Women, inflamed by his words, gave up their jewels and luxurious apparel, and young men married courtesans in the hope of reclaiming them.
Greece proper and Ionia supplied the petty Eastern princes with courtesans and female musicians and dancers.
There were also public slaves; of these some belonged to temples, to which they were presented as offerings, amongst them being the courtesans who acted as hieroduli at Corinth and at Eryx in Sicily; others were appropriated to the service of the magistrates or to public works; there were at Athens 1200 Scythian archers for the police of the city; slaves served, too, in the fleets, and were employed in the armies, - commonly as workmen, and exceptionally as soldiers.
There were numbers of lesser deities, such as Tlazolteotl, goddess of pleasure, worshipped by courtesans, Tezcatzoncatl, god of strong drink, whose garment in grim irony clothed - the drunkard's corpse, and Xipe, patron of the goldsmiths.
The evidences of this travel (which are really incontestable, though a small minority of critics still decline to admit them) consist of (1) some fine drawings, three of them dated 1494 and others undated, but plainly of the same time, in which Diirer has copied, or rather boldly translated into his own Gothic and German style, two famous engravings by Mantegna, a number of the "Tarocchi" prints of single figures which pass erroneously under that master's name, and one by yet another minor master of the North-Italian school; with another drawing dated 1495 and plainly copied from a lost original by Antonio Pollaiuolo, and yet another of an infant Christ copied in 1495 from Lorenzo di Credi, from whom also Diirer took a motive for the composition of one of his earliest Madonnas; (2) several landscape drawings done in the passes of Tirol and the Trentino, which technically will not fit in with any other period of his work, and furnish a clear record of his having crossed the Alps about this date; (3) two or three drawings of the costumes of Venetian courtesans, which he could not have made anywhere but in Venice itself, and one of which is used in his great woodcut Apocalypse series of 1498 (4) a general preoccupation which he shows for some years from this date with the problems of the female nude, treated in a manner for which Italy only could have set him the example; and (5) the clear implication contained in a letter written from Venice in 1506 that he had been there already eleven years before; when things, he says, pleased him much which at the time of writing please him no more.
Courtesans sent to seduce him are turned by his mere aspect into Christians and martyrs.
The function of Aphrodite as the patroness of courtesans represents the most degraded form of her worship as the goddess of love, and is certainly of Phoenician or Eastern origin.
The same idea is expressed in the statement (quoted by Athenaeus, 569 d, from Nicander of Colophon) that after Solon's time courtesans were put under the protection of Aphrodite Pandemos.