29:
323:
568:
453:, Phryne makes the decision to expose her own breasts; while in Athenaeus' version Hypereides exposed Phryne as the climax of his speech, and in Plutarch's version Hypereides exposed her because he saw that his speech had failed to persuade the jury. Christine Mitchell Havelock notes that there is separate evidence for women being brought into the courtroom to arouse the sympathy of the jury, and that in ancient Greece baring the breasts was a gesture intended to arouse such a compassionate response, so Phryne's supposed behaviour in the court is not without parallel in Greek practice. However, this episode probably never happened. It was not mentioned in Posidippus' version of the trial in his comedy
501:
425:
577:
492:, possibly because he failed to gain one fifth of the jurors' votes and was unable to pay the subsequent fine. The trial of Phryne also supposedly led to two new laws being passed governing courtroom behaviour: one forbade the accused being present while the jury considered their decision; the other forbade lament in the courtroom.
678:, the flamingos are compared to Phryne, as they seduce themselves â by folding their wings over their own heads â more effectively than even she could ("they seem to think / themselves seductive; that their charms surpass / a Phryneâs"). Late nineteenth-century depictions of Phryne in other media included a waltz by
465:
290 BC, and the story of Phryne bearing her breasts therefore probably postdates this. In
Posidippus' version, Phryne personally pleaded with each of the jurors at her trial for them to save her life, and it was this which secured her acquittal. The story of Phryne baring her breasts may have
739:
According to
Athenaeus there were two Phrynes: one was nicknamed Saperdion ("little fish"); the other Clausigelos ("teary laughter"). One of these bore the nickname Sestus ("fleecer"). He is not consistent in differentiating the two, and it is likely that there was in fact only one Phryne who was
539:
Praxiteles also produced a golden or gilt statue of Phryne which was displayed â according to
Pausanias dedicated by Phryne herself â in the sanctuary of Apollo at Delphi. This may have been the first female portrait ever dedicated at Delphi; it was certainly the only statue of a woman alone to be
407:
The case against Phryne was brought by
Euthias, one of her former lovers; Hypereides, who spoke in her defence, was also one of Phryne's lovers. According to an ancient tradition, Euthias' case against Phryne was motivated by a personal quarrel rather than Phryne's alleged impiety. Craig Cooper
645:, which was controversial for showing her covering her face in shame, in the same pose that GĂ©rĂŽme used in several paintings of slaves in Eastern slave-markets. Driven by this controversy, GĂ©rĂŽme's painting was widely reproduced and caricatured, with engravings by
769:) based on the fact that the death penalty appears to be taken for granted by many of the ancient sources on Phryne's trial. Konstantinos Kapparis argues that the assumption of a death penalty can instead be explained as "invention and wild story-telling".
190:
Athenaeus' main source was fourth-century comedy. By the mid-fourth century, Athenian comedy had moved away from the mythological subjects popular in earlier periods, and more often satirised real people. Phryne featured in several of these plays. In
623:
avoid eroticising her. From the eighteenth century French artists focused on portraying Phryne as a courtesan, particularly depicting her public nudity at religious festivals or during her trial; by the mid-nineteenth century artists such as
161:' defence speech from her trial. In the ancient world this was a major influence on Phryne's biographical tradition, but it is now lost, with only a few fragments surviving. The surviving ancient sources about Phryne are mostly from the
540:
dedicated before the Roman period. According to Pliny, Phryne was also the model for
Praxiteles' sculpture of a smiling courtesan, and one of Praxiteles' sculptures of Eros was said to have been inspired by his desire for Phryne.
313:
Very little is known about Phryne's life for certain, and much of her biography transmitted in ancient sources may be invented: Helen
Morales writes that separating fact from fiction in accounts of Phryne's life is "impossible".
543:
Like
Praxiteles, Apelles used Phryne as a model for Aphrodite. According to Athenaeus, he was inspired by the sight of Phryne walking naked into the sea at Eleusis to use her as a model for his painting of
420:
and delivered by
Euthias, the other composed by Aristogeiton. The date of the trial is uncertain: it must have been before Anaximenes moved to Macedon, and therefore was perhaps between 350 and 340 BC.
416:
in 338. Hypereides' defence speech survives only in fragments, though it was greatly admired in antiquity. Two prosecution speeches are mentioned by
Athenaeus, though neither survive â one composed by
778:
At least, so the ancient biographical tradition claimed; Craig Cooper has argued that the account of the trial preserved in ancient sources has "all the hallmarks of being a biographical fiction".
310:
to
Thespiae. Phryne probably lived beyond 316 BC, when Thebes was rebuilt; according to Plutarch her fame meant that she could continue to charge high fees to her clients in her old age.
730:
Scholars have suggested birthdates for Phryne from the late 380s BC to circa 370. She was likely born before the conquest and subsequent destruction of Thespiae by Thebes in the late 370s.
657:
all modelled after GĂ©rĂŽme's Phryne. By the end of the century, GĂ©rĂŽme's painting of Phryne and the various works inspired by it had made Phryne an "international cultural icon".
175:("The Scholars at Dinner") is the source of the "vast majority" of extant ancient writings about Phryne. Other authors of the first, second and third centuries AD, including
358:, a kind of blasphemy. An anonymous treatise on rhetoric, which summarises the case against Phryne, lists three specific accusations against her â that she held a "shameless
524:, the first three-dimensional and monumentally-sized female nude in ancient Greek art. However, this association appears only in Athenaeus and the sixth-century rhetorician
392:, the new god introduced by Phryne was called Isodaites; though Harpocration describes him as being "foreign", the name is Greek and other sources consider it an epithet of
554:). This was displayed at the sanctuary of Asclepius on the Greek island of Kos, and by the first century AD it appears to have been one of Apelles' best-known works.
679:
445:" ("not by Hypereides' pleading, but by the sight of her body"). Three different versions of this story survive. In Quintilian's account, along with those of
286:
in 373 BC, been born in Athens to Thespian refugees following the Theban conquest, or been brought there as a girl to take part in the sex trade, as was
28:
714:("Phryne, the Oriental Courtesan") was released. Both films depict Phryne's disrobing at her trial with an iconography influenced by GĂ©rĂŽme's painting.
298:. She apparently grew up poor â comic playwrights portray her picking capers â and became one of the wealthiest women in the Greek world. According to
761:(usually translated as "impeachment", a procedure reserved for serious offences against the state; cases of impiety were more usually tried through a
488:
reports that after Phryne's acquittal, Euthias was so furious that he never spoke publicly again. Konstantinos Kapparis suggests that in fact he was
302:, after Alexander razed Thebes in 335, Phryne offered to pay to rebuild the walls. She was also said to have dedicated a statue of herself at
2061:
1761:
Keesling, Catherine (2006), "Heavenly Bodies: Monuments to Prostitutes in Greek Sanctuaries", in Faraone, Christopher; McClure, Laura (eds.),
412:, who made a speech for the prosecution, was a political enemy of Hypereides and prosecuted him for illegally introducing a decree after the
282:
Phryne seems to have spent most of her life in Athens. She might have come there with her family following the conquest of Thespiae by
1586:
322:
123:
after baring her breasts to the jury, though the historical accuracy of this episode is doubtful. She also modeled for the artists
273:
say that her real name was Mnesarete. According to Plutarch she was called Phryne because she had a pale complexion like a toad (
347:. According to legend, Hypereides exposed her breasts to the jury, who were so struck by her beauty that she was acquitted.
1924:
2046:
567:
139:, artistic interest in Phryne began to grow from the end of the eighteenth century. Her trial was famously depicted by
2041:
1797:
1752:
1716:
1682:
1664:
2051:
1872:
Ryan, Judith (1993), "More Seductive than Phryne: Baudelaire, GĂ©rĂŽme, Rilke, and the Problem of Autonomous Art",
1973:
1894:
1770:
1734:
1646:
710:
108:, but seems to have lived most of her life in Athens, where she became one of the wealthiest women in Greece.
82:
1329:
413:
641:
343:
The most famous event in Phryne's life was the prosecution brought by Euthias, where she was defended by
327:
145:
2056:
1641:, translated by Worthington, Ian; Cooper, Craig; Harris, Edward M., Austin: University of Texas Press,
2002:
1917:
607:
Phryne was largely ignored during the Renaissance, in favour of more heroic female figures such as
636:
332:
140:
417:
226:
218:
19:
593:(1794) avoid eroticising Phryne; paintings of the latter half of the nineteenth century such as
2008:
1727:
The Aphrodite of Knidos and Her Successors: A Historical Review of the Female Nude in Greek Art
467:
299:
180:
73:
1700:
687:
686:â where the scene of Phryne's trial was modelled on GĂ©rĂŽme's painting â, and a comic opera by
650:
701:" adapted the story of Phryne's trial with a contemporary setting, based on a short story by
533:
409:
755:, scholars such as David Phillips have proposed that she was in fact prosecuted through an
698:
546:
374:
or debauched meetings. The charge of introducing a new god had previously been used in the
8:
2020:
1947:
1910:
1594:
694:
521:
505:
485:
132:
33:
1957:
1823:
1626:
702:
665:
661:
616:
611:, but interest in depicting her increased in the eighteenth century with the advent of
586:
435:
Famously, Phryne was said to have been acquitted after the jury saw her bare breasts â
366:" or ritual procession, that she introduced a new god, and that she organised unlawful
749:
Though the ancient sources are unanimous in saying that the charge against Phryne was
646:
2066:
1962:
1890:
1827:
1806:
Morales, Helen (2011), "Fantasising Phryne: The Psychology and Ethics of Ekphrasis",
1793:
1766:
1748:
1730:
1712:
1678:
1660:
1642:
670:
625:
594:
525:
401:
385:
375:
184:
1815:
1696:
1618:
500:
470:. Though all of the ancient accounts assume that Phryne was on trial for her life,
446:
287:
46:
585:
Depictions of Phryne in the late-eighteenth and early-nineteenth century, such as
628:
painted Phryne without any reference to the ancient context as an eroticised and
620:
529:
482:, in which the jury would decide on the punishment if the accused was convicted.
279:
in Greek). She may also have been nicknamed Saperdion, Clausigelos, and Sestus.
171:
654:
265:. She was probably born in the 370s BC, and was the daughter of Epicles. Both
1986:
683:
408:
suggests that the trial of Phryne was politically motivated. He observes that
283:
1819:
576:
528:. It is not mentioned by other ancient authors who discuss the Knidia such as
2035:
1980:
1967:
612:
234:
674:, she is used metonymically to represent courtesans in general. In Rilke's
389:
162:
706:
629:
136:
1933:
1630:
513:
512:
Phryne was the model for two of the great artists of classical Greece,
450:
436:
424:
344:
246:
158:
128:
116:
18:
This article is about the ancient Greek courtesan. For other uses, see
1867:, translated by Krisak, Len, Rochester, New York: Boydell & Brewer
763:
756:
750:
477:
471:
379:
367:
359:
351:
274:
270:
208:
166:
165:, based on earlier Greek literature. The most important of these is
120:
93:
1657:
Courtesans and Fishcakes: The Consuming Passions of Classical Athens
1622:
1781:
Courtesans at Table: Gender and Greek Literary Culture in Athenaeus
608:
393:
266:
258:
200:
192:
176:
101:
660:
In nineteenth century literature, Phryne appears in the poetry of
517:
369:
353:
293:
262:
242:
124:
112:
105:
95:
693:
In the twentieth century, Phryne made the transition to cinema.
157:
The most substantial contemporary source about Phryne's life is
1952:
489:
397:
303:
92:, before 370 BC â after 316 BC) was an ancient Greek
32:
The Kaufmann Head in the Musée du Louvre, a Roman copy of the
1902:
1887:
Ter Unus: Isis, Dionysos, Hermes. Three Studies in Henotheism
1339:
361:
291:
1609:
Cooper, Craig (1995), "Hypereides and the Trial of Phryne",
1387:
1190:
1675:
Envy, Poison, and Death: Women on Trial in Classical Athens
1028:
977:
635:
The most famous nineteenth century depiction of Phryne was
307:
87:
64:
58:
1202:
1108:
1106:
1069:
1067:
994:
992:
536:
names the model for the Knidia not as Phryne but Cratina.
350:
According to the ancient sources, Phryne was charged with
169:, who was from Roman Egypt in the second century AD. His
1538:
1514:
1502:
938:
936:
934:
932:
930:
241:, might have alluded to her association with the artists
1562:
1399:
1298:
1274:
1118:
1103:
1091:
1079:
1064:
1016:
989:
903:
893:
891:
1490:
1447:
1411:
1286:
1154:
1130:
1004:
927:
149:, which influenced many subsequent depictions of her.
1526:
1375:
1310:
1262:
1250:
1238:
1226:
1214:
1178:
1166:
1142:
1052:
864:
61:
52:
1550:
1478:
1468:
1466:
1464:
1462:
888:
876:
828:
792:
55:
1435:
1423:
1363:
1351:
915:
740:
wrongly thought to be two people by later scholars.
520:. She is most famously associated with Praxiteles'
49:
953:
951:
852:
840:
816:
1459:
1040:
804:
476:was not necessarily punished by death; it was an
2033:
508:, for which Phryne is named as a possible model.
1763:Prostitutes and Courtesans in the Ancient World
948:
442:non Hyperidis actione... sed conspectu corporis
135:was based on her. Largely ignored during the
1918:
1833:
1790:Phryne of Thespiae: Courtesan, Muse, and Myth
1196:
591:Praxiteles Giving Phryne his Statue of Cupid
36:, which Phryne is said to have modelled for.
1729:, Ann Arbor: University of Michigan Press,
1587:"Phryne in Modern Art, Cinema, and Cartoon"
440:
1925:
1911:
1765:, Madison: University of Wisconsin Press,
115:, in which she was defended by the orator
100:(courtesan). Born Mnesarete, she was from
1858:, Ann Arbor: University of Michigan Press
1853:
1834:O'Connell, Peter (2013), "Hyperides and
1760:
1742:
1724:
1654:
1453:
1417:
1405:
1381:
1345:
1304:
1292:
1112:
1097:
1085:
1034:
1022:
998:
909:
499:
423:
321:
27:
1884:
1805:
1787:
1778:
1745:Prostitution in the Ancient Greek World
1701:10.1093/acrefore/9780199381135.013.8899
1672:
1532:
1496:
1280:
1268:
1256:
1232:
1220:
1172:
1160:
1148:
1124:
1073:
1058:
983:
942:
897:
882:
834:
798:
225:describes her trial. Two other plays,
217:makes a joke about her early life, and
111:Phryne is best known for her trial for
2034:
1636:
1608:
1316:
1244:
1208:
1184:
1906:
1862:
1725:Havelock, Christine Mitchell (1995),
1706:
1690:
1584:
1568:
1556:
1484:
1472:
1441:
1429:
1393:
1369:
1357:
1136:
1046:
1010:
921:
870:
858:
846:
822:
810:
1871:
1544:
1520:
1508:
187:, also tell anecdotes about Phryne.
1792:, Oxford: Oxford University Press,
1677:, Oxford: Oxford University Press,
1639:Dinarchus, Hyperides & Lycurgus
1637:Cooper, Craig (2001), "Hyperides",
601:(1850) eroticise and exoticise her.
13:
1844:Greek, Roman and Byzantine Studies
668:. In Baudelaire's "Lesbos", from
14:
2078:
2062:Artists' models of ancient Greece
1691:Funke, Melissa (2022), "Phryne",
682:, a shadow-theatre production by
504:Roman marble copy of Praxiteles'
575:
566:
384:is also known from the trial of
119:. According to legend, she was
45:
1808:The Cambridge Classical Journal
1743:Kapparis, Konstantinos (2018),
1711:, London: Bloomsbury Academic,
1322:
964:
772:
743:
733:
724:
1974:Hermes and the Infant Dionysus
1932:
1578:
25:4th-century BC Greek courtesan
1:
1863:Rilke, Rainer Maria (2015) ,
1693:Oxford Classical Encyclopedia
785:
615:. Early depictions of her by
552:Aphrodite Rising from the Sea
462:
431:, by José Frappa, before 1903
336:
764:
757:
751:
557:
478:
472:
380:
368:
360:
352:
275:
209:
94:
88:
7:
1709:Phryne: A Life in Fragments
711:Frine, cortigiana d'Oriente
642:Phryne before the Areopagus
328:Phryne before the Areopagus
146:Phryne Before the Areopagus
10:
2083:
2047:4th-century BC Greek women
1659:, London: Harper Collins,
705:. The following year, the
152:
77:
17:
1995:
1940:
1856:The Law of Ancient Athens
1820:10.1017/S1750270500001287
1396:, pp. 67, 158, n.53.
439:says that she was saved "
290:, another fourth-century
207:she is named in lists of
2042:4th-century BC Athenians
2003:Cephisodotus the Younger
1854:Phillips, David (2013),
1838:: A New Fragment of the
1673:Eidinow, Esther (2016),
1655:Davidson, James (1997),
961:"De Pythiae oraculis" 14
717:
495:
457:, quoted by Athenaeus.
317:
1885:Versnel, H. S. (1990),
1788:McClure, Laura (2024),
1779:McClure, Laura (2014),
1707:Funke, Melissa (2024),
418:Anaximenes of Lampsacus
292:
252:
20:Phryne (disambiguation)
2052:Ancient Athenian women
2009:Cephisodotus the Elder
1747:, Berlin: De Gruyter,
1348:, p. 261, n. 332.
509:
468:Idomeneus of Lampsacus
441:
432:
340:
231:The Birth of Aphrodite
37:
1783:, New York: Routledge
1585:Cavallini, Eleonora,
1547:, pp. 1130â1131.
1523:, pp. 1135â1136.
1511:, pp. 1134â1135.
1211:, p. 306, n. 10.
534:Clement of Alexandria
503:
427:
378:; that of organising
325:
239:The Woman from Knidos
143:in the 1861 painting
31:
986:, pp. 127, 196.
699:Il processo di Frine
653:, and a painting by
547:Aphrodite Anadyomene
2021:Praxiteles (crater)
1948:Aphrodite of Knidos
1571:, pp. 120â124.
1037:, pp. 321â323.
695:Alessandro Blasetti
688:Camille Saint-Saëns
651:Alexandre FalguiĂšre
522:Aphrodite of Knidos
506:Aphrodite of Knidos
414:Battle of Chaeronea
133:Aphrodite of Knidos
34:Aphrodite of Knidos
1958:Apollo Sauroctonos
703:Edoardo Scarfoglio
680:Antonin d'Argenton
666:Rainer Maria Rilke
662:Charles Baudelaire
617:Angelica Kauffmann
587:Angelica Kauffmann
510:
433:
341:
306:, and a statue of
38:
2057:Ancient Boeotians
2029:
2028:
1963:Dancers of Delphi
1889:, Leiden: Brill,
1840:Defense of Phryne
1139:, pp. 87â90.
1013:, pp. 29â30.
873:, pp. 44â48.
671:Les Fleurs du Mal
626:Gustave Boulanger
595:Gustave Boulanger
526:Choricius of Gaza
466:been invented by
376:trial of Socrates
223:The Ephesian Girl
185:Diogenes Laertius
86:
2074:
1927:
1920:
1913:
1904:
1903:
1899:
1881:
1868:
1859:
1850:
1830:
1802:
1784:
1775:
1757:
1739:
1721:
1703:
1687:
1669:
1651:
1633:
1605:
1604:
1602:
1593:, archived from
1572:
1566:
1560:
1554:
1548:
1542:
1536:
1530:
1524:
1518:
1512:
1506:
1500:
1494:
1488:
1482:
1476:
1470:
1457:
1451:
1445:
1439:
1433:
1427:
1421:
1415:
1409:
1408:, pp. 66â7.
1403:
1397:
1391:
1385:
1379:
1373:
1367:
1361:
1355:
1349:
1343:
1337:
1328:Hermippus fr.50
1326:
1320:
1314:
1308:
1302:
1296:
1290:
1284:
1283:, pp. 76â7.
1278:
1272:
1266:
1260:
1254:
1248:
1242:
1236:
1230:
1224:
1218:
1212:
1206:
1200:
1194:
1188:
1182:
1176:
1170:
1164:
1158:
1152:
1146:
1140:
1134:
1128:
1127:, pp. 26â7.
1122:
1116:
1110:
1101:
1095:
1089:
1083:
1077:
1076:, pp. 24â5.
1071:
1062:
1056:
1050:
1044:
1038:
1032:
1026:
1020:
1014:
1008:
1002:
996:
987:
981:
975:
968:
962:
955:
946:
940:
925:
919:
913:
907:
901:
895:
886:
880:
874:
868:
862:
856:
850:
844:
838:
832:
826:
820:
814:
808:
802:
796:
779:
776:
770:
767:
760:
754:
747:
741:
737:
731:
728:
637:Jean-LĂ©on GĂ©rĂŽme
579:
570:
481:
475:
464:
447:Sextus Empiricus
444:
383:
373:
365:
357:
338:
333:Jean-LĂ©on GĂ©rĂŽme
297:
278:
257:Phryne was from
212:
197:Orestautokleides
141:Jean-LĂ©on GĂ©rĂŽme
99:
91:
81:
79:
71:
70:
67:
66:
63:
60:
57:
54:
51:
2082:
2081:
2077:
2076:
2075:
2073:
2072:
2071:
2032:
2031:
2030:
2025:
1991:
1936:
1931:
1897:
1800:
1773:
1755:
1737:
1719:
1685:
1667:
1649:
1623:10.2307/1088883
1600:
1598:
1597:on 3 March 2016
1581:
1576:
1575:
1567:
1563:
1555:
1551:
1543:
1539:
1531:
1527:
1519:
1515:
1507:
1503:
1499:, pp. 6â9.
1495:
1491:
1483:
1479:
1471:
1460:
1452:
1448:
1440:
1436:
1428:
1424:
1416:
1412:
1404:
1400:
1392:
1388:
1380:
1376:
1368:
1364:
1356:
1352:
1344:
1340:
1334:Deipnosophistae
1327:
1323:
1315:
1311:
1303:
1299:
1291:
1287:
1279:
1275:
1267:
1263:
1255:
1251:
1243:
1239:
1231:
1227:
1219:
1215:
1207:
1203:
1195:
1191:
1183:
1179:
1171:
1167:
1159:
1155:
1147:
1143:
1135:
1131:
1123:
1119:
1111:
1104:
1096:
1092:
1084:
1080:
1072:
1065:
1057:
1053:
1045:
1041:
1033:
1029:
1021:
1017:
1009:
1005:
997:
990:
982:
978:
972:Deipnosophistae
969:
965:
956:
949:
941:
928:
920:
916:
908:
904:
896:
889:
881:
877:
869:
865:
857:
853:
845:
841:
833:
829:
821:
817:
809:
805:
797:
793:
788:
783:
782:
777:
773:
765:graphÄ asebeias
748:
744:
738:
734:
729:
725:
720:
647:LĂ©opold Flameng
621:J. M. W. Turner
605:
604:
603:
602:
582:
581:
580:
572:
571:
560:
530:Pliny the Elder
498:
490:disenfranchised
388:. According to
320:
255:
172:Deipnosophistae
155:
48:
44:
26:
23:
12:
11:
5:
2080:
2070:
2069:
2064:
2059:
2054:
2049:
2044:
2027:
2026:
2024:
2023:
2018:
2012:
2006:
1999:
1997:
1993:
1992:
1990:
1989:
1987:Venus of Arles
1984:
1977:
1970:
1965:
1960:
1955:
1950:
1944:
1942:
1938:
1937:
1930:
1929:
1922:
1915:
1907:
1901:
1900:
1895:
1882:
1869:
1860:
1851:
1831:
1803:
1798:
1785:
1776:
1771:
1758:
1753:
1740:
1735:
1722:
1717:
1704:
1688:
1683:
1670:
1665:
1652:
1647:
1634:
1617:(4): 303â318,
1606:
1580:
1577:
1574:
1573:
1561:
1559:, p. 345.
1549:
1537:
1525:
1513:
1501:
1489:
1487:, p. 106.
1477:
1458:
1446:
1434:
1422:
1410:
1398:
1386:
1374:
1362:
1350:
1338:
1321:
1319:, p. 315.
1309:
1307:, p. 259.
1297:
1285:
1273:
1261:
1249:
1247:, p. 147.
1237:
1225:
1213:
1201:
1199:, p. 113.
1197:O'Connell 2013
1189:
1187:, p. 305.
1177:
1165:
1163:, p. 119.
1153:
1141:
1129:
1117:
1115:, p. 261.
1102:
1100:, p. 408.
1090:
1088:, p. 464.
1078:
1063:
1051:
1039:
1027:
1025:, p. 106.
1015:
1003:
1001:, p. 440.
988:
976:
963:
947:
945:, p. 127.
926:
914:
912:, p. 439.
902:
887:
875:
863:
851:
839:
827:
815:
803:
790:
789:
787:
784:
781:
780:
771:
742:
732:
722:
721:
719:
716:
684:Maurice Donnay
649:, a bronze by
584:
583:
574:
573:
565:
564:
563:
562:
561:
559:
556:
497:
494:
459:Ephesian Woman
455:Ephesian Woman
319:
316:
254:
251:
154:
151:
24:
9:
6:
4:
3:
2:
2079:
2068:
2065:
2063:
2060:
2058:
2055:
2053:
2050:
2048:
2045:
2043:
2040:
2039:
2037:
2022:
2019:
2016:
2013:
2010:
2007:
2004:
2001:
2000:
1998:
1994:
1988:
1985:
1983:
1982:
1981:Resting Satyr
1978:
1976:
1975:
1971:
1969:
1968:Despinis Head
1966:
1964:
1961:
1959:
1956:
1954:
1953:Apollo Lyceus
1951:
1949:
1946:
1945:
1943:
1939:
1935:
1928:
1923:
1921:
1916:
1914:
1909:
1908:
1905:
1898:
1892:
1888:
1883:
1879:
1875:
1870:
1866:
1861:
1857:
1852:
1849:
1845:
1841:
1837:
1832:
1829:
1825:
1821:
1817:
1814:(1): 71â104,
1813:
1809:
1804:
1801:
1799:9780197580882
1795:
1791:
1786:
1782:
1777:
1774:
1768:
1764:
1759:
1756:
1754:9783110557954
1750:
1746:
1741:
1738:
1732:
1728:
1723:
1720:
1718:9781350371873
1714:
1710:
1705:
1702:
1698:
1694:
1689:
1686:
1684:9780199562602
1680:
1676:
1671:
1668:
1666:9780002555913
1662:
1658:
1653:
1650:
1644:
1640:
1635:
1632:
1628:
1624:
1620:
1616:
1612:
1607:
1596:
1592:
1588:
1583:
1582:
1570:
1565:
1558:
1553:
1546:
1541:
1535:, p. 17.
1534:
1529:
1522:
1517:
1510:
1505:
1498:
1493:
1486:
1481:
1474:
1469:
1467:
1465:
1463:
1456:, p. 86.
1455:
1454:Havelock 1995
1450:
1444:, p. 56.
1443:
1438:
1432:, p. 70.
1431:
1426:
1420:, p. 67.
1419:
1418:Keesling 2006
1414:
1407:
1406:Keesling 2006
1402:
1395:
1390:
1383:
1382:Havelock 1995
1378:
1372:, p. 51.
1371:
1366:
1360:, p. 80.
1359:
1354:
1347:
1346:Kapparis 2018
1342:
1335:
1332:= Athenaeus,
1331:
1325:
1318:
1313:
1306:
1305:Kapparis 2018
1301:
1295:, p. 45.
1294:
1293:Havelock 1995
1289:
1282:
1277:
1271:, p. 78.
1270:
1265:
1259:, p. 23.
1258:
1253:
1246:
1241:
1235:, p. 41.
1234:
1229:
1223:, p. 24.
1222:
1217:
1210:
1205:
1198:
1193:
1186:
1181:
1175:, p. 73.
1174:
1169:
1162:
1157:
1151:, p. 29.
1150:
1145:
1138:
1133:
1126:
1121:
1114:
1113:Kapparis 2018
1109:
1107:
1099:
1098:Phillips 2013
1094:
1087:
1086:Phillips 2013
1082:
1075:
1070:
1068:
1061:, p. 72.
1060:
1055:
1048:
1043:
1036:
1035:Kapparis 2018
1031:
1024:
1023:Davidson 1997
1019:
1012:
1007:
1000:
999:Kapparis 2018
995:
993:
985:
980:
973:
967:
960:
954:
952:
944:
939:
937:
935:
933:
931:
924:, p. 30.
923:
918:
911:
910:Kapparis 2018
906:
900:, p. 90.
899:
894:
892:
885:, p. 64.
884:
879:
872:
867:
861:, p. 43.
860:
855:
849:, p. 16.
848:
843:
837:, p. 24.
836:
831:
825:, p. 15.
824:
819:
812:
807:
801:, p. 22.
800:
795:
791:
775:
768:
766:
759:
753:
746:
736:
727:
723:
715:
713:
712:
708:
704:
700:
696:
691:
689:
685:
681:
677:
676:Die Flamingos
673:
672:
667:
663:
658:
656:
652:
648:
644:
643:
638:
633:
631:
627:
622:
618:
614:
613:Neoclassicism
610:
600:
596:
592:
588:
578:
569:
555:
553:
549:
548:
541:
537:
535:
531:
527:
523:
519:
515:
507:
502:
493:
491:
487:
483:
480:
474:
469:
461:was produced
460:
456:
452:
448:
443:
438:
430:
426:
422:
419:
415:
411:
405:
403:
399:
395:
391:
387:
382:
377:
372:
371:
364:
363:
356:
355:
348:
346:
334:
330:
329:
324:
315:
311:
309:
305:
301:
296:
295:
289:
285:
280:
277:
272:
268:
264:
260:
250:
248:
244:
240:
236:
232:
228:
224:
220:
216:
211:
206:
202:
198:
194:
188:
186:
182:
178:
174:
173:
168:
164:
160:
150:
148:
147:
142:
138:
134:
130:
126:
122:
118:
114:
109:
107:
103:
98:
97:
90:
84:
75:
74:Ancient Greek
69:
42:
35:
30:
21:
16:
2014:
1979:
1972:
1886:
1877:
1873:
1864:
1855:
1847:
1843:
1839:
1835:
1811:
1807:
1789:
1780:
1762:
1744:
1726:
1708:
1692:
1674:
1656:
1638:
1614:
1610:
1599:, retrieved
1595:the original
1590:
1564:
1552:
1540:
1533:McClure 2024
1528:
1516:
1504:
1497:McClure 2024
1492:
1480:
1449:
1437:
1425:
1413:
1401:
1389:
1384:, p. 9.
1377:
1365:
1353:
1341:
1333:
1324:
1312:
1300:
1288:
1281:Morales 2011
1276:
1269:Morales 2011
1264:
1257:Eidinow 2016
1252:
1240:
1233:McClure 2014
1228:
1221:Eidinow 2016
1216:
1204:
1192:
1180:
1173:Morales 2011
1168:
1161:Versnel 1990
1156:
1149:Eidinow 2016
1144:
1132:
1125:Eidinow 2016
1120:
1093:
1081:
1074:Eidinow 2016
1059:Morales 2011
1054:
1042:
1030:
1018:
1006:
984:McClure 2014
979:
971:
966:
958:
943:McClure 2014
917:
905:
898:McClure 2024
883:Eidinow 2016
878:
866:
854:
842:
835:McClure 2024
830:
818:
813:, p. 4.
806:
799:McClure 2024
794:
774:
762:
745:
735:
726:
709:
692:
675:
669:
659:
655:Paul CĂ©zanne
640:
634:
630:Orientalised
606:
598:
590:
551:
545:
542:
538:
511:
484:
479:agĆn timÄtos
458:
454:
434:
428:
410:Aristogeiton
406:
390:Harpocration
349:
342:
326:
312:
300:Callistratus
281:
256:
238:
230:
222:
214:
213:, Timocles'
204:
196:
189:
170:
163:Roman Empire
156:
144:
110:
40:
39:
15:
1579:Works cited
1317:Cooper 1995
1245:Cooper 2001
1209:Cooper 1995
1185:Cooper 1995
970:Athenaeus,
707:peplum film
137:renaissance
2036:Categories
1941:Sculptures
1934:Praxiteles
1896:9004092684
1772:0299213102
1736:047210585X
1648:0292791429
1591:MythiMedia
1569:Funke 2024
1557:Rilke 2015
1485:Funke 2024
1442:Funke 2024
1430:Funke 2024
1394:Funke 2024
1370:Funke 2024
1358:Funke 2024
1137:Funke 2024
1047:Funke 2022
1011:Funke 2024
957:Plutarch,
922:Funke 2024
871:Funke 2024
859:Funke 2024
847:Funke 2024
823:Funke 2024
811:Funke 2024
786:References
758:eisangelia
514:Praxiteles
451:Philodemus
437:Quintilian
345:Hypereides
247:Praxiteles
227:Antiphanes
219:Posidippus
159:Hypereides
131:, and the
129:Praxiteles
117:Hypereides
1865:New Poems
1828:145580288
1545:Ryan 1993
1521:Ryan 1993
1509:Ryan 1993
1473:Cavallini
558:Reception
486:Hermippus
271:Athenaeus
181:Pausanias
167:Athenaeus
121:acquitted
83:romanized
2067:Hetairai
2011:(father)
1836:Epopteia
609:Lucretia
394:Dionysus
267:Plutarch
259:Thespiae
210:hetairai
201:Anaxilas
193:Timocles
177:Plutarch
102:Thespiae
2017:(model)
1996:Related
1631:1088883
1611:Phoenix
1601:3 March
959:Moralia
752:asebeia
518:Apelles
473:asebeia
381:thiasoi
370:thiasoi
354:asebeia
294:hetaira
263:Boeotia
243:Apelles
205:Neottis
153:Sources
125:Apelles
113:impiety
106:Boeotia
96:hetaira
89:PhrĆ«ÌnÄ
85::
2015:Phryne
1893:
1826:
1796:
1769:
1751:
1733:
1715:
1681:
1663:
1645:
1629:
1330:MĂŒller
632:nude.
599:Phryne
532:, and
429:Phryne
398:Helios
304:Delphi
288:Neaira
284:Thebes
276:phryne
235:Alexis
215:Neaira
183:, and
41:Phryne
2005:(son)
1824:S2CID
1627:JSTOR
1336:13.60
974:13.60
718:Notes
496:Model
402:Pluto
400:, or
386:Ninos
362:komos
318:Trial
78:ΊÏÏΜη
1891:ISBN
1874:PMLA
1794:ISBN
1767:ISBN
1749:ISBN
1731:ISBN
1713:ISBN
1679:ISBN
1661:ISBN
1643:ISBN
1603:2016
697:'s "
664:and
619:and
516:and
449:and
339:1861
308:Eros
269:and
253:Life
245:and
233:and
199:and
127:and
1880:(5)
1878:108
1842:",
1816:doi
1697:doi
1619:doi
639:'s
597:'s
589:'s
331:by
261:in
104:in
2038::
1876:,
1848:53
1846:,
1822:,
1812:57
1810:,
1695:,
1625:,
1615:49
1613:,
1589:,
1461:^
1105:^
1066:^
991:^
950:^
929:^
890:^
690:.
463:c.
404:.
396:,
337:c.
335:,
249:.
237:'
229:'
221:'
203:'
195:'
179:,
80:,
76::
72:;
59:aÉȘ
1926:e
1919:t
1912:v
1818::
1699::
1621::
1475:.
1049:.
550:(
68:/
65:i
62:n
56:r
53:f
50:Ë
47:/
43:(
22:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
.jpg)