a young man falls in love with, and wishes to marry, a non-citizen prostitute, and are overcome when the young woman's true status as a freeborn virgin is revealed. The well-brought-up freeborn virgin is marriageable, and the non-citizen prostitute is not. The relation of these comic situations to real life is problematic: Plautus and Terence drew on Greek models which are often little known, and so the extent to which they incorporated Roman social behaviors and attitudes is hard to determine. Elaine Fantham has observed that prolonged military campaigning in Greece and Asia Minor had introduced Roman men to a more sophisticated standard of luxury and pleasure, perhaps reflected by comedy: the young man acts out his infatuation with an expensive courtesan instead of a family slave or common prostitute. Prostitutes appear in erotic art in Pompeii and Herculaneum, including wall paintings from buildings identified as brothels, in which they are often nude except for a strapless bra (strophium). The paintings illustrate various sexual positions that contradict some scholarly claims about the preferences of Roman men in heterosexual acts. Literary sources record that prostitutes wore distinctive clothing, often gaudy dresses of see-through silk. They were the only Roman women who wore the toga, the distinctive dress of a free Roman male. This crossing of gender boundaries has been interpreted variously. Pleasure and infamy Prostitutes were among those persons in Rome categorized as infames, enjoying few legal protections even if they were technically not slaves. Infamia as a legal status once entered into could not be escaped: a prostitute was "not only a woman who practices prostitution, but also one who has formerly done so, even though she has ceased to act in this manner; for the disgrace is not removed even if the practice is subsequently discontinued". In the Roman moral tradition, pleasure (voluptas) was a dubious pursuit. The Stoic moralist Seneca contrasts pleasure with virtue (virtus): Virtue you will find in the temple, in the forum, in the senate house, standing before the city walls, dusty and sunburnt, her hands rough; pleasure you will most often find lurking around the baths and sweating rooms, and places that fear the police, in search of darkness, soft, effete, reeking of wine and perfume, pallid or else painted and made up with cosmetics like a corpse.Hallett, p. 84. Roman ambivalence toward physical pleasure is expressed by the infamia of those whose bodies