head. The scandal followed her throughout her career; almost a decade later, in 1904, The Sketch wrote, "Cléo de Mérode is, of course, well known because of her beauty and the Falguière statue, and not on account of her quality as dancer, which is not remarkable." Although de Mérode vehemently denied posing for the sculpture, she later incorporated the work into a stage production in which she starred. The sculpture can now be seen at the Musée d'Orsay. In the summer of 1896, de Mérode appeared in a simulated nude scene in the title role of Phryné, a three act ballet-pantomime staged at the Casino Municipal in the seaside resort of Royan. She later recalled, "I appeared before the jury enveloped in a dark grey-blue drapery. I danced in this costume and my gestures made the long folds of fabric undulate in a pretty manner. Underneath I wore a pale rose maillot, covered with a light rose gauze tunic, which hugged my form. When the moment came to seduce the judges, a follower, with one gesture, raised the immense cape and spread it behind me to its full extent. Against this rather dark ground, I was a pink silhouette, and from a distance, with a certain suspension of disbelief on the part of the audience, the flesh-colored feminine form gave the illusion of a nude body." That year she was also elected “Beauty Queen” by 3,000 out of 7,000 votes by readers of L'Illustration. She garnered almost 1,000 votes more than other celebrated names, including Sarah Bernhardt and Gabrielle Réjane. Despite the two scandals, de Mérode became an international star, performing across Europe and in the United States. In 1897, she arrived in New York City, where she appeared for a month at Koster and Bial's. During her stay in New York, she was besieged by reporters and followed down the street by girls begging for her autograph. de Mérode's performance was heavily anticipated, but was disappointing, the press praising her beauty but saying that she could not dance; Munsey's Magazine said of her, "Cléo de Mérode can go back to her inconspicuous position among the ballet dancers at the Paris Opéra, crowned with the distinction of having made the most successful failure of the season. Critics and public joined in a chorus of disappointment after her first appearance at Koster & Bial's, and yet she has set a new