Despite this he continued to be regarded as a pornographer by many, long after his death in 1849; as late as 1882 "Vanity Fair" was able to comment, "I know only too well how the rough and his female companion behave in front of pictures such as Etty's bather. I have seen the gangs of workmen strolling round, and I know that their artistic interest in studies of the nude is emphatically embarrassing." Interest in Etty declined after his death as new movements, particularly the Pre-Raphaelites and Aestheticism, came to characterise painting in Britain, and by the end of the 19th century the cost of all his paintings had fallen below their original prices. Very few subsequent artists have been influenced by Etty, and one of the few later works on which "Candaules" can be considered an influence is "The Knight Errant", painted by John Everett Millais in 1870, which depicted the rescue of a distraught woman who has been stripped and tied to a tree. "The Knight Errant" was a return to the style developed by Etty in "Candaules" of forcing the viewer to feel complicity in witnessing the sexual degradation of a woman, and, particularly in early versions in which the woman's face was visible, attracted similar criticism.