Hetaira in the context of "Praxilla"

Aphrodite Pandemos (Ancient Greek: Πάνδημος, romanized: Pándēmos; "common to all the people") occurs as an epithet of the Greek goddess Aphrodite. This epithet can be interpreted in different ways. In Plato's Symposium, Pausanias of Athens describes Aphrodite Pandemos as the goddess of sensual pleasures, in opposition to Aphrodite Urania, or "the heavenly Aphrodite". At Elis, she was represented as riding on a ram by Scopas. Another interpretation is that of Aphrodite uniting all the inhabitants of a country into one social or political body. In this respect she was worshipped at Athens along with Peitho (persuasion), and her worship was said to have been instituted by Theseus at the time when he united the scattered townships into one great body of citizens. According to some authorities, it was Solon who erected the sanctuary of Aphrodite Pandemos, either because her image stood in the agora, or because the hetairai had to pay the costs of its erection. The worship of Aphrodite Pandemos also occurs at Megalopolis in Arcadia, and at Thebes. A festival in honour of her is mentioned by Athenaeus. The sacrifices offered to her consisted of white goats. Pandemos occurs also as a surname of Eros. According to Harpocration, who quotes Apollodorus, Aphrodite Pandemos has very old origins, "the title Pandemos was given to the goddess established in the neighborhood of the Old Agora because all the Demos (people) gathered there of old in their assemblies which they called agorai." To honour Aphrodite's and Peitho's role in the unification of Attica, the Aphrodisia festival was organized annually on the fourth of the month of Hekatombaion (the fourth day of each month was the sacred day of Aphrodite). The Synoikia that honoured Athena, the protectress of Theseus and main patron of Athens, also took place in the month of Hekatombaion.

Christine Downing comments that, "Pausanias's description of the love associated with Aphrodite Pandemos as dedicated only to sensual pleasure and therefore directed indifferently to women and men, and that associated with the Ouranian Aphrodite as "altogether male" and dedicated to the education of the soul of the beloved is actually an innovation—for Aphrodite Ourania was served in Corinth by prostitutes and Aphrodite Pandemos was the goddess as worshipped by the whole community."

Ctesibius or Ktesibios or Tesibius (Ancient Greek: Κτησίβιος; fl. 285–222 BCE) was an ethnically Greek inventor and mathematician in Alexandria, Ptolemaic Egypt. Very little is known of Ctesibius' life, but his inventions were well known in his lifetime. He was likely the first head of the Museum of Alexandria. He wrote the first treatises on the science of compressed air and its uses in pumps (and even in a kind of cannon). This, in combination with his work On pneumatics on the elasticity of air, earned him the title of "father of pneumatics." None of his written work has survived, including his Memorabilia, a compilation of his research that was cited by Athenaeus. Ctesibius' most commonly known invention today is a pipe organ (hydraulis), a predecessor of the modern church organ. He was married to a woman named Thais, who is not to be confused with Thaïs, the Greek hetaira who travelled with Alexander the Great on his military campaigns.

Thaïs (/ˈθaɪs/; Greek: Θαΐς; fl. 4th century BCE) was a Greek hetaira who accompanied Alexander the Great on his military campaigns. Likely from Athens, she is most famous for having instigated the burning of Persepolis, the capital city of the Achaemenid Persian Empire, after it was conquered by Alexander's army in 330 BCE. At the time, Thaïs was the lover of Ptolemy I Soter, who was one of Alexander's close companions and generals. It has been suggested that she may also have been Alexander's lover on the basis of a statement by the Greek rhetorician Athenaeus, who writes that Alexander liked to "keep Thaïs about him" without directly classifying the nature of their relationship as intimate; this may simply have meant that he enjoyed her company, as she is said to have been very witty and entertaining. Athenaeus also states that after Alexander's death in 323 BCE, Thaïs married Ptolemy and bore three of his children.

Phryne (Ancient Greek: Φρύνη, before 370 – after 316 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 impiety, in which she was defended by the orator Hypereides. According to legend, she was 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". As well as her depiction in visual arts, since the nineteenth century she has also appeared in literature, theatre, and on film.

Phryne Before the Areopagus (French: Phryne devant l'Areopage) is an 1861 painting by the French artist Jean-Léon Gérôme. The painting depicts the trial of Phryne, an ancient Greek hetaira (courtesan), who was charged with impiety. Phryne was said to have been acquitted after her defender Hypereides removed her robe and exposed her naked bosom, "to excite the pity of her judges by the sight of her beauty."

The painting was exhibited at the 1861 Salon. It is in the collection of the Kunsthalle Hamburg in Germany.

The Shuvalov Painter was an Attic vase painter of the red-figure style, active between 440 and 410 BC, i.e. in the High Classical period (Parthenon period) in Magna Graecia.

The Shuvalov painter's conventional name was allocated by John Beazley, who chose for a name vase an amphora that is now at the Hermitage Museum, St. Petersburg. It had been acquired in the eighteenth century by the collector Ivan Ivanovich Shuvalov.