical telling until the end of the seventeenth century. The trope of the animated statue gained a vogue during the eighteenth century. The daemon of Pygmalion's goddess, animating her cult image, bore him a daughter Paphus—the eponym of the city of Paphos—and Metharme. Of "this ecstatic relationship", Meyer Reinhold has remarked, "there may be lurking a survival of the ancient cult of the Great Goddess and her consort". Cinyras, perhaps the son of Paphus, or perhaps the successful suitor of Metharme, founded the city of Paphos on