one fifth of the jurors' votes and was unable to pay the subsequent fine. Model Phryne was the model for two of the great artists of classical Greece, Praxiteles and Apelles. According to Athenaeus, Apelles saw Phryne walk naked into the sea at Eleusis, and inspired by this sight used her as a model for his painting of Aphrodite Anadyomene (Aphrodite Rising from the Sea). This work was on display 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. Praxiteles also based a depiction of Aphrodite on Phryne – the Aphrodite of Knidos, the first three-dimensional and monumentally-sized female nude in ancient Greek art. He also produced a golden or gilt statue of Phryne which was displayed – according to Pausanias dedicated by Phryne herself – 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 dedicated before the Roman period. Reception Phryne was largely ignored during the Renaissance, in favour of more heroic female figures such as Lucretia, but interest in her story increased towards the end of the eighteenth century. Early depictions of her by Angelica Kauffmann and J. M. W. Turner avoid eroticising her, but in the latter half of the nineteenth century, French academic painters focused more on the eroticism of Phryne's life. The most famous nineteenth century depiction of Phryne was Jean-Léon Gérôme's Phryne before the Areopagus, which was controversial for showing her covering her face in shame, in the same pose that Gérôme used in several paintings of slaves in Eastern slave-markets. Driven by this controversy, Gérôme's painting was widely reproduced and caricatured, with engravings by Léopold Flameng, a bronze by Alexandre Falguière, and a painting by Paul Cézanne all modelled after Gérôme's Phryne. In nineteenth century literature, Phryne appears in "Lesbos" from Baudelaire's Les Fleurs du Mal, where she is used metonymically to represent courtesans in general, and in Rainier Maria Rilke's Die Flamingos, in which rather than seducing the men around her, she narcissistically seduces herself. In the twentieth century, Phryne made the transition to cinema. Alessandro Blasetti's "Il processo di Frine" adapted the story of Phryne's trial with a contemporary setting, based on a short story by Edoardo Scarfoglio; the following year,