Hypereides's defence speech was translated into Latin by the orator
Marcus Valerius Messalla Corvinus, active in the late 1st century BC. The translation was praised in
an oratorical handbook written by
Quintilian in the 1st century AD for conveying what Quintilian calls the of the original. Albert Schachter suggests that the original Greek text may have been kept in Phryne's native Thespiae, and that Corvinus possibly travelled there to consult it. Phryne was largely ignored during the Renaissance in favour of women such as
Lucretia and
Cleopatra, who were seen as heroic. Only three paintings of Phryne are known from the seventeenth century, but interest in depicting her increased in the eighteenth century with the advent of
Neoclassicism. Early depictions of her by
Angelica Kauffmann and
J. M. W. Turner avoid eroticising her. 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. This came as part of a broader interest in historical courtesans in eighteenth- and nineteenth-century French art and literature. By the mid-nineteenth century artists such as
Gustave Boulanger, rejecting the neoclassical aesthetic of
Hellenism, painted Phryne without any reference to the ancient context as an eroticised and
Orientalised nude. The most famous nineteenth-century depiction of Phryne was
Jean-Léon Gérôme's
Phryne Before the Areopagus. Gérôme's painting depicts Phryne standing naked in the courtroom, covering her face with both arms and leaving her body exposed. 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. Others complained that Gérôme's Phryne was too like an ordinary woman, lacking in the ideal Aphrodite-like beauty they expected, or that the apparently prurient reactions of the judges was inappropriate, and that they should have been portrayed as having religious admiration, rather than desire, for Phryne's beauty. 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. The painting was widely enough known that in 1884,
Bernhard Gillam could parody it in a political cartoon for the American magazine
Puck. 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", in the words of Laura McClure. ,
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 enormous – nearly eight metres wide – painting
Phryne at the Poseidonia in Eleusis. In literature, the eighteenth-century poet
Alexander Pope took Phryne's name for two women:
George I's mistress the
Duchess of Kendal in his poem "Phryne", and
Robert Walpole's mistress (and later wife)
Maria Skerret in the
Epistle to Bathurst. Phryne appears in
Charles Baudelaire's poem "Lesbos", from , where she is used metonymically to represent courtesans in general. In the early twentieth century, the German poet
Rainer Maria Rilke alluded to Baudelaire's "Lesbos" in his poem "", echoing the reference to Phryne. Rilke compares the flamingos 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"). 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. In the twentieth century, Phryne made the transition to cinema. In 1952
Alessandro Blasetti's "" ("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 ("Phryne, the Oriental Courtesan") was released. In both films, the depiction of the trial is iconographically influenced by Gérôme's painting – in , her lawyer covers her with his own cloak before removing it in the manner of Gérôme's Hypereides; in Phryne undresses entirely, though to avoid censorship only her naked back is shown on screen. A third Italian film, ("The Venus of Chaeronea"), focused on the story of the relationship between Phryne and Praxiteles. File:200404-phryne-tempting-xenocrates.jpg|
Salvator Rosa,
Phryne and Xenocrates 1662 File:Phryne Before the Areopagus MET DT2926.jpg|
Jean-Baptiste-Henri Deshays,
Phryne Before the Areopagus mid-18th century 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:Turner Phryne at Eleusis.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:Bernard Gilliam - Phryne before the Chicago Tribunal.jpg|Bernhard Gillam,
Phryne Before the Chicago Tribunal, 1884. Gillam's parody of Gérôme's painting depicts the presidential candidate
James G. Blaine as Phryne and
Whitelaw Reid, the editor of the
New York Tribune, as the orator Hypereides exposing his scandals. 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 ==Notes==