Renaissance onwards Through the desire of Renaissance artists reading Pliny to emulate Apelles, and if possible, to outdo him, Venus Anadyomene was taken up again in the 15th century: besides Botticelli's famous The Birth of Venus (Uffizi Gallery, Florence), another early Venus Anadyomene is the bas-relief by Antonio Lombardo from Wilton House (Victoria and Albert Museum). Titian's Venus Anadyomene, , formerly a long-term loan by the Duke of Sutherland, was bought by the National Gallery of Scotland in 2003. It depicts Venus standing in the sea, wringing out her hair. The scallop shell is merely symbolic, as it does not interact with Venus. Giambologna's sculpture is also a single figure wringing out her hair. The subject was popular with Baroque and Rococo painters, who made up large groups with attending cherubs, sea-nymphs, sea-horses, and tritons around the goddess; these might also be called a Triumph of Venus, and can be traced back to Raphael's Galatea (c. 1514). This, rather than the Botticelli, was the dominant influence on paintings of the subject until the late 19th century. Paintings in this vein include those by Nicolas Poussin (1635–36, Philadelphia), Sebastiano Ricci (c. 1713, Getty Museum), Pierre-Jacques Cazes, François Boucher (1740, Stockholm, and c. 1743 Hermitage Museum). A Cornelis de Vos in the Prado has an original and less formal composition. Rococo sculptures of the subject were modestly draped across the hips, but bolder nudes appealed to male nineteenth-century patrons. Théodore Chassériau executed the subject in 1835; he repeated the hair-wringing gesture in his most famous work The Toilette of Esther (1841). Ingres' Venus Anadyomene, completed after many years in 1848, is one of the painter's most celebrated works (Musée Condé). Alexandre Cabanel's The Birth of Venus, reworking the then recently discovered Pompeii fresco, was shown at the Paris Salon in 1863, and bought by Napoleon III for his own personal collection. Venus lies naked on the waves ambiguously, with putti flying above her. Robert Rosenblum's comment on Cabanel's painting is that "This Venus hovers somewhere between an ancient deity and a modern dream... and the ambiguity of her eyes, that seem to be closed but that a close look reveals that she is awake... A nude who could be asleep or awake is specially formidable for a male viewer". Such a highly conventionalized theme, with undertones of eroticism justified by its mythological context, was ripe for modernist deconstruction; in 1870 Arthur Rimbaud