The female nude appeared nearly three centuries after the earliest nude male counterparts in Greek sculpture, the kouros; the female kore figures were clothed. Previously nudity was a heroic uniform assigned only to men. Heroic nudity served for the male viewer and its purpose was to bring visual pleasure to the viewer, who was inextricably male. When making the Aphrodite of Knidos, Spivey argues that her iconography can be attributed to Praxiteles creating the statue for the intent of being viewed by male onlookers. Overwhelming evidence from aggregations suggests that the Knidian sculpture was meant to evoke male responses of sexuality upon viewing the statue, which were said to have been encouraged by the temple staff. The Aphrodite of Knidos established a canon for the proportions of the female nude, and inspired many copies, the best of which is considered to be the Colonna Knidia in the Vatican's Pio-Clementine Museum. A Roman copy, it is not thought to match the polished beauty of the original, which was destroyed in a disastrous fire at Constantinople in CE 475. According to an account by Pliny the Elder, Praxiteles sculpted both a nude and a draped statue of Aphrodite. The city of Kos purchased the draped statue, because they felt the nude version was indecent and reflected poorly on their city, while the city of Knidos purchased the nude statue. Pliny claims that it brought fame to Knidos and coins issued there depicting the statue seem to confirm this.