View source for Phryne

{{Short description|4th-century BC Greek courtesan}}
{{About|the ancient Greek courtesan}}
{{good article}}
[[File:Marble Female Head of the “Aphrodite of Cnidus” type, Asia Minor, c. 150 BC (28205033452).jpg|thumb|alt=Stone carving of the head of a woman|The Kaufmann Head, a Roman copy of the [[Aphrodite of Knidos]], for which Phryne is said to have been the model, in the [[Musée du Louvre]]]]
'''Phryne''' ({{langx|grc|Φρύνη}},{{efn|{{IPAc-en|ˈ|f|r|aɪ|n|i}}; {{IPA|grc|'pʰry.nɛː}}}} before 370 – after 316&nbsp;BC) was an ancient Greek [[hetaira]] (courtesan). Born Mnesarete, she was from [[Thespiae]] in [[Boeotia]], but seems to have lived most of her life in Athens. She apparently grew up poor, but became one of the richest women in Greece.

Phryne is best known for her trial for [[asebeia|impiety]], in which she was defended by the orator [[Hypereides]].  According to legend, she was [[Acquittal|acquitted]] after baring her breasts to the jury, though the historical accuracy of this episode is doubtful. She also modeled for the artists [[Apelles]] and [[Praxiteles]]: the [[Aphrodite of Knidos]] was said to have been based on her.  Phryne was largely ignored during the [[Renaissance]], but artistic interest in her began to grow from the end of the eighteenth century. Her trial was depicted by [[Jean-Léon Gérôme]] in the 1861 painting ''[[Phryne Before the Areopagus]]'', which influenced many subsequent depictions of her, and according to Laura McClure made her an "international cultural icon".{{sfn|McClure|2024|p=17}} As well as her depiction in visual arts, since the nineteenth century she has also appeared in literature, theatre, and on film.

==Sources==
As with other ancient Greek women, scholarship about Phryne is hindered by the fragmentary nature of the surviving sources. Many of the surviving sources were written centuries after Phryne's own time, and they were written entirely by men.{{sfn|McClure|2024|p=20}} The most substantial contemporary source about Phryne's life was [[Hypereides]]' defence speech from her trial. In the ancient world this was a major influence on Phryne's biographical tradition, but it is now lost, except for a few fragments.{{sfn|McClure|2024|p=22}}  The surviving ancient sources about Phryne are mostly from the [[Roman Empire]], based on earlier Greek literature.{{sfn|Funke|2024|p=3–4}}  The most important of these is [[Athenaeus]], who was from Roman Egypt in the second century AD.  His ''[[Deipnosophistae]]'' ("The Scholars at Dinner") is the source of the vast majority of extant ancient writings about Phryne.{{sfn|Funke|2024|p=15}}  Other authors of the first, second and third centuries AD, including [[Plutarch]], [[Pausanias (geographer)|Pausanias]], and [[Diogenes Laertius]], also tell anecdotes about Phryne.{{sfn|McClure|2024|p=24}}

Athenaeus' main source was fourth-century comic drama.{{sfn|Funke|2024|p=15}} By the mid-fourth century BC, Athenian comic playwrights had moved away from the mythological subjects popular in earlier periods, and more often satirised real people.{{sfn|Funke|2024|p=42–43}} Phryne featured in several of these plays. In [[Timocles]]' ''Orestautokleides'' and [[Anaxilas]]' ''Neottis'' she is named in lists of [[hetaira]]i, Timocles' ''Neaira'' makes a joke about her early life, and [[Posidippus (comic poet)|Posidippus]]' ''The Ephesian Girl'' describes her trial.  Two other plays, [[Antiphanes (comic poet)|Antiphanes]]' ''The Birth of Aphrodite'' and [[Alexis (poet)|Alexis]]' ''The Woman from Knidos'', might have alluded to her association with the artists [[Apelles]] and [[Praxiteles]].{{sfn|Funke|2024|pp=43&ndash;48}}

==Life==
Very little is known about Phryne's life for certain. Ancient sources about her largely tell disjointed anecdotes which are difficult to piece together into a full biography,{{sfn|McClure|2024|p=18}} and many of those stories may be invented.{{sfn|Morales|2011|p=72}} Helen Morales writes that separating fact from fiction in accounts of Phryne's life is impossible.{{sfn|Morales|2011|p=72}}

Phryne was from [[Thespiae]] in [[Boeotia]].{{sfn|Eidinow|2016|p=64}}  She was probably born in the 370s BC,{{efn|Scholars have suggested birthdates for Phryne from the late 380s BC{{sfn|McClure|2024|p=90}} to circa 370.{{sfn|Kapparis|2018|p=439}} She was likely born before the conquest and subsequent destruction of Thespiae by Thebes in the late 370s.{{sfn|Funke|2024|p=29}}{{sfn|McClure|2024|p=90}}}} and was the daughter of Epicles.{{sfn|McClure|2014|p=127}}  Both [[Plutarch]] and [[Athenaeus]] say that her real name was Mnesarete.<ref name=Plutarch-DPo-14>Plutarch, ''De Pythiae oraculis'' 14 (''Moralia'' 401A).</ref><ref>Athenaeus, ''Deipnosophistae'' 13.60 = 13.591e, citing Aristogeiton's speech against Phryne.</ref> According to Plutarch she was called Phryne because she had a pale complexion like a toad ({{Transliteration|grc|phryne}} in Greek).<ref name=Plutarch-DPo-14/> She may also have been nicknamed Saperdion, Clausigelos, and Sestus.{{efn|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 wrongly thought to be two people by later scholars.{{sfn|McClure|2014|pp=127; 196}}}}{{sfn|McClure|2014|p=127}}

Phryne seems to have spent most of her life in Athens.{{sfn|Kapparis|2018|p=440}} She might have come there with her family following the conquest of Thespiae by [[Thebes, Greece|Thebes]] in 373&nbsp;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 [[Neaira (hetaera)|Neaira]], another fourth-century hetaira.{{sfn|Funke|2024|pp=29–30}}{{sfn|Kapparis|2018|p=440}} She apparently grew up poor – comic playwrights portray her picking [[caper]]s{{efn|Capers had so little value that only the very poor would gather them.{{sfn|Dalby|1996|p=25}}}} – and became one of the wealthiest women in the Greek world.{{sfn|McClure|2014|p=127}} According to [[Callistratus (sophist)|Callistratus]], after Alexander razed Thebes in 335, Phryne offered to pay to rebuild the walls.{{sfn|Davidson|1997|p=106}}  She was also said to have dedicated a statue of herself at [[Delphi]], and a statue of [[Eros]] to Thespiae.{{sfn|Kapparis|2018|pp=321&ndash;323}}  Phryne probably lived beyond 316&nbsp;BC, when Thebes was rebuilt;{{sfn|McClure|2014|p=127}} according to Plutarch her fame meant that she could continue to charge high fees to her clients in her old age.{{sfn|Funke|2022}}

Hetairai had a reputation in ancient literature for their wit and learning.{{sfn|McClure|2014|p=55}}  The trope of the witty hetaira derives from the ''Memoirs'' of [[Lynceus of Samos]], a comic author of the late fourth century BC, which contained several anecdotes about the wit of the hetaira [[Gnathaina]].{{sfn|Funke|2024|p=11}}  Several anecdotes from the ''Deipnosophistae'' relate Phryne's witticisms,{{sfn|McClure|2014|p=55}} though the meaning of many of them is unclear.{{sfn|McClure|2024|p=77}}

===Trial===
[[File:Hypereides Ny Carlsberg Glyptotek IN1967.jpg|right|thumb|Portrait head often identified as Hypereides. Copy of a late-4th or early 3rd-century BC Greek original.{{sfn|Richter|1984|p=150–151}}|alt=Head of a bearded man, carved from white stone. The nose is broken off.]]
The most famous event in Phryne's life was the prosecution brought against her by Euthias.{{sfn|McClure|2014|p=127}} Little is known of Euthias, except that he was supposedly a former lover of Phryne, and was accused of being a [[sycophant]] – a person who habitually brought prosecutions for personal gain.{{sfn|McClure|2024|p=142}}{{sfn|MacDowell|2012}} The prosecution speech delivered by Euthias – which, according to Athenaeus, was composed by [[Anaximenes of Lampsacus]] on his behalf – did not survive.{{sfn|McClure|2024|p=143}}  Phryne was defended by [[Hypereides]], a well-known and wealthy orator who had a reputation for licentiousness due to his association with hetairai. Six of the speeches attributed to him relate to hetairai, and in a surviving fragment of his defense of Phryne, he admits to being her lover.{{sfn|Funke|2024|pp=84}}{{sfn|McClure|2024|p=143}} Hypereides's defence speech survives only in fragments, though it was greatly admired in antiquity.{{sfn|Eidinow|2016|p=24}}  The date of the trial is uncertain.{{sfn|Cooper|2001|p=147}}  If Anaximenes did compose the speech for the prosecution, it must have been before he moved to Macedon, and therefore was perhaps between 350 BC and 340 BC.{{sfn|Eidinow|2016|p=23}}  Alternatively, Craig Cooper argues that the trial was likely after the [[Battle of Chaeronea (338 BC)|Battle of Chaeronea]] in 338 BC,  while Eleanora Cavallini suggests that it was after 335 BC.{{sfn|Cavallini|2008|p=207}}

Phryne was charged with {{Transliteration|grc|[[asebeia]]}}, a kind of blasphemy. An anonymous treatise on rhetoric, which summarises the case against Phryne, lists three specific accusations against her – that she held a "shameless {{Transliteration|grc|[[komos]]}}" or ritual procession, that she introduced a new god, and that she organised unlawful thiasoi or debauched meetings.{{sfn|Eidinow|2016|pp=26–7}} The charge of introducing a new god had previously been used in the [[trial of Socrates]]; that of organising thiasoi is also known from the trial of [[Ninos (priestess)|Ninos]].{{sfn|Funke|2024|pp=87–90}} According to [[Harpocration]], the new god introduced by Phryne was called Isodaites; though Harpocration describes him as being "foreign", the name is Greek{{sfn|Eidinow|2016|p=29}} and other sources consider it an epithet of [[Dionysus]], [[Helios]], or [[Pluto (mythology)|Pluto]].{{sfn|Versnel|1990|p=119}}

[[File:Jose Frappa - Phryne.jpg|thumb|left|alt=Painting of a woman from behind, opening her robe to reveal her breasts to several men.|''Phryne'', by {{ill|José Frappa|fr}}, before 1903]]
According to an ancient tradition, Euthias's case against Phryne was motivated by a personal quarrel rather than Phryne's alleged impiety.{{sfn|O'Connell|2013|p=113}} Craig Cooper suggests that the trial of Phryne was politically motivated. He observes that [[Aristogeiton (orator)|Aristogeiton]], to whom Athenaeus attributes a speech against Phryne, was a political enemy of Hypereides and prosecuted him for illegally introducing a decree after the [[Battle of Chaeronea (338 BC)|Battle of Chaeronea]] in 338 BC.{{sfn|Cooper|1995|p=306|loc=n. 10}}  Phryne's own provocative behaviour – for instance her offer to restore the walls of Thebes, on the condition that an inscription attributing the rebuilding to "Phryne the hetaira" be displayed – may also have partially motivated the prosecution. Konstantinos Kapparis suggests that the trial might have been seen as a response to "the uppity alien woman who did not know her place".{{sfn|Kapparis|2021|pp=80–81}}

Phryne was said to have been acquitted after the jury saw her bare breasts – [[Quintilian]] says that she was saved "not by Hypereides' pleading, but by the sight of her body".{{sfn|Morales|2011|p=78}} Three different versions of this story survive.  In Quintilian's account, along with those of [[Sextus Empiricus]] and [[Philodemus]],{{efn|Philodemus, the earliest of these sources, lived in the first century BC, Quintilian in the first century AD, and Sextus Empiricus in the second century AD}} Phryne makes the decision to expose her own breasts; while in Athenaeus's version Hypereides exposes Phryne as the climax of his speech, and in Plutarch's version Hypereides exposes her because he saw that his speech had failed to persuade the jury.{{sfn|Morales|2011|pp=76–7}} 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 compassion, so Phryne's supposed behaviour in the court is not without parallel in Greek practice.{{sfn|Havelock|1995|p=45}} Ioannis Ziogas observes that it particularly recalls [[Clytemnestra]]'s plea to [[Orestes]] in [[Aeschylus]]'s play ''[[The Libation Bearers]]'', and the story of [[Helen of Troy|Helen]] appealing to [[Menelaus]] for mercy after the fall of Troy.{{sfn|Ziogas|2018|pp=81–82}}

[[File:Jean-Léon Gérôme, Phryne revealed before the Areopagus (1861) - 01.jpg|right|thumb|upright=1.5|alt=Painting showing a man dressed in a blue robe taking away the robe of a woman, leaving her standing nude. A jury of men watch.|''[[Phryne Before the Areopagus]]'' by [[Jean-Léon Gérôme]], {{circa|1861}}]]
However, this episode probably never happened. It was not mentioned in Posidippus's version of the trial in his comedy ''Ephesian Woman'', quoted by Athenaeus.  ''Ephesian Woman'' was produced {{circa|290 BC}}, and the story of Phryne baring her breasts therefore probably postdates this.{{sfn|Eidinow|2016|pp=24–5}} In Posidippus's 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.{{sfn|Kapparis|2018|p=259}}  The story of Phryne baring her breasts may have been invented by the Hellenistic biographer [[Idomeneus of Lampsacus]],{{efn|c. 350–270 BC}}{{sfn|Cooper|1995|p=315}} who wrote a treatise on Athenian demagogues.{{sfn|Cooper|1995|p=307}} Though all of the ancient accounts assume that Phryne was on trial for her life, {{Transliteration|grc|asebeia}} was not necessarily punished by death; it was an {{Transliteration|grc|agōn timētos}}, in which the jury would decide on the punishment if the accused was convicted.{{sfn|Kapparis|2018|p=261}}{{efn|The apparent contradiction between the assumption that Phryne was on trial for her life and the fact that the punishment for {{translit|grc|asebeia}} was not fixed has caused David Phillips to suggest that she was in fact tried under a different procedure, called {{translit|grc|eisangelia}}.{{sfn|Kapparis|2018|p=261}}}}

Phryne's trial is, along with those of Ninos and [[Theoris of Lemnos]], one of three known from the fourth century in which a [[metic]] woman was accused of a religious crime. Due to her wealth and connections, hers was the only one in which the accused was acquitted.{{sfn|Kennedy|2014|pp=145–148}} A Hellenistic biographer, [[Hermippus of Smyrna]], reports that after Phryne's acquittal, Euthias was so furious that he never spoke publicly again.<ref>[[Fragmente der griechischen Historiker|''FGrH'']] 1026 F 46a, in Athenaeus, ''Deipnosophistae'' 13.59 = 13.590d.</ref>  Kapparis suggests that in fact he was [[atimia|disenfranchised]], possibly because he failed to gain one fifth of the jurors' votes and was unable to pay the subsequent fine.{{sfn|Kapparis|2018|p=261|loc=n. 332}} 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 verdict; the other forbade lament in the courtroom.{{sfn|Funke|2024|p=80}}

===Model===
[[File:Cnidus Aphrodite Altemps Inv8619.jpg|right|upright|thumb|alt=Sculpture of a standing female nude, covering her vulva with one hand.|Roman marble copy of Praxiteles' [[Aphrodite of Knidos]], for which Phryne is named as a possible model]]
In ancient literature, hetairai were often said to have modelled for famous artists: for instance [[Aristides of Thebes]] was said to have painted [[Leontion]].{{sfn|McClure|2024|pp=112–113}} Phryne was particularly associated with the sculptor [[Praxiteles]],{{sfn|McClure|2024|p=97}} and reputedly the model for both him and the painter [[Apelles]].{{sfn|McClure|2024|p=19}} 

Phryne is most famously associated with Praxiteles' [[Aphrodite of Knidos]],{{sfn|Funke|2024|p=51}} the first three-dimensional and monumentally sized female nude in ancient Greek art.{{sfn|Havelock|1995|p=9}} However, the historicity of this association is doubtful.{{sfn|McClure|2024|p=121}} The only source for the connection is Athenaeus. The sixth-century rhetorician [[Choricius of Gaza]] also says that Praxiteles used her as a model for a statue of Aphrodite, though according to him it was one commissioned by the Spartans.{{sfn|McClure|2024|p=172|loc=n.2}} It is not mentioned by other ancient authors who discuss both Phryne and the Aphrodite of Knidos, such as the first-century AD Roman author [[Pliny the Elder]];{{sfn|Funke|2024|pp=67; 158|loc=n.53}} nor is the association mentioned in [[Pseudo-Lucian]]'s extensive description of the Aphrodite of Knidos, or the eleven surviving ancient epigrams about the sculpture. In the second century, the theologian and philosopher [[Clement of Alexandria]] named the model not as Phryne but Cratina.{{sfn|Funke|2024|pp=67; 158|loc=n.53}}

Praxiteles also produced a golden or gilt statue of Phryne which was displayed – according to Pausanias dedicated by Phryne; according to Athenaeus by the Thespians{{sfn|Funke|2024|pp=70–71}} – in the sanctuary of Apollo at Delphi.{{sfn|Keesling|2006|pp=66–7}} This may have been the first female portrait ever dedicated at Delphi; it is the only known statue of a woman alone to be dedicated before the Roman period.{{sfn|Keesling|2006|p=67}}  One of Praxiteles' sculptures of Eros was said to have been inspired by his desire for Phryne;{{sfn|Funke|2024|p=56}} this was displayed in Thespiae alongside two other sculptures by Praxiteles, one of Aphrodite and one of Phryne herself.{{sfn|Funke|2024|p=60}}  According to Pliny, Phryne was also the model for Praxiteles' sculpture of a smiling courtesan,{{sfn|Funke|2024|p=70}} which may have originally been displayed in Athens.{{sfn|McClure|2024|pp=92–93}}

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 [[Aphrodite Anadyomene]] (Aphrodite rising from the sea).{{efn|Alternatively, Pliny reports that Alexander the Great's mistress [[Campaspe]] was the model for Apelles' Aphrodite.{{sfn|McClure|2024|p=114}}}} This was displayed at the sanctuary of Asclepius on the Greek island of Kos before being taken to Rome by the emperor [[Augustus]]; by the first century AD it appears to have been one of Apelles' best-known works.{{sfn|Havelock|1995|p=86}}{{sfn|McClure|2024|p=114}}

==Reception==
{{multiple image|total_width=400|image1=Praxiteles Giving Phryne his Statue of Cupid, Angelica Kauffmann 1794.jpg|height1=618|image2=Phryne by Gustave Boulanger.jpg|height2=794|footer=Depictions of Phryne in the late-eighteenth and early-nineteenth century, such as [[Angelica Kauffmann]]'s ''Praxiteles Giving Phryne his Statue of Cupid'' (1794) avoid eroticising Phryne; paintings of the latter half of the nineteenth century such as [[Gustave Boulanger]]'s ''Phryne'' (1850) eroticise and exoticise her.{{sfn|Cavallini|2008|pp=210–211}}}}
Phryne was largely ignored during the Renaissance, in favour of women such as [[Lucretia]] and [[Cleopatra]], who were seen as heroic,{{sfn|Cavallini|2008|pp=209–210}} but interest in depicting her increased in the eighteenth century with the advent of [[Neoclassicism]].{{sfn|Funke|2024|p=106}} Early depictions of her by [[Angelica Kauffmann]] and [[J. M. W. Turner]] avoid eroticising her.{{sfn|Cavallini|2008|pp=210–211}} 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.{{sfn|McClure|2024|pp=6–9}} By the mid-nineteenth century artists such as [[Gustave Boulanger]], rejecting the neoclassical aesthetic of [[Hellenism (neoclassicism)|Hellenism]], painted Phryne without any reference to the ancient context as an eroticised and [[Orientalism|Orientalised]] nude.{{sfn|McClure|2024|p=9}}

The most famous nineteenth century depiction of Phryne was [[Jean-Léon Gérôme]]'s ''[[Phryne Before the Areopagus]]''.  This painting was controversial for showing Phryne covering her face in shame, in the same pose that Gérôme used in several paintings of slaves in Eastern slave-markets.  Critics argued that Phryne should be proud rather than ashamed of her beauty, and that Gérôme's portrayal of Phryne was anachronistic.{{sfn|Ryan|1993|pp=1134&ndash;1135}} Driven by this controversy, Gérôme's painting was widely reproduced and caricatured, with engravings by [[Léopold Flameng]], a sculpture by [[Alexandre Falguière]], and a drawing by [[Paul Cézanne]] all modelled after Gérôme's Phryne.{{sfn|Ryan|1993|pp=1135&ndash;1136}} By the end of the century, Gérôme's painting of Phryne and the various works inspired by it had made her an "international cultural icon".{{sfn|McClure|2024|p=17}}

[[File:Genrich Ippolitovich Semiradsky - Roma, 1889.jpg|thumb|left|upright=2|[[Henryk Siemiradzki]], ''[[Phryne at the Poseidonia in Eleusis]]'', 1889]]
The story of Phryne bathing at Eleusis, which according to Athenaeus inspired Apelles to paint the Aphrodite Anadyomene, was also a subject for nineteenth century painters.  In Britain, [[Frederic Leighton]] and [[Edward Burne-Jones]] both painted works on this theme in the 1880s, but the most famous nineteenth century painting of the subject was [[Henryk Siemiradzki]]'s ''[[Phryne at the Poseidonia in Eleusis]]''.{{sfn|McClure|2024|p=14}}

In nineteenth century literature, Phryne appears in the poetry of [[Charles Baudelaire]] and [[Rainer Maria Rilke]].  In Baudelaire's "Lesbos", from {{lang|fr|[[Les Fleurs du Mal]]}}, she is used metonymically to represent courtesans in general. In Rilke's "{{lang|de|Die Flamingos|italic=no}}", the flamingos are compared to Phryne, as they seduce themselves – by folding their wings over their own heads – more effectively than even she could ("they seem to think / themselves seductive; that their charms surpass / a Phryne’s").{{sfn|Ryan|1993|pp=1130–1131}}{{sfn|Rilke|2015|p=345}}  Late nineteenth-century depictions of Phryne in other media included a waltz by [[Antonin d'Argenton]], a shadow-theatre production by [[Maurice Donnay]] – where the scene of Phryne's trial was modelled on Gérôme's painting – and a comic opera by [[Camille Saint-Saëns]].{{sfn|Funke|2024|pp=120–124}}

In the twentieth century, Phryne made the transition to cinema. In 1952 [[Alessandro Blasetti]]'s "{{lang|it|[[Il processo di Frine]]|italic=no}}" ("The Trial of Phryne") adapted the story of Phryne's trial with a contemporary setting, based on a short story by [[Edoardo Scarfoglio]]. The following year, the [[peplum film]] ''{{lang|it|[[Frine, cortigiana d'Oriente]]}}'' ("Phryne, the Oriental Courtesan") was released. Both films depict Phryne's disrobing at her trial with an iconography influenced by Gérôme's painting.{{sfn|Cavallini|2008|pp=213–217}} A third Italian film, {{lang|it|[[La Venere di Cheronea]]}} ("The Venus of Chaeronea"), focused on the story of the relationship between Phryne and Praxiteles.{{sfn|Funke|2024|pp=138–140}}

<gallery mode=packed heights=200>
File:Phryne seduces the philosopher Xenocrates, Angelica Kauffmann 1794.jpg|Angelica Kauffman, ''Phryne Seduces the Philosopher Xenocrates'' 1794
File:Jacques-Louis David - Phryné before the Judges - 2013.249 - Cleveland Museum of Art.tif|Jacques-Louis David, ''Phryne Before the Judges'' 1818
File:Joseph Mallord William Turner 069.jpg|J.M.W. Turner, ''Phryne Going to the Public Baths as Venus: Demosthenes Taunted by Aeschines'' 1838
File:-Standing Female Nude- MET DP263575.jpg|[[Marie-Christine Leroux]] as Phryne, photographed by [[Nadar]] for Gérôme's ''Phryne Before the Areopagus'' 1860–61
File:Jean-Léon Gérôme - A Roman Slave Market - Walters 37885.jpg|Jean Léon Gérôme, ''[[A Roman Slave Market]]'' 1884. One of Gérôme's slave-market paintings showing the slave in the same pose as Phryne.
File:Phryné - opéra-comique en 2 actes ..., musique de C. Saint-Saëns. - affiche - F. Marcotte - btv1b53187307n.jpg|Poster for the comic opera ''Phryné'' 1893, with music by Camille Saint-Saëns 
</gallery>

==Notes==
{{notelist}}

==References==
{{reflist}}

==Works cited==
{{commons category}}
* {{citation|last=Cavallini|first=Eleonora|chapter=Phryne: Knidian Venus to Movie Star|title=Hellas on Screen: Cinematic Receptions of Ancien History, Literature, and Myth|editor1-last=Berti|editor1-first=Irene|editor2-last=García Morcillo|editor2-first=Marta|publisher=Franz Steiner Verlag|year=2008|location=Stuttgart|isbn=978-3-515-09223-4|pages=203–218}}
* {{citation|last=Cooper|first=Craig|year=1995|title=Hypereides and the Trial of Phryne|journal=Phoenix|volume=49|issue=4|pages=303–318 |doi=10.2307/1088883 |jstor=1088883 }}
* {{citation|last=Cooper|first=Craig|chapter=Hyperides|translator1-last=Worthington|translator1-first=Ian|translator2-last=Cooper|translator2-first=Craig|translator3-last=Harris|translator3-first=Edward M.|title=Dinarchus, Hyperides & Lycurgus|year=2001|publisher=University of Texas Press|location=Austin|isbn=0292791429|pages=61–68 }}
* {{citation|last=Dalby|first=Andrew|author-link=Andrew Dalby|title=Siren Feasts: A History of Food and Gastronomy in Greece|publisher=Routledge|location=London|year=1996|isbn=0415116201}}
* {{citation|last=Davidson|first=James|author-link=James Davidson (historian)|year=1997|title=Courtesans and Fishcakes: The Consuming Passions of Classical Athens|publisher=Harper Collins|location=London|isbn=9780002555913}}
* {{citation|last=Eidinow|first=Esther|author-link=Esther Eidinow|year=2016|title=Envy, Poison, and Death: Women on Trial in Classical Athens|publisher=Oxford University Press|isbn=9780199562602}}
* {{citation|last=Funke|first=Melissa|title=Phryne|encyclopedia=Oxford Classical Dictionary|date=21 December 2022|url=https://oxfordre.com/classics/display/10.1093/acrefore/9780199381135.001.0001/acrefore-9780199381135-e-8899|publisher=Oxford University Press}}
* {{citation|last=Funke|first=Melissa|title=Phryne: A Life in Fragments|year=2024|publisher=Bloomsbury Academic|location=London|isbn=9781350371873}}
* {{citation|last=Havelock|first=Christine Mitchell|year=1995|title=The Aphrodite of Knidos and Her Successors: A Historical Review of the Female Nude in Greek Art|publisher=University of Michigan Press|location=Ann Arbor|isbn=047210585X}}
* {{citation|last=Kapparis|first=Konstantinos|title=Prostitution in the Ancient Greek World|publisher=De Gruyter|location=Berlin|year=2018|isbn=9783110557954}}
* {{citation|last=Kapparis|first=Konstantinos|year=2021|title=Women in the Law Courts of Classical Athens|publisher=Edinburgh University Press|isbn=978-1-4744-4674-7}}
* {{citation|last=Keesling|first=Catherine|chapter=Heavenly Bodies: Monuments to Prostitutes in Greek Sanctuaries|year=2006|title=Prostitutes and Courtesans in the Ancient World|editor1-last=Faraone|editor1-first=Christopher|editor2-last=McClure|editor2-first=Laura|publisher=University of Wisconsin Press|location=Madison|isbn=0299213102|pages=59–76}}
* {{citation|last=Kennedy|first=Rebecca Futo|authorlink=Rebecca Futo Kennedy|title=Immigrant Women in Athens: Gender, Ethnicity and Citizenship in the Classical City|year=2014|location=New York|publisher=Routledge|isbn=978-0-415-73786-9}}
* {{citation|last=MacDowell|first=Douglas M.|title=Sycophants|encyclopedia=Oxford Classical Dictionary|date=2012|url=https://www.oxfordreference.com/display/10.1093/acref/9780199545568.001.0001/acref-9780199545568-e-6163?rskey=NBPQqB&result=17|publisher=Oxford University Press}}
* {{citation|last=McClure|first=Laura|year=2014|title=Courtesans at Table: Gender and Greek Literary Culture in Athenaeus|publisher=Routledge|location=New York|isbn=9781317794158}}
* {{citation|last=McClure|first=Laura|title=Phryne of Thespiae: Courtesan, Muse, and Myth|year=2024|publisher=Oxford University Press|isbn=9780197580882}}
* {{citation|last=Morales|first=Helen|author-link=Helen Morales|year=2011|title=Fantasising Phryne: The Psychology and Ethics of Ekphrasis|journal=The Cambridge Classical Journal|volume=57|issue=1|pages=71–104 |doi=10.1017/S1750270500001287 |s2cid=145580288 }}
* {{citation|last=O'Connell|first=Peter|year=2013|title=Hyperides and ''Epopteia'': A New Fragment of the ''Defense of Phryne''|journal=Greek, Roman and Byzantine Studies|volume=53|url=https://grbs.library.duke.edu/index.php/grbs/article/view/14705|pages=90–116}}
* {{citation|last=Richter|first=G. M. A.|author-link=Gisela Richter|title=The Portraits of the Greeks|publisher=Phaidon|year=1984|location=Oxford|isbn=0714823260}}
* {{citation|last=Rilke|first=Rainer Maria|author-link=Rainer Maria Rilke|year=2015|title=New Poems|translator-last=Krisak|translator-first=Len|location=Rochester, New York|publisher=Boydell & Brewer|isbn=9781782046141}}
* {{citation|last=Ryan|first=Judith|title=More Seductive than Phryne: Baudelaire, Gérôme, Rilke, and the Problem of Autonomous Art|journal=PMLA|year=1993|volume=108|issue=5|doi=10.2307/462990 |jstor=462990|pages=1128–1141}}
* {{citation|last=Versnel|first=H. S.|year=1990|title=Ter Unus: Isis, Dionysos, Hermes. Three Studies in Henotheism|publisher=Brill|location=Leiden|isbn=9004092684}}
* {{citation|last=Ziogas|first=Ioannis|chapter=Law and Literature in the Ancient World: The Case of Phryne|title=Law and Literature|year=2018|isbn=9781108386005|editor-last=Dolin|editor-first=Kieran|pages=79–93|publisher=Cambridge University Press}}

{{Praxiteles|state=collapsed}}
{{Authority control}}

[[Category:4th-century BC Athenians]]
[[Category:4th-century BC Greek women]]
[[Category:Ancient Athenian women]]
[[Category:Ancient Boeotians]]
[[Category:Artists' models of ancient Greece]]
[[Category:Hetairai]]