375 Sentences With "satyrs" | Random Sentence Generator

And there was poignancy to the play's parting tableau of satyrs watching a sunrise.

The groupings mix female nudes, winged angels, satyrs, muscled heroes; the effect is both sensual and entirely captivating.

Classical mythology has its satyrs and centaurs, its shape-shifting gods and metamorphosing nymphs, whose commingling and canoodling is part of the human heritage.

The god sits caressing a panther as some satyrs serve him wine, while others, with torches and clubs, drive the pirates into the sea.

The beast's name comes from the German word krampen, meaning claw, and shares characteristics with demonic creatures in Greek mythology like fauns and satyrs.

They were cravenly and intended only for the like-minded group of satyrs, namely Access Hollywood host Billy Bush and crew, gathered on the bus.

Indeed, "wilted woman shrunk by satyrs" seems to be his central sine qua non motif for signaling his sexual conquest and the female fulfillment he imagined providing.

After a Faun (Blaine Hoven) and two Satyrs (Tyler Maloney and Arron Scott) tear across the stage — they're after Ms. Boylston — Mr. Whiteside returns to rescue her.

The tall, lithe, and nimble-footed nudes of her Running Man series transform their goggled, stationary counterparts into fleshed-out figures resembling both Greek satyrs and Roman athletes.

Meanwhile, in the library's print collection is "Lascivie" ("The Lusts"), a series of late-16th-century pornographic engravings featuring satyrs, nymphs and putti by the Italian artist Agostino Carracci.

Half-human creatures like satyrs, goats from the waist down, tended to be depicted with huge erections, sometimes the size of their torsos—and often drunk off of their asses.

People went for the mural that decorated the bar—a scandalous depiction of nude nymphs and satyrs—but most of all, they went there to enjoy the city's most sophisticated cocktails.

The opening reception will feature an appearance by the Satyrs Motorcycle Club, who proudly proclaim themselves to be the "oldest running gay men's motorcycle club" in the world, dating back to 1954.

In Julie Saul, 17 recent watercolors by Pavel Pepperstein, a sardonic Russian artist, depict Jacqueline Kennedy as a cartoon character in mythological extremis, carried forth by satyrs or kneeling before the goddess Athena.

Other notable objects include disembodied terra-cotta feet with wrinkly toes and pulsing veins, a sarcophagus for a toddler, flasks shaped like ducks and birds, and vessels depicting gods, goddesses, satyrs, nudes and breast-plated warriors.

Printed on vellum, this copy was likely made for someone well-to-do, and its thin pages are filled with satyrs with prominent phalluses and bare-breasted women — visuals that played a large role in conveying the book's surreal narrative.

Like their natural counterparts, they can be organized by taxon (cervid, like the white stag; caprid, like the faun; bovine, like the Minotaur; feline, like the sphinx), or by habitat (alpine, like yetis; woodland, like satyrs; cave-dwelling, like dragons; aquatic, like mermaids).

Windhand / Satan's Satyrs is 2018 split extended play (EP) by both Windhand and Satan's Satyrs.

Banded satyrs inhabit the Himalayas from moderate to considerable high altitudes. Fond of open country, they can found elsewhere especially on rocks and paths. Banded satyrs are very fond of sunshine.

They are large enough to carry a karkadann. ;Rumitaur: Described in Dragonwatch as men with bodies of elk. Amulon is the tauran leader at Wyrmroost. ;Satyrs: Satyrs are part goat, part human creatures.

Grenfell becomes the Greek god Apollo while Hunt turns into Silenus, the leader of the satyrs. The characters then start following Sophocles' play and begin looking for Apollo's missing cattle. Apollo strikes a bargain with the satyrs according to which the satyrs will become rich and free if they find his cattle. The satyrs finally find the cattle only to discover that the cows are also keeping amongst them baby Hermes who although an infant has just invented the lyre.

Farnese Faun, Louvre (Ma 664) In Ancient Greek Mythology, Satyrs are male companions to Dionysus, the god of grape harvest, ritual madness, theater, and fertility. As followers of Dionysus, satyrs are known for their love of wine, women, and playing music on their pipes or flutes. Famous satyrs in mythology include Silenus, a satyr nurse to the Dionysus and a demi-god of excessive drunkenness and Tityri, a flute-playing satyr in the train of Dionysus. Satyrs are referenced in The Homeric Hymns, Aesop's Fables, The Orphic Hymns, Ovid's Metamorphoses and Fasti, and Virgil's Georgics.

Maenads are feminine creatures that are always dancing with satyrs who are masculine creatures that have tails and beards. Within these scenes Dionysus is the central figure, and surrounding him maenads and satyrs who are dancing around him as well.

A typical example of such a collaboration is the Feast of Satyrs (between 1710 and 1715, Museum Kunstpalast). In this picture the artists seems to have intended to accentuate the caricatural aspects of the behavior of the feasting satyrs. Architecture, landscape and sky are used to express the internal state of the various figures. Bizarre, crumbling remnants of sublime architecture provide the backdrop for the funny goings-on of the satyrs.

Pan invokes Bacchus. Pan refers to Bacchus' gestation by Jupiter and how, as a baby and child he was cared for by nymphs, fauns, satyrs and, in particular, by Silenus. Pan describes how, as Bacchus grew older, he grew full horns and encouraged the Satyrs to pick and tread grapes. He describes how the Satyrs got drunk on the wine and chased after nymphs lustfully, and how Silenus also drank much wine.

Satan's Satyrs announced on their Facebook page on July 24, 2019 that the group has disbanded.

Satyrs also were more woman-loving than fauns, and fauns were rather foolish where satyrs had more knowledge. Ancient Roman mythological belief also included a god named Faunus often associated with enchanted woods and the Greek god Pan and a goddess named Fauna who were goat people.

He is a powerful ally throughout the entire series. Newel and Doren Newel and Doren are the satyrs. They are introduced in the series as Kendra and Seth are inadvertently stealing stew from an ogress. The satyrs are light hearted and fun, but they can be conniving.

Apollo is happy now that his cattle has been found and keeps his end of the bargain by granting the satyrs the riches and freedom he had promised them. However the satyrs also want to keep the newly discovered lyre but Apollo rejects that idea telling them that satyrs do not deserve such a highly artistic instrument and advises them that they should instead concentrate on low-level art. The satyrs are very unhappy and they become even more so since the gold bars that they received from Apollo have turned into gold leaf-covered boomboxes blaring a music they cannot even dance to. Having lost their chance to get involved in "High Art" the satyrs rebel and 2500 years later they become hooligans coming out of the crates and destroying the very papyrus to which they owe their existence in modern times.

Greek black-figure vase painting depicting dancing satyrs. A propensity for dancing and making mischief in the woods is among the traits satyrs and elves have in common. Beliefs in humanlike supernatural beings are widespread in human cultures, and many such beings may be referred to as elves in English.

In 2010 the Satyrs Motorcycle Club was inducted into the Leather Hall of Fame. The Satyrs Motorcycle Club continues to sponsor activities, including the Labor Day Badger Flats Run, which is one of their most well known activities. It also sponsors charity fundraising activities, community involvement, and motorcycle-relevant events.

Windhand / Satan's Satyrs was released on February 16 on vinyl, compact disc and as a digital download. This split EP peaked at 11 on the Top Heatseekers on its release. Following its release, Satan's Satyrs and Windhand played a record release show on together on March 23, 2018 in Richmond, Virginia.

A satyress holding two infants, by Clodion (Walters Art Museum, Baltimore) Satyr and Satyress by Andrea Briosco, Victoria and Albert Museum. Satyress is the female equivalent to satyrs. They are entirely an invention of post-Roman European artists, as the Greek satyrs were exclusively male and the closest there was to female counterparts were the nymphs, altogether different creatures who, however, were nature spirits or deities like the satyrs. Later on, Romans described their counterpart of the satyr -- the faunus -- as having his own female specimen, the fauna.

Although Dionysius suggests that both the war dances and the Bacchic dancing were in imitation of the Greeks, the armed dances had a Roman precedent in the Salian priests, who danced with sword and shield, and the role of the satyrs seems based on Etruscan custom.Wiseman, "Satyrs in Rome?" p. 11, note 86; Slater, "Three Problems," p. 203.

Scared by the strange sound, the satyrs debate their next move. The nymph of the mountain in which Hermes is hiding, Cyllene, explains to them the nature of the musical instrument. Outside the cave the satyrs see some sewn cow-hides and are convinced that they have found the thief. Apollo returns as the papyrus breaks off.

Lancelyn Green (1957, 9) According to Roger Lancelyn Green, the satyrs probably began as minor nature deities, while their designated leader Silenus originated as a water spirit, a maker of springs and fountains.Lancelyn Green (1957, 10) Silenus was already an attendant to Dionysus when the satyrs joined the god’s following, and was subsequently proclaimed their father.Lancelyn Green.

Founding guitarist Asechiah Bogdan then left the band and was not replaced. In early 2018, Windhand released the split EP Windhand / Satan's Satyrs with fellow Virginia band Satan's Satyrs. This EP reached No. 11 on the Billboard Heatseekers Albums chart. Their fourth full-length album Eternal Return, again with Endino producing, was released in October 2018.

Mixing Vessel with Chorus men as Satyrs. Attributed to the Tarporley Painter. Greek, made in Apulia, 410–380 B.C. Terracotta. Nicholson Museum, Sydney.

Plays were no longer performed in a completion/competition type setting. Satyrs were now performed outside of the Festival of Dionysus and were no longer subjected to the judgement among other plays. Satyrs and comedies became more relevant within the theatre community in the 430s. The new found prevalence came after Morychides began to forbid fighting-related activities on the stage.

The goatish element has disappeared and the satyrs resemble the old Ionic Sileni who were horse deities. The performers are wearing horse tails and short pants with attached phallus, a symbol of Dionysiac worship.Haigh (1907, 294) Haigh claims that the Doric satyrs were the original performers in Attic tragedy and satiric drama, whereas the Ionic element was introduced at a later stage.

When Tanis and Flint came to collect the bracelet Tas no longer had it. Selena arrived and charged them with finding the bracelet. They set off immediately, but were waylaid by satyrs, who made them stop, dance, and drink while the satyrs played music for a whole day. Upon arriving in Tantallon, Flint and Tanis were captured by the local Lord.

The album was eventually released on 17 November 2017 Clayton Burgess left Electric Wizard in early 2018 to focus on his band Satans Satyrs.

These are the goblins and say that they are the descendants God Pan or Satyrs, who jumped from the mythology in the Christian life.

T. P. Wiseman, "Satyrs in Rome? The Background to Horace's Ars Poetica", The Journal of Roman Studies, Vol. 78 (1988), p. 7, note 52.

They were costumed in woolly tunics, garlands of different kinds of flowers, and goatskin loincloths, with their hair standing out on their heads in tufts.Slater, "Three Problems," p. 203. The appearance of satyristai at the original Ludi Romani is the earliest known reference to satyrs in Roman culture.T.P. Wiseman, "Satyrs in Rome? The Background to Horace's Ars Poetica," Journal of Roman Studies 78 (1988), pp. 7.

This split EP peaked at 11 on the Top Heatseekers on its release. Clayton Burgess left Electric Wizard in early 2018 to focus on his band Satans Satyrs. Satan's Satyrs then toured with Windhand in October and November 2018, with a new album titled The Lucky Ones which was released on October 19, 2018 by RidingEasy Records/Bad Omen. Garrett Morris of Windhand produced the album.

James Melville of Halhill wrote in his Memoirs that Bastian was responsible for an entertainment in the Great Hall of Stirling Castle which offended the English guests at the baptism of the future James VI. Mary and thirty guests sat at a round table like King Arthur's at the head of the hall. The courses of the dinner were brought up the hall on a moving table, with twelve men dressed as satyrs, with long tails, carrying lighted torches. In their other hand the satyrs carried whips to clear the way in front. When the table reached the stage, the satyrs passed their torches to bystanders.

Fileno curses Celia when he learns she is to marry Lindoro. At this point Nerina enters pursued by satyrs who carry off numerous nymphs, including Celia.

The cover graphics feature Austin Osman Spare's General Allegory and other illustrations from his Automatic Drawings and Book Of Satyrs. In the original release there was included a book of what seems to be P-Orridge's own Book of Satyrs, with very Spare-ish pen-and-ink drawings and illuminations and key lyrics, handwritten. The line-up for this recording included long-time PTV friend and collaborator Monte Cazazza.

In early Greek art, satyrs were often portrayed as rugged, older, and ugly in art. The artist Praxiteles is credited with creating a softer and youthful satyr type in his sculptures. The presence of the panther pelt on the Satyr signifies their connection to their beastly animal nature. Satyrs were also often depicted on pottery as nude with an erect phallus to infer their savage and brutish sexual nature.

Tondoof a kylix with the depiction of a gorgon. Paris: Cabinet des médailles. Procession of satyrs and maenads on the exterior of a kylix. Paris: Cabinet des médailles.

Servius, ad Aen. 3.59; T.P. Wiseman, "Satyrs in Rome?" Journal of Roman Studies 78 (1988), pp. 2–3 and p. 11, note 91, with additional sources on Marsyas p.

In The Battle of the Labyrinth, Tyson is revealed to be afraid of satyrs, including Grover, he manages to conquer this fear after a quest and they become friends.

156, with image p. 152. Satyrs and sileni, though later characterized as goat-like, in the Archaic period were regularly depicted with equine features, including a prominent horsetail; they were known for uncontrolled sexuality, and are often ithyphallic in art.Wagenvoort, "On the Magical Significance of the Tail," p. 155. Satyrs are first recorded in Roman culture as part of ludi, appearing in the preliminary parade (pompa circensis) of the first Roman Games.

"In the retinue of Dionysos, or in depictions of wild landscapes, there appeared not only a great Pan, but also little Pans, Paniskoi, who played the same part as the Satyrs".

Many Vietnamese Communist leaders were "schooled" on Côn Đảo Island as well. The French Indochinese government named the group of islands Poulo-Condore Islands, a name that derives from the islands' Malay name Pulo Condore (pulo as a corruption of pulau, meaning "island"). The islands can be identified with Claudius Ptolemy’s Satyrorum insulae (Isles of the Satyrs), a name probably drawn from the monkeys endemic to the islands, the Con Song Long-tailed Macaque (Macaca fascicularis ssp.Condorensis). Ptolemy refers to the three islands inhabited by people, 'said to have tails such as they depict satyrs having'.Robert J. King, "Pulo Condor, Isles of the Satyrs", presented at ‘Mapping in Action’: 47th annual ANZMapS conference, National Library of Australia, Canberra, 24-25 September 2019.

The moving table or stage was drawn up the hall four times for four courses, led by the satyrs. Each time its decorative theme was renewed. It broke during the fifth course.

Dionysos and satyrs, tondo from a kylix by the Brygos Painter, c. 480 BCE. Paris, Louvre. The Brygos Painter was an ancient Greek Attic red-figure vase painter of the Late Archaic period.

Cups used at symposiums were not as nearly intricate as amphoras. Pottery used at symposiums often featured painted scenes of the god Dionysus, satyrs, and other mythical scenes related to drinking and celebration.

The plot of the play was derived from the inset myth of the Homeric Hymn to Hermes. A newborn Hermes has stolen Apollo's cattle, and the older god sends a chorus of satyrs to retrieve the animals, promising them the dual rewards of freedom and gold should they be successful. The satyrs set out to find the cattle, tracking their footprints. Approaching the cave in which baby Hermes is hiding, they hear him playing the lyre, which he has just invented.

Aedo also painted scenes of classical mythology, such as of satyrs and nymphs. He is famous for his skill in depicting facial expressions, particularly broad smiles - an uncommon depiction in classical and realist art.

Mary refused to let the Archbishop of St Andrews, whom she referred to as "a pocky priest", spit in the child's mouth, as was then the custom. In the entertainment, devised by Frenchman Bastian Pagez, men danced dressed as satyrs and sporting tails; the English guests took offence, thinking the satyrs "done against them". Following the birth of James, the succession was more secure, but Darnley and Mary's marriage continued to struggle. Darnley, however, alienated many who would otherwise have been his supporters through his erratic behavior.

The garden is adorned with sculptures of nymphs, satyrs, sphinxes and female forms, fountains and urns. Formal hedges lead to particular statues and the extensive lawns are dotted with exotic specimen trees, mainly conifers and coral trees.

Francesco Burani was an Italian designer and engraver of the Baroque period. He was born at Reggio Emilia, by whom we have an etching of Bacchus sitting with three Satyrs executed in the style of Jusepe Ribera.

Satyrs harvesting grapes on a ridge tile in the Museum August Kestner, Hannover: Coloured reconstruction Satyrs harvesting grapes on a ridge tile in the Museum August Kestner, Hannover: Original The tiles were not individually made as unique artworks but as series. From an original relief (the punch) a mould in the shape of a negative was produced. Then the moist clay was pressed into these moulds. Probably the image and the framing decoration were formed separately, since framing decoration is seen which has been applied to various designs.

Meanwhile, the nymphs and satyrs sang Latin verses specially written by George Buchanan in honour of the food and hosts as the gift of the offering of rustic gods to James and his mother. Parts of the song were given to the satyrs, nereids, fauns, and naiads who alternately addressed the Queen and Prince, and it was concluded by characters representing the Orkney Islands.published title, Pompae Deorum Rusticorum dona serentium Jacobo VI & Mariae matri eius, Scotorum Regibus in coena que Regis baptisma est consecuta, in Buchanan, George, Omnia Opera,, vol. 2 (1725), pp.

The subsequent entertainment, devised by Frenchman Bastian Pagez, featured men dressed as satyrs and sporting tails, to which the English guests took offence, thinking the satyrs "done against them". James's father, Darnley, was murdered on 10 February 1567 at Kirk o' Field, Edinburgh, perhaps in revenge for the killing of Rizzio. James inherited his father's titles of Duke of Albany and Earl of Ross. Mary was already unpopular, and her marriage on 15 May 1567 to James Hepburn, 4th Earl of Bothwell, who was widely suspected of murdering Darnley, heightened widespread bad feeling towards her.

It has also been suggested that the subject may be Hephaestus's fostering; or the instructions given to the blinded Orion by satyrs in Cedalion's service. One of the surviving lines suggests extreme drunkenness; Burkert reads this fragment as from a chorus of Cabeiri.Fragments of Sophocles, ed. Pearson, (1917) II, 9; for the fostering, he cites Ahrens, for the satyrs, Wilamowitz GGN [=Nachrichten der Königlichen Gesellschaft der Wissenschaften zu Göttingen Philological-historical section] 1895:237, which is "Hephaistos" in Wilamowitz's Kleine Schiften V.2 pp.5-35; but Pearson finds both doubtful.

More specifically, the triumph of Bacchus over Hercules is depicted. Hercules is shown staggering drunkenly and supported by two helpful satyrs. Bacchus himself appears with his panther and Silenus at the '12 o'clock' position on the circle in relation to the orientation of the Oceanus head, so that in most illustrations of the dish, he is seen upside-down at the top of the picture. The god Pan also appears in the composition, dancing and brandishing his pan-pipes, as do several dancing Maenads, the female devotees of Bacchus, and satyrs.

The musicians who played cornets were dressed as satyrs. In the masque, Night appears and awakens her son, Sleep, who calls forth a vision for the spectators with his wand (and promptly goes back to sleep). Iris appears at the top of the artificial mountain, and descends to the Temple of Peace, where she tells the Sybil about the coming of the goddesses. The Graces appear on the mountaintop and descend to the floor below, followed by twelve goddesses, descending three by three, to the music of the satyrs.

Banded satyrs are large powerfully built Himalayan butterflies which are dark brown above. They are characterised by a white band across both wings. The wings have chequered fringes. A dark apical spot or ocellus is present on the forewing.

Fufluns is usually depicted as a beardless youth, but is sometimes rarely shown as an older, bearded man. Fufluns was shown in art with the thyrsus, satyrs, maenads, and other apotropaic symbols.Bonfante and Swaddling, 2006, p. 54Paleothodoros, 2007, p.

Demonic entities in the Old Testament of the Christian Bible are of two classes: the "satyrs" or "shaggy goats" (from Hebr. se'irim "hairy beings", "he-goats" or "fauns"; , ) and the "demons" (from Hebr. shedim first translated as daimonion, "daemon"; , ).

Athens: University of Georgia Press, 2000. (pg. 45) His maps also showed unicorns and monstrous creatures such as 200 metre long giant snakes, basilisks, satyrs, Blemmyes (headless humans) and Cynocephalics (dog-headed humans).Pettegree, Andrew. Europe in the Sixteenth Century.

The iconography involving their sexual nature did not carry over into the medium of sculpture. Satyrs are often depicted with musical instruments, usual a flute or pipes. The inclusion of musical instruments solidifies the satyr's connection with Dionysus and his festivities.

Thus nymphs and satyrs present an optical contrast, which could hardly be any stronger and which makes them a perfect pair for artistic purposes.Section derived from Eva Gesine Baur, Meisterwerke der erotischen Kunst. Dumont Verlag, Köln 1995, pp. 58–64.

Briggs (1976) Faerie Queen, p. 130. In many works of fiction, fairies are freely mixed with the nymphs and satyrs of classical tradition,Briggs (1967) p. 174. while in others (e.g., Lamia), they were seen as displacing the Classical beings.

Comedy, according to Aristotle, originated from the Phallic Processions of the Dionysian festival during which men would celebrate by dressing up as Satyrs with large erect phalluses insulting each other and telling jokes at their expense. This presumably gave rise to Satyr plays wherein Satyrs were depicted getting drunk arguing with one another, insulting each other telling jokes and telling sexual and scatalogical jokes et cetera. A Satyr Play was performed in an effort to lighten the mood after three tragedies. Aristophanes chose to use the venue they created to satirize political issues such as demagoguery and the Peloponnesian War.

Nymph and Faun (cast in lead) in the National Museum of Scotland, Edinburgh Drawing a Faun. Romans believed fauns inspired fear in men traveling in lonely, remote or wild places. They were also capable of guiding humans in need, as in the fable of The Satyr and the Traveller, in the title of which Latin authors substituted the word Faunus. Fauns and satyrs were originally quite different creatures: whereas fauns are half-man and half-goat, satyrs originally were depicted as stocky, hairy, ugly dwarves or woodwoses with the ears and tails of horses or asses.

Agostino Carracci: Le Satyre et la Nymphe Satyrs and nymphs form two extremes in Greek mythology, which are united only by their instinctive natures. While the nymph was the source of the psychological term nymphomania (now hypersexuality), the satyr was the source of the once common but now outdated term satyriasis and can be understood as the nymph's male equivalent. Accordingly, both nymphs and satyrs are very regularly depicted in mythology - and thence also in their subsequent artistic reception - in erotic contexts and are accordingly favoured topics of art. In addition there is a clear aesthetic contrast between the two stereotypes.

The combination of these elements in one art form gave birth to tragedy. He theorizes that the chorus was originally always satyrs, goat-men. (This is speculative, although the word “tragedy” τραγωδία is contracted from trag(o)-aoidiā = "goat song" from tragos = "goat" and aeidein = "to sing".) Thus, he argues, “the illusion of culture was wiped away by the primordial image of man” for the audience; they participated with and as the chorus empathetically, “so that they imagined themselves as restored natural geniuses, as satyrs.” But in this state, they have an Apollonian dream vision of themselves, of the energy they're embodying.

A close-up of Silenus The subject is from Book III of Ovid's Fasti, which had been published in Venice in 1497. At the centre is a group of satyrs and bacchantes who make noises to get a swarm of bees to settle in the trunk of a hollow tree. From left and right, more companions of Bacchus join the event, including Silenus, who rides in from the right on an ass, visibly drunk and supported by satyrs and bacchantes. In the foreground to the right are Bacchus, leaning on a thyrsus, and Ariadne, who points at the wreath on the god's head.

The adult dancers also wore bronze helmetsVersnel, Triumphus, p. 97. with "conspicuous crests and wings."W.J. Slater, "Three Problems in the History of Drama," Phoenix 47.3 (1993), p. 202. A chorus dressed as satyrs and sileni followed the armed dancers and mocked them.

T.P. Wiseman, "Satyrs in Rome? The Background to Horace's Ars Poetica," Journal of Roman Studies 78 (1988), p. 7. The tail of the wolf, an animal regularly associated with Mars, was said by Pliny to contain amatorium virus, aphrodisiac power.Pliny, Natural History 8.22.

It might have fauns > and satyrs and the gods and—from Greece, from Olympus in it somewhere. It > lasts just for a day or two, then it’s gone. . .the title reminded me of > that time, of a luminosity older than our Christian civilization.

Amasis, painted by the Amasis Painter. Dionysos, Ariadne, satyrs and maenads, '’circa’’ 550/540 BC, Louvre. Battle scene on a band cup by an unknown artist, '’circa’’ 540 BC, Louvre. Band cups are a form of ancient Greek Attic Little-master cups.

Gerald Jackson; ed. by Thomas David Simmons, with a foreword by Sir John Barbirolli: First flute, London: Dent, 1968. 147 p., Despite this, and before he fell on hard times, he composed pieces like L'oiseau du bois and Danse de Satyrs, both for piccolo.

As in Athens, kalos inscriptions occurred. Boeotian potters had a predilection to produce plastic vessels, also kantharoi with plastic applications and tripod-pyxides. Lekanis, kylix and neck amphora were adopted from Athens. The paintings style often appears comical; komasts and satyrs were preferred motifs.

Keene's Nodens is the father to Pan, and the Labyrinth is the realm satyrs hail from in this work. John Lambshead's 2013 fantasy short story "Haunts of Guilty Minds" includes the God Nodens, also referred to as Nud, as a primary antagonist and villain.

Aeschylus was noted for his satyr plays,Pausanias, Description of Greece 2.13.6 the largest fragment of which to have survived being his Dictyulci ('The Net Fishers') in which the baby Perseus is washed up on the shore with his mother Danae and is found by Silenus and the satyrs. We also have large fragments of a satyr play of Sophocles called Ichneutae ('The Trackers'), in which the satyrs are employed by Apollo to track down his stolen cattle, and discover the baby Hermes. Smaller fragments of other satyr plays exist, and the genre continued to be written and performed as late as the 2nd century AD, though most have wholly vanished.

Hungarian painter Pál Szinyei Merse The faun (, , phaunos, ) is a mythological half human–half goat creature appearing in Roman mythology. The goat men, more commonly affiliated with the Satyrs of Greek mythology than the fauns of Roman, are bipedal creatures with the legs and tail of a goat and the head, torso, and arms of a man, and are often depicted with goat's horns and pointed ears. These creatures borrowed their appearance from the satyrs, who in turn borrowed their appearance from the god Pan of the Greek pantheon. They were symbols of peace and fertility, and their chieftain, Silenus, was a minor deity of Greek mythology.

Miriam Di Penta, 'Due inediti di Andrea de Leone. Nuove riflessioni sul Poussin-castiglione-De Leone Problem', in Storia dell'Arte 125-126. 2010, p. 101 Venus Sleeping, with Satyrs and Cupids Spierincks left incomplete paintings for the sacristy of Santa Maria dell'Anima which he had already started.

Ovid's Metamorphoses or The Satyrs is a sculpture by Auguste Rodin, created as part of The Gates of Hell. Museo Soumaya, Fundación Carlos Slim (2016). La puerta del Infierno. . It draws on the tale of Salmacis and Hermaphroditus in Book IV, lines 285-388 of Ovid's Metamorphoses.

The typical ipotane looked overall human, but had the legs, hindquarters, tail, and ears of a horse. However, some had human-like rather than horse-like legs (compare with early satyrs, whose front legs were often human-like). The Greek suggested by "ipotane" is (). It means knight.

The satyrs and the Bacchantes > fell down senseless. A huge silence fell. It seemed as if time had stopped > in the ancient wood near the temple at the foot of the Sirente, and it > looked like the mountain had never existed. The entire valley became dumb.

Since the first Minotaur, there had been more Minotaurs appearing in Olympus. When Ares allied with Enchantress and stole the Ebony Blade from Black Knight, they rallied the Minotaurs, Centaurs, and Satyrs into attacking Mount Olympus. Ares' army was defeated by Hercules and the Avengers.Avengers #100.

Feast of Satyrs with Alessandro Magnasco Very little is known for certain about Clemente Spera's life. He is believed to have been born in Novara, in Piedmont. He was trained in Milan in the workshop of Giovanni Ghisolfi. He was active in Milan throughout his career.

Next to Dionysus are three satyrs, two to his right and one to his left. Two maenads are possibly depicted in the painting. One is depicted to the right of Dionysus, wearing a long green garment and leaves in the hair. The maenad looks towards Ariadne.

Atop the portal, two satyrs serve as telamons to support the balcony and hold the heraldic shield of the Carafa family. Further below are two flanking masks and pylons with lion heads. The portal and internal stairwell have been attributed to Ferdinando Sanfelice.Napoligrafia website, entry on palace.

The worship of the Triad gradually took on more and more Greek influence, and by 205 BC, Liber and Libera had been formally identified with Bacchus and Proserpina.T. P. Wiseman, "Satyrs in Rome? The Background to Horace's Ars Poetica", The Journal of Roman Studies, Vol. 78 (1988), p.

The barrow-banded satyr is 55 to 68 mm in wingspan. The barrow-banded satyrs are large powerfully built Himalayan butterflies which are black or very dark brown above. They are characterised by a white discal band across both wings. The hindwing band is narrow and even in width.

390px Bacchanalia is a c.1615 oil painting of Bacchus, Silenus , bacchantes and satyrs by Peter Paul Rubens. Originally painted on panel, it was transferred to canvas by A. Sidorov in 1892. K. Yegorov, M. Warszawskaja: Peter Paul Rubens, Publisher Book Company and Krzysztof Jacek Olesiuk, Warsaw 2006, .

The oldest known image of Dionysus, accompanied by his name, is found on a dinos by the Attic potter Sophilos around 570 BC. By the seventh century, iconography found on pottery shows that Dionysus was already worshiped as more than just a god associated with wine. He was associated with weddings, death, sacrifice, and sexuality, and his retinue of satyrs and dancers was already established. A common theme in these early depictions was the metamorphosis, at the hand of the god, of his followers into hybrid creatures, usually represented by both tame and wild satyrs, representing the transition from civilized life back to nature as a means of escape.Isler-Kerényi, C., & Watson, W. (2007).

Proud of his son's achievement, Spare's father would later inquire as to whether the publisher John Lane of Bodley Head would be interested in re- printing A Book of Satyrs, leading to the release of an expanded second edition in 1909.Baker 2011. p. 53. Meanwhile, in 1907 Spare produced one of his most significant illustrations, a drawing titled Portrait of the Artist, featuring himself sitting behind a table covered in assorted bric-a-brac. His later biographer Phil Baker would later characterise it as "a remarkable work of Edwardian black-and-white art" which was "far more confidently drawn and better finished than the work of the Satyrs".Baker 2011. p. 44.

Richard Eyre calls The Trackers of Oxyrhynchus, which features satyrs jumping out of box crates clog dancing, "among the five most imaginative pieces of drama in the 90s". Jocelyn Herbert, famous designer of the British theatrical scene, comments that Harrison is aware of the dramatic visual impact of his ideas: "The idea of satyrs jumping out of boxes in Trackers is wonderful for the stage. Some writers just write and have little idea what it will look like, but Tony always knows exactly what he wants." Edith Hall has written that she is convinced that Harrison's 1998 film-poem Prometheus is Harrison's "most brilliant artwork, with the possible exception of his stage play The Trackers of Oxyrhynchus".

Examples are The sleeping goddess Diana and her nymphs after the hunt, observed by satyrs based on an earlier composition of Jan Brueghel the Elder and Hendrick van Balen and The Feast of Bacchus (Auctioned at Dorotheum on 21 October 2014, Vienna, lot 27) based on an earlier composition of Jan Brueghel the Younger and Hendrick van Balen.Jan Brueghel II (Antwerp 1601–1678) and Jan van Balen (Antwerp 1611–1654), The sleeping goddess Diana and her nymphs after the hunt, observed by satyrs at DorotheumJan Brueghel II (Antwerp 1601–1678) and Jan van Balen (Antwerp 1611–1654), The Feast of Bacchus (Sine Cerere et Baccho friget Venus) at Dorotheum In these collaborations Jan van Balen painted the figures.

These themes of departure and Dionysus with maenads and satyrs are not only specific to the painter of Nicosia Olpe; there are other painters that paint these scenes. The fact that the painter has many departure and Dionysus themed scenes are details to note but this is not an attribute that can help differentiate that painter from other painters of his time. What is specific to the painter of Nicosia Olpe is the way he draws eyes, and this also applies to horses and other creatures such as satyrs not only to men and women. The eyes are not very elaborately drawn, it seems as if the painter drew a circle and two lines on the sides.

Haigh (1907, 16) Haigh lists several examples of recorded entries to the City Dionysia: thus, in 472 BC Aeschylus won the first prize with Phineaus, Persae, Glaucus and the satyr play Prometheus. Among Euripides’ entries, Haigh underlines Theristae (431 BC), Sisyphus (415 BC) and Alcestis which Euripides was allowed to present as a replacement of the traditional satyr play.Haigh (1907, 17) Much of the evidence and information found regarding satyr plays and their history has been located through vase paintings. The mythological origins of the satyrs are closely linked to the advent of Dionysus into Hellenic culture. The satyrs and their female counterpart, the maenads, were followers of Dionysus, a “late-comer to Olympus and probably of Asiatic origin”.

Marble relief of a Maenad and two satyrs in a Bacchic procession. AD 100, British Museum, London. The central religious cult of Dionysus is known as the Bacchic or Dionysian Mysteries. The exact origin of this religion is unknown, though Orpheus was said to have invented the mysteries of Dionysus.

Then six servers dressed as nymphs who had been seated on the moving table, passed the food to the satyrs, who brought the dishes up to the round table on the stage.Stevenson, Joseph, ed., The History of Mary Stewart by Claude Nau (1883), pp. cxlviii-cl, from BL Sloane Mss.

Naturalis Historia, Book 7.56.3 Like satyrs, centaurs were notorious for being wild, lusty, overly indulgent drinkers and carousers, violent when intoxicated, and generally uncultured delinquents. Chiron, by contrast, was intelligent, civilized and kind, because he was not related directly to the other centaursHomer, Iliad xi.831. due to his parentage.

Having symbolically eaten his body and drunk his blood, the celebrants became possessed by Dionysus. Two satyrs and a maenad. Side A from an ancient Greek red figure kylyx-krater from Apulia, 380–370 BC. Louvre, Paris. Dionysus and two Maenads as depicted by the Amasis painter circa 550-530 BC.

The background landscape recalls Dürer's watercolours and Giorgione's landscape paintings. A young woman in white and gold leans against a laurel tree in the centre, possibly referring to Daphne, and ignores two satyrs (one female, one male), symbolising intoxication and lust. A putto pours a cascade of white flowers over her.

While Guenther's earlier work, which referenced death metal, zombies, satyrs, hippie kitsch and drew comparisons to painters such as Francisco Goya and Hieronymous Bosch,"Mixed Paint: A Survey of Contemporary Painters." Flash Art, November–December 2004. has been called “iconoclastic, demented, decadent,” Mullins, Charlotte, ed. (2008), Painting People: Figure Painting Today.

Of the 123 etchings, which Linnig produced, 122 were of his own design and one a reproductive etching after the Nymphs and Satyrs of Rubens.Willem Linnig Junior at Idbury Prints Ltd. In his graphic work he traced the lineaments with great care, but also displayed a great level of exuberance.

At around the same time, possibly in the context of popular or religious drama, Hyginus equated her with Greek Ariadne, as bride to Liber's Greek equivalent, Dionysus.T. P. Wiseman, "Satyrs in Rome? The Background to Horace's Ars Poetica", The Journal of Roman Studies, Vol. 78 (1988), p 7, note 52.

Timeline of Artists, Accessed February 4, 2008. Although satyrs are generally shown seducing human women, Tiepolo drew Satyr Surprising A Satyress, which depicts a hirsute satyr grasping a relatively bare-skinned satyress around the waist.Giovanni Domenico Tiepolo, Italian, 1727-1804: Satyr Surprising A Satyress, Art Institute of Chicago. Accessed February 4, 2008.

The tympanum is one of the objects often carried in the thiasos, the retinue of Dionysus. The instrument is typically played by a maenad, while wind instruments such as pipes or the aulos are played by satyrs. The performance of frenzied music contributed to achieving the ecstatic state that Dionysian worshippers desired.

On a sea-shore, satyrs enter and wake sleeping nymphs. A storm frightens the fairies away and washes on shore an exhausted shipwrecked sailor. He awakes to find himself on an island whose residents are mythical creatures. He is enchanted by The Fairy Queen, who brings him to the magical fairy bower.

As Pan was accompanied by the Paniskoi, or little Pans, so the existence of many Fauni was assumed besides the chief Faunus. Fauns are place-spirits (genii) of untamed woodland. Educated, Hellenizing Romans connected their fauns with the Greek satyrs, who were wild and orgiastic drunken followers of Dionysus, with a distinct origin.

A Greek glass amphora, 2nd half of the 2nd century BC, from Olbia, Roman-era Sardinia, now in the Altes Museum The Derveni Krater, from near Thessaloniki, is a large bronze volute krater from about 320 BC, weighing 40 kilograms, and finely decorated with a 32-centimetre-tall frieze of figures in relief representing Dionysus surrounded by Ariadne and her procession of satyrs and maenads. The neck is decorated with ornamental motifs while four satyrs in high relief are casually seated on the shoulders of the vase. The evolution is similar for the art of jewelry. The jewelers of the time excelled at handling details and filigrees: thus, the funeral wreaths present very realistic leaves of trees or stalks of wheat.

Earlier Aulocera brahminoides was considered a subspecies of A. brahminus. Aulocera brahminoides is 50 to 60 mm in wingspan and its smaller than A. brahminus. The narrow-banded satyrs are large, powerfully built Himalayan butterflies which are black or very dark brown above. They are characterised by a white discal band across both wings.

Artemis Bendis, molded terracotta figurine, (Tanagra?) BC, (Louvre) Bendis was a Thracian goddess associated with hunting whom the Athenians identified with Artemis and who was introduced into Athens about 430 BC. She was a huntress, like Artemis, but was accompanied by dancing satyrs and maenads on a fifth- century red-figure stemless cup (at Verona).

Satyrs and maenads gathering olives, olpe, circa 500/490 BC. Paris: Louvre. The Gela Painter was an Attic black-figure vase painter. His real name is unknown. His long career started around the turn of the 6th and 5th centuries BC. A majority of his works, consisting mainly of lekythoi were exported to West Greece.

Naxos was the oldest Greek city on the island. Chalcidean settlers founded the city in 735 BC. It was also the first city on the island to issue coinage. The city grew rich from producing wine, and it honoured the god Dionysos on their first coinage. Satyrs were another common theme on their coinage.

Thus, he depicts the body of Ajax being covered by Tekmessa, the handing-over of the body of Hector and other scenes from the Trojan War. Dionysiac scenes are common as well. A famous kylix depicts satyrs attacking the goddesses Iris and Hera. While Iris attempts to flee, Hera is protected by Heracles and Hermes.

Smith, 33–40, 136–140 The world of Dionysus, a pastoral idyll populated by satyrs, maenads, nymphs and sileni, had been often depicted in earlier vase painting and figurines, but rarely in full-size sculpture. The drunk woman at Munich portrays without reservation an old woman, thin, haggard, clutching against herself her jar of wine.

Frieze of San Pietro with hippocamps and satyrs The Benedictine Abbey was founded in the year 983, and the adjacent church was rebuilt during 1476 to 1518. The work has been attributed to Pietro Barabani of Carpi.La patria; geografia dell' Italia: parte. 1 1894, by Gustavo Chiesi, Luigi Borsari, Giuseppe Isidoro Arneudo, page 39.

The newborn god Hermes steals his brother Apollo's cattle. The satyrs, led by Silenus, track him down and find Hermes has made a new musical instrument, the lyre, from the horns of one of the cattle. Apollo is so pleased with the lyre that he adopts it as his own and forgives his young brother.

Dionysus sets his army in motion until they encounter the first Indian contingent, led by Astraeis. Hera deludes Astraeis to go to battle against the Bacchic troops. Maenads and satyrs massacre the Indian troops until Dionysus takes pity of them and turns the waters of the neighbouring lake Astacid. The Indians try wine for the first time.

His contemporary and friend Jan Kochanowski became one of the greatest Polish poets of all time. Tapestry with shield-bearing satyrs and monogram SA of king Sigismund Augustus, ca. 1555 Kochanowski was born in 1530 into a prosperous noble family. In his youth he studied at the universities of Kraków, Königsberg and Padua and traveled extensively in Europe.

Even as the vase shapes he painted on are unusual, his themes are conventional: athletes, satyrs and maenads, and mythological scenes. There are also some careful studies of women. He also painted white-ground vases. A lekythos in New York shows a funeral scene, typical of white-ground painting: Achilles is mourning Patroclus; the nereids bring him new weapons.

Hurschmann: Paestanische Vasen, in: DNP 9 (2000), col. 142 The themes depicted often belong to the Dionysiac cycle: thiasos and symposium scenes, satyrs, maenads, Silenos, Orestes, Electra, the gods Aphrodite and Eros, Apollo, Athena and Hermes. Paestan painting rarely depicts domestic scenes, but favours animals. The Paestan vase shows a man and two women plotting to have intercourse.

Tableau 5 -- Mercury, messenger of the gods, announces Hebé, the goddess of youth, and Ganymede, cupbearer to the gods. They present Flora and Zephyr a cup of nectar and proclaim that Jupiter has given them eternal youth. Tableau 6 -- A procession. The chariot of Bacchus and Ariadne is accompanied by bacchantes, satyrs, fauns, sylvans, and others.

Hurschmann: Paestanische Vasen, in: DNP 9 (2000), col. 142 Orestes in Delphi, krater by Python, circa 330 BC. London: British Museum. The themes depicted often belong to the Dionysiac cycle: thiasos and symposium scenes, satyrs, maenads, Silenos, Orestes, Electra, the gods Aphrodite and Eros, Apollo, Athena and Hermes. Paestan painting rarely depicts domestic scenes, but favours animals.

Circumcision of Abraham's son Isaac. Regensburg Pentateuch, Israel Museum, Jerusalem (c. 1300). According to Hodges, ancient Greek aesthetics of the human form considered circumcision a mutilation of a previously perfectly shaped organ. Greek artwork of the period portrayed penises as covered by the foreskin (sometimes in exquisite detail), except in the portrayal of satyrs, lechers, and barbarians.

As was the case in Athens, there are kalos inscriptions. Boeotian potters especially liked to produce molded vases, as well as kantharos with sculptured additions and tripod pyxides. The shapes of lekanis, cups and neck amphoras were also taken over from Athens. The painting style is often humorous, and there is a preference for komos scenes and satyrs.

The roof was in wood covered with polychrome terracotta. The terracotta was placed through a refined system of syllabic abbreviations and they were integrated with bronze inserts and a generous profusion of plastic inserts, mostly modelled by hand, among which a splendid series of grand antefixes (joint coverings) with the heads of Gorgons, maenads and satyrs.

Papilio polyxenes, the state butterfly of Oklahoma, is found on Black Mesa. 61 species of butterfly are found in the preserve, including seventeen skippers, three swallowtails, four hairstreaks, a copper, four whites, nine true brushfoots, two satyrs, and a leafwing. There are 91 species of moths on Black Mesa. No species of fish are found on Black Mesa.

The hand of Douris is made clear from now on by the characteristic use of a kind of hook for the inner end of the collarbone. A characteristic piece of the period of the period is a psykter (wine cooler) decorated with drunken satyrs, reproducing in a grotesque manner the different stages of intoxication.London E 768. ARV2, 446, 262.

Beard et al, vol. 1, 44-5, 59-60: see also Plutarch, Romulus (trans. Dryden) at The Internet Classics Archive MIT.edu Ovid projected a fabulous and poetic triumphal precedent in the return of the god Bacchus/Dionysus from his conquest of India, drawn in a golden chariot by tigers and surrounded by maenads, satyrs, and assorted drunkards.

The Pyramid of 1764 by Ledoux was purportedly used as a masonic lodge. During Monville's time a printed guide to the garden was produced but its vagueness creates more questions than it supplies answers; it includes an illustration of satyrs with flaming torches greeting visitors at the artificial rock entrance; there is no explanation as to whether they are costumed staff, statues or merely a poetic allegory (although apparently years later two "satyrs" -presumably cutouts - were discovered in a store room). They and the artificial rock entrance could be part of an initiatory route used for Masonic purposes. Several of the other garden features (truncated column, pyramid etc.) could likewise be interpreted as being suggestive of a masonic theme but they also exist is other gardens where no such connection is likely or seriously suggested.

Google Books previewReginald Pepys Winnington-Ingram, Sophocles: an interpretation, Cambridge University Press, 1980, p. 109 Google Books previewZofia H. Archibald, in Gocha R. Tsetskhladze (Ed.) Ancient Greeks west and east, Brill, 1999, pp. 429 ff.Google Books preview In works of ancient art it is seen not only on maenads and male bacchantes, but also on figures of Pan and Satyrs.

In Zimmerman's catalogue it appears as Purcell's Z 632.Henry Purcell: Love Songs, sung by Dorothee Mields. In Act 1, scene 2 of Shakespeare's play there is a masque of Amazons. Shadwell adapted this into a bucolic frivolity in Act 2, scene 1, in which Cupid and Bacchus, with a chorus of nymphs and satyrs, dispute whether love or wine is more important.

Lethe anthedon, the northern pearly-eye, is a species of alpines, arctics, nymphs and satyrs in the family Nymphalidae. It is found in North America. The MONA or Hodges number for Lethe anthedon is 4568.1. For more images of Lethe (Enodia) anthedon, for more references, and for host plant information (grasses, and carex sedges) go to Enodia anthedon at Wikipedia.

Robert Morstein-Marx, Mass Oratory and Political Power in the Late Roman Republic (Cambridge University Press, 2004), p. 99 online. Marcius Rutilus was also among the first plebeian augurs, co-opted into their college in 300, and so the mythical teacher of augury was an apt figure to represent him.T.P. Wiseman, "Satyrs in Rome?" Journal of Roman Studies 78 (1988), p. 4.

T.P. Wiseman, "Satyrs in Rome?" Journal of Roman Studies 78 (1988), pp. 2–3 and p. 11, note 91, with additional sources on Marsyas p. 4, notes 26–28. The Social War of 91–88 BC, in which the Italian peoples fought to advance their status as citizens under Roman rule, is sometimes called the Marsic War from the leadership of the Marsi.

Also T.P. Wiseman, "Satyrs in Rome? The Background to Horace's Ars Poetica," Journal of Roman Studies 78 (1988), p. 4; Elaine Fantham, "Liberty and the Roman People," Transactions of the American Philological Association 135 (2005), p. 227, especially note 52. During the Principate, Marsyas became a subversive symbol in opposition to Augustus, whose propaganda systematically associated him with the silens’ torturer Apollo.

Fauns and satyrs are mythological creatures that are part goat and part human. The mineral bromine is named from the Greek word "brόmos", which means "stench of he-goats". Popular Christian folk tradition in Europe associated Satan with imagery of goats. A common superstition in the Middle Ages was that goats whispered lewd sentences in the ears of the saints.

Satyrs in vineyard. Attic red-figure volute-krater, ca. 490 BC, State Collections of Antiques in Munich. The earliest evidence of wine production dates from between 6000 and 5000 BC. Wine making technology improved considerably with the ancient Greeks but it wasn't until the end of the Roman Empire that cultivation techniques as we know them were common throughout Europe.

In rhythmic repetition three successively staggered, large arches with feathery vegetation divide the space of the composition. The center of the space is occupied by a vine- covered, broken column shaft. The figures seem almost reduced to casual narration and yet their turbulence and drunkenness are reflected in the moving, bizarre ruins. The viewer is kept at a distance from the carousing satyrs.

Fontenrose sees a combination of two stories: the lands of Dawn in the far east; and Hephaestus' smithy, the source of fire. Latin sources add that Oenopion was the son of Dionysus. Dionysus sent satyrs to put Orion into a deep sleep so he could be blinded. One source tells the same story but converts Oenopion into Minos of Crete.

Cedric Ballantyne and George McLeish were the architects of this project. The theatre was three storeys, and was 66 feet wide, 248 feet deep with a 60 by 63 foot stage. The earliest theatre included a hotel providing a public bar and tobacconist. The entry to the stalls and pit were via a fountain decorated with satyrs and other female figures.

The series takes place in a world that took a different path of evolution from the world we know resulting in mythological creatures, such as centaurs, satyrs, mermaids, and demons, taking the place of humans in today's society. The story largely focuses around a centaur girl named Himeno Kimihara, as she goes about her daily life with her friends and family.

Nymphs (Finnish: Nymfit) is a Finnish fantasy-drama television series. The series is based on Greek mythology as the beautiful and immortal nymphs are living in a modern-day Helsinki. The nymphs need to have sex once a month in order to stay alive and run away from satyrs that persecute them. Gummerus is publishing Nymfit as a book series.

The basilica has three naves lined by six rock pillars and an apse.Guida di Roma sotterranea - Guide to underground Rome: Dalla Cloaca Massima alla Domus Aurea i più affascinanti siti sotterranei della capitale, Carlo Pavia, Gangemi, 2000, p. 376 They are decorated with stucco images of centaurs, griffins and satyrs. Classical heroes such as Achilles, Orpheus, Paris and Hercules are also represented.

Sophocles wrote an Inachos, probably a satyr play, which survives only in some papyrus fragments found at Oxyrhyncus and Tebtunis, Egypt;James Adam. The Republic of Plato Book 2.381D in it Inachos is reduced from magnificence to misery through the unrequited love of ZeusPerhaps Chthonic Zeus, Zeus-Plouton, Richard Seaford suggests (Richard Seaford, "Black Zeus in Sophocles' Inachos" The Classical Quarterly New Series, 30.1 (1980), pp. 23-29. for his daughter Io. Hermes wears the cap of darkness, rendering him invisible, but plays the aulos, to the mystification of the satyrs; Argos and Iris, as a messenger of Hera both appear, a "stranger" turns Io into a heifer at the touch of a hand, and at the end, apparently, the satyrs are freed from their bondage, to become shepherds of Inachos.Die Netzfischer des Aischylos und der Inachos des Sophokles (Munich: Beck) 1938.

Choerilus was said to have competed with Aeschylus, Pratinas and even Sophocles. According to Friedrich Gottlieb Welcker, however, the rival of Sophocles was a son of Choerilus, who bore the same name. His reputation as a writer of Satyr plays is attested in the line: ἡνίκα μὲν Βασιλεὺς ἦν Χοιρίλος ἐν Σατύροις. Back in the days when old Choerilus over the Satyrs was king.

The Mastos Painter belonged to the circle of the Lysippides Painter.Cohen, "Oddities," p. 80. The work for which he was named depicts Dionysus, two horse-legged satyrs or silens,Guy Michael Hedreen, Silens in Attic Black-Figure Vase-Painting: Myth and Performance (University of Michigan, 1992), p. 149. and Hermes as they "gaze admiringly" at Ariadne holding the infant Oinopion, her child with Dionysus.

Stevenson, Joseph, ed., The History of Mary Stewart by Claude Nau (1883), pp. cxlviii-cl. Amongst other payments, the royal accounts record that Bastian was given 40 ells of "taffeteis of cord" in three colours for seven (or some) "preparatives" for the baptism. "Preparatives" here may mean "harbingers," the role of the satyrs at the feast, but may just mean the preparations in general.

A terra cotta relief showing Satyrs expressing the juice from trodden grapes in wicker mats in the tropeion. Ancient Greeks called the cultivated vine hemeris (Greek: ἡμερίς), after their adjective for "tame" (Greek: ἥμερος), differentiating it from its wild form. A massive rootstock was carved into a cult image of the Great Goddess and set up on the coast of Phrygia by the Argonauts.Argonautica I.1116-39.

He confides in his friends who research on the internet about satyrs. That night, the satyr tries to hypnotize and abduct Tara and a neighbor, Claudine. Adam, Claudine's husband Dale, and their neighbors Merle and Cliff manage to drive the satyr off. Adam thinks the satyr has something to do with Nelson LeHorn, a local farmer who was rumored to be a black powwow witch.

Athena on a lekythos, , found at Vari, Athens: National Museum Inv. 1061. The Beldam Painter was an Attic black-figure vase painter, active from around 470 to before 450 BC. His real name is unknown. The conventional name is derived from his name vase, which depicts an unidentified older female being tortured by several satyrs. He was one of the latest representatives of his style.

The Resting Satyr The Resting Satyr of the Capitol at Rome has commonly been regarded as a copy of one of the Satyrs of Praxiteles, but it cannot be identified in the list of his works. Moreover, the style is hard and poor; a far superior replica exists in a torso in the Louvre. The attitude and character of the work are certainly of Praxitelean school.

Truculent satyrs feature in several prints; there are a number of mythological subjects, including two Sacrifices to Priapus. The earlier prints show figures with "small heads and somewhat shapeless bodies, with sloping shoulders and thick torsos supported by slender legs" — also seen in his paintings. Probably from a middle period come several nudes, the most famous being Apollo and Diana, St SebastianMFA . and the Three Bound Captives.

One of the elements that satyr plays contained was the consideration of "wild women". These were women that would dance with the satyrs and be called maenads. The movement of these characters within the plays was part of what began to create the basis from development of comedy. Additionally, these dances had variations that generally were parallel to the different forms of the dithyramb.

Satyrs and fauns enter playing their pipes, and attempt to carry off the Spirit of the Corn, but she is rescued by the wind of Zephyr. Tableau 4 -- A landscape in Autumn The Seasons take part in a glorious dance (the well-known "autumn bacchanale") while leaves from autumn trees rain upon their merriment. Apotheosis -- The Sable sky Constellations of stars sparkle above the earth.

The garden features more than 4000 plants and 250 species. Two fountains border the garden; the bronze-and-marble Heffelfinger Fountain is from the Villa Montalto near Florence, Italy and donated to the Park Board by Frank Heffelfinger in 1944. There is a cherub surfing on a dolphin at the top, surrounded by satyrs. Human faces on the pedestal base show the progress of age.

The nymph is in general very beautiful and physically perfect. They were mostly depicted with ivory, light and very delicate colours and an idealised female form, having close similarities with depictions of Venus. On the other hand, the satyrs, who are the followers of Bacchus, are very ugly, with the horns, legs and sometimes the tail of a goat. They are also strong, muscular, and tanned.

The entrance to the tomb leads to the antechamber, which has a doorway to the main chamber opposite the entrance. The wall frescoes of the antechamber show figures which are almost naked, apparently partaking in a Dionysian ritual dance. They are in a grove which is decorated with ribbons, wreaths, mirrors and cistae. Reclining satyrs with rhytoi appear in the gable of the entry wall.

Pedro Gonzalez Petrus Gonsalvus (born 1537) was referred to by Ulisse Aldrovandi as "the man of the woods" due to his condition, hypertrichosis. Some of his children were also afflicted. It is believed that his marriage to the lady Catherine inspired the fairy tale Beauty and the Beast. In Shakespeare's The Winter's Tale (1611), the dance of twelve "Satyrs" at the rustic sheep-shearing (IV.

Reconstructed triclinium or dining room, with three klinai or couches Metal brazier with satyrs, from Pompei The Roman cathedra was a chair with a back, although there is disagreement as to the exact meaning of the Latin term. Richter defines the cathedra as a later version of the Greek klismos, which she says was never as popular as its Greek predecessor.Richter, 101; Ulrich, 215.

As soon as he falls asleep, Mercury makes off with his bows and arrows and his torch. The satyrs come upon Amor and dance around him as they ridicule him for allowing his weapons to be stolen. ;Act 3 Parigi's stage design for the finale of Act 5 showing the Dance of the Breezes. In the background, Apollo on Pegasus above the Muses' fountain.

They live fun and frivolous lives. Two Satyrs, Newel and Doren, play significant rolls in Fablehaven. They make parties more exciting, play tennis, and trade gold to Seth for batteries to power their portable TV. Kendra and Seth are introduced to Verl in book 3, who Seth figures out was the satyr equivalent of a nerd. Rondus is the name of another satyr revealed during a game of tackle tag.

Traditions vary whether this was an arduous journey, or whether Orion simply had to face the dawn, personified as Eos. There the rays of Helios restored Orion's sight. Sophocles wrote a satyr play Cedalion, of which a few words survive. Its plot is uncertain, whether the blinding of Orion by Oenopion and the satyrs on Chios, probably with Cedalion offstage and prophesied, or the recovery of Orion's sight on Lemnos.

Mikhail Fokine himself danced Amoun. The favourite slaves of Cleopatra were danced by Tamara Karsavina and Vaslav Nijinsky. Other characters included Servants of the Temple, Egyptian Dancers, Greeks, Satyrs, Jewish Dancers, Syrian Musicians and Slaves. Cyril W. Beaumont writes that Cléopâtre is a largely based on a ballet called Une Nuit d'Égypte that was first produced by Fokine at the Mariinsky Theatre in St. Petersburg, Russia in 1908.

Pavement mosaic with the head of Pan. Roman artwork, Antonine period, 138–192 CE. Silenus, the Satyrs and the Fauns were either capriform or had some part of their bodies shaped like that of a goat. In northern Europe the wood spirit, Leszi, is believed to have a goat's horns, ears and legs (Thomas 1911, p. 51). A deity known as the Goat of Mendes is associated with the pentagram.

Unlike Genesis, where souls are given only to human beings, animals and half-human half-animal creatures such as Fauns and Satyrs and even trees and watercourses are given souls and the power of rational thought and speech. This appears to suggest Lewis combined his Christian worldview with his fondness for nature, myth and fairy tales.Downing, pp 73–74. Parallels may also be found in Lewis's other writings.

The ancient Greeks also regarded masturbation as a normal and healthy substitute for other forms of sexual pleasure. Most information about masturbation in ancient Greece comes from surviving works of ancient Greek comedy and pottery. Masturbation is frequently referenced in the surviving comedies of Aristophanes, which are the most important sources of information on ancient Greek views on the subject. In ancient Greek pottery, satyrs are often depicted masturbating.

They tell Seth that if he brings them the batteries so that they can watch their portable television they will give him gold. Seth does bring them batteries and they give him gold which they have stolen from the troll, Nero. The satyrs enjoy chasing hamadryads, and playing tennis, and are sometimes invited to parties inside the house. They are described as the "ultimate fair weather friends" and detest work.

In The Lightning Thief, Chiron states that Grover is small even for his age: He is twenty-eight then, but because a satyr's lifespan is twice that of a human, he is considered a teenager. Grover is quite sensitive and attached to nature. A vegetarian, he is known to eat tin cans, furniture, and worships cheese enchiladas. Like all satyrs, he can sense emotions and "smell" monsters and demigods.

Socrates then compares Alicibiades to a satyr . Satyrs were often portrayed with the sexual appetite, manners, and features of wild beasts, and often with a large erection. Alcibiades states that when he hears Socrates speak, he feels overwhelmed. The words of Socrates are the only ones to have ever upset him so deeply that his soul started to realize that his aristocratic life was no better than a slave's (215e).

Gianbattista Tiepolo, near the end of his long career produced some brilliant etchings, subjectless capricci of a landscape of classical ruins and pine trees, populated by an elegant band of beautiful young men and women, philosophers in fancy dress, soldiers and satyrs. Bad-tempered owls look down on the scenes. His son Domenico produced many more etchings in a similar style, but of much more conventional subjects, often reproducing his father's paintings.Mayor, 576–584.

In the other, a pot-bellied hero brandishes a sword while Circe stirs her potion. Both these may depict the scene as represented in one or other of the comic satyr plays which deal with their encounter. Little remains of these now beyond a few lines by Aeschylus, Ephippus of Athens and Anaxilas. Other vase paintings from the period suggest that Odysseus' half-transformed animal-men formed the chorus in place of the usual satyrs.

In the Delphi performance the satyrs destroy the backdrop papyrus screens of the play and are depicted playing a soccer match with a ball fashioned out of the Ichneutae papyrus. In the National Theatre performance Silenus is shown destroying the physical papyrus screen which functions as the backdrop of the theatrical play and commenting that the papyrus "could be put to better use as bedding material for the homeless of London's South Bank".

The statue was regarded as an indicium libertatis, a symbol of liberty, and was associated with demonstrations of the plebs, or common people. It often served as a sort of kiosk upon which invective verse was posted.Servius, ad Aeneidos 3.20; T.P. Wiseman, "Satyrs in Rome? The Background to Horace's Ars Poetica," Journal of Roman Studies 78 (1988), p. 4; Elaine Fantham, "Liberty and the Roman People," Transactions of the American Philological Association 135 (2005), p.

It was later updated by others to reflect major new building projects in a second state of the print. Apart from the Map of Venice, he produced two other woodcuts, both of men and satyrs, which were the largest and most impressive figurative woodcuts yet produced, and which established the Italian tradition of fine, large, woodcuts for the following decades. These may have also been produced before 1500; they are clearly strongly influenced by Mantegna.

Verlag C.H.Beck, 2002, , p. 109 He sees this drunken behaviour being increased to superhuman levels, such that the woman's only desire is her immense thirst for wine. Thus, he considers the sculpture to be a focussed depiction of uninhibited drunkenness. Reduced to just this facet and possessed by the supernatural force of unlimited thirst, he considers the old woman to become the mortal counterpart of the satyrs, the mythic companions of Dionysus.

On occasion, tossing formed part of a costumed masquerade in which the tossed animal as well as the participants would be decorated and masked. Gentlemen would dress as mythical heroes, Roman warriors, satyrs, centaurs or jesters. Ladies would dress as nymphs, goddesses or muses. The tossed animals—hares as well as foxes—would be "dressed up in bits of cardboard, gaudy cloth and tinsel", sometimes being decorated as caricatures of well-known individuals.

Florentines were not impressed and called the statue "Il Biancone" ("the white giant"). The work on the basin and other aspects of the fountain required nearly ten years. Ammannati and his collaborators added around the perimeter of the basin in a mannerist style, reclining, bronze river gods, laughing satyrs and marble sea-horses emerging from the water. The pedestal on which the statue stands is in the center of the octagonal fountain.

All but the chorus exit into the cave. The chorus sing until Odysseus enters from the cave and tells the chorus that the Cyclops has eaten some of his men and that he has been giving the Cyclops wine and that he intends to blind the Cyclops and save everyone, including the satyrs. The chorus are keen to help. The Cyclops exits from the cave singing and drunk and wanting more wine from Odysseus.

In March 1960, Corman announced that Filmgroup would be part of an international production group, Compass Productions. He directed a peplum in Greece, Atlas (1961) in August. He was going to direct a thriller from a script by Robert Towne, I Flew a Spy Plane Over Russia. It was not made; neither were two comedies he was to make with Dick Miller and Jon Haze, Murder at the Convention and Pan and the Satyrs.

Midas, now hating wealth and splendor, moved to the country and became a worshipper of Pan, the god of the fields and satyrs.This myth puts Midas in another setting. "Midas himself had some of the blood of satyrs in his veins, as was clear from the shape of his ears" was the assertion of Flavius Philostratus, in his Life of Apollonius of Tyana (vi.27), not always a dependable repository of myth.

Over the course of his lifetime, he published over 700 separate editions (almost 4% of books published in 16th-century Paris). Colines used elegant roman and italic types and a Greek type, with accents, that were superior to their predecessors. These are now called French old-style, a style that remained popular for over 200 years and revived in the early 20th century. He used rabbits, satyrs, and philosophers as his pressmark.

James Christopher Monger of AllMusic declared that the EP "delivers enough wattage to power the East Coast through a category five hurricane.", and declared Satan's Satyrs song "Succubus" was a highlight that "grooves as hard as it spanks." Brayden Turenne of Exclaim! noted that "despite its power" the song "Three Sisters" by Windhand "can feel over-long toward the end" noting that it does not change much from how it initially starts.

Ino arrives when he is about to kill their son Melicertes whom she saves by jumping into the sea, becoming divinized. Meanwhile, Dionysus has become a teenager and lives in Lydia with a court of Satyrs. He falls in love for the first time with one of them, Ampelus (Vine). His passion for the boy is only spoiled by the knowledge that he will soon die, just as all the young lovers of the gods do.

Bridging the age when gods lived alone and the age when divine interference in human affairs was limited was a transitional age in which gods and mortals moved together. These were the early days of the world when the groups mingled more freely than they did later. Most of these tales were later told by Ovid's Metamorphoses and they are often divided into two thematic groups: tales of love, and tales of punishment. Dionysus with satyrs.

The youthful and voluptuous couple recline in a forest setting, surrounded by playful baby satyrs. The painting was probably intended to commemorate a wedding, set into panelling or a piece of furniture to adorn the bedroom of the bride and groom,Lightbown, 164 possibly as part of a set of works. This is suggested by the wide format and the close view of the figures. It is widely seen as representation of an ideal view of sensuous love.

The hubristic Marsyas in surviving literary sources eclipses the figure of the wise Marsyas suggested in a few words by the Hellenistic historian Diodorus Siculus,Diodorus Siculus, iii.59-59. who refers to Marsyas as admired for his intelligence (sunesis) and self-control (sophrosune), not qualities found by Greeks in ordinary satyrs. In Plato's Symposium,Symposium 215.b-c. when Alcibiades likens Socrates to Marsyas, it is this aspect of the wise satyr that is intended.

Flanders Gate. Sweerts crest : a high cap, cut like the shield; Supports: two satyrs. Primitive Sweerts arms, still borne by members of this lineage around 1250 The House of Sweerts or Sweerts Lineage (French: Lignage Sweerts) is one of the Seven Noble Houses of Brussels along with the Houses of: Sleeus, Serhuyghs, Steenweeghs, Coudenbergh, Serroelofs and Roodenbeke.Joseph de Roovere, NPB, Le manuscrit de Roovere conservé au Fonds Général du Cabinet des Manuscrits de la Bibliothèque Royale de Belgique.

This marble statue of a satyr pouring wine is a Roman copy after a once celebrated (but now lost) statue by Praxiteles, c. 370–360 BC. Walters Art Museum, Baltimore. Besides these works, associated with Praxiteles by reference to notices in ancient writers, there are numerous copies of the Roman age, statues of Hermes, of Dionysus, of Aphrodite of Satyrs and Nymphs and the like, in which a varied expression of Praxitelean style may be discerned.

The earliest and best is that of the Paris Painter. They depict mythological motifs such as a beardless Hermes, centaurs, Theseus and the Minotaur, Achilles and Troilos, satyrs, maenads and a beardless Herakles, similar to depictions common in East Greece. Scenes from the Trojan War are also common. Occasionally, mythological scenes from outside the corpus of Greek myth occur, such as Herakles fighting Juno Sospita by the Paris Painter, or a wolf-like daemon by the Titios Painter.

The fountain is circular and surrounded by a balustrade. Water flows from four lions who hold shields with the symbols of Medina y de Carafa. Two sea monsters pour water in the central shell, adorned with dolphins and Tritons that also emit water; this was carved by Pietro Bernini. In the center, on a rock, two nymphs and two satyrs hold up a saucer that features a statue of Neptune with trident; this portion was sculpted by Naccherino.

Samples of burial dirt found within holes in the vase proved that the repairs were made prior to the vase being used in an ancient funeral. Conservators also discovered that the vase was restored in the late 19th century with materials and methods typical of the time period. Plaster, replacement pieces of terracotta, and extensive overpainting had been used in the restoration. Overpainting disguised repairs and also altered the appearance of nude satyrs on the decorative panels.

189, 201–207, and especially p. 202: "Priapus is an outsider to Roman public ritual with no place in any official fertility ceremonies." Priapus was a guardian of gardens, but the gardens he guards are not usually portrayed as lush. His perpetual erection results from sexual frustration, not potency; unlike satyrs, who are often but not always unsuccessful, Priapus never achieves sexual release, and thus lacks true generative power: Olender, "Priapus," in Roman and European Mythologies, pp. 140–142.

Both of these main scenes are surrounded by satyrs and maenads, who are depicted in a rhythmic dance. Detail of the Satyr facing the viewer. A single figure stares at the viewer of the artwork; it is a satyr that can be found behind Hephaistos' mule. The outwardly facing satyr invites the viewer to become a participant in the scene of dancing maenads, which were similar to girls who could be seen dancing at a party.

One scholar, Jeanne Veyrin-Forrer, believes Colines may have furnished French old-style typefaces to his step- son, Robert Estienne. For the next 13 years Colines would cut most of his common print types: romans, italics, and his two best Greeks. In 1528 he began to use italic type. Colines was recognized for using rabbits near a tree as part of his pressmark, but after moving to Soleil d'or he started using satyrs and philosophers as his pressmarks.

Some details, such as the furnace, are, however, depicted in a way that differs from the known archaeological evidence. This is probably simply because certain adjustments of reality were necessary to effectively paint or compose the scene. At least some of the depicted workmen appear to be slaves. For example, the man in front of the oven is crouched in such a way that his genitals are visible, a style of depiction normally limited to satyrs and slaves.

Satan's Satyrs was an American band. Originally formed in 2009 in Virginia by the lead vocalist and bassist Clayton Burgess. The band's lineup as of 2016 included Burgess, Jarrett Nettnin, Stephen Fairfield and Nate Towle. Originally influenced by groups such as Electric Wizard and Black Flag, Burgess mailed a demo tape to Electric Wizard and recorded their first album Wild Beyond Belief, which began with Burgess performing all the instruments while still being attending high school.

The banquet was followed by a ballet of nymphs and satyrs. Brantôme reported that the "magnificence was such in everything that the Spaniards who are very contemptuous of all others save their own swore that they had never seen anything finer".Knecht, 237; Strong, 105–9. Water Festival at Bayonne, the finished tapestry version of 1580–81 The next day, King Charles and his brother Henry took part in a tournament, leading teams dressed as British and Irish knights.

On temple roofs, maenads and satyrs were often alternated. The frightening features of the Gorgon, with its petrifying eyes and sharp teeth was also a popular motif to ward off evil. A Roman example from the Augustan period features the butting heads of two billy goats. It may have had special significance in imperial Rome since the constellation Capricorn was adopted by the emperor Augustus as his own lucky star sign and appeared on coins and legionary standards.

Another upstairs room has a flat ribbed plaster ceiling and the staircase has linenfold wainscoting panelling. In "The Grange", there are more elaborately decorated plaster ceilings, linenfold panelling in the rear passageway and a plastered archway with the heads of satyrs. There are other important features including a wide fireplace with an arched lintel on the ground floor. The large complex of buildings is separated from the road by a high stone boundary wall, running for with gate piers and gates.

Following his summary of the anatomy of the subject, Tyson attaches fours essays concerning the ancients' knowledge of pygmies, cynocephali, satyrs, and sphinges. The book was originally published in 1699 and was republished in 1894 with an introduction which contains a biography of Edward Tyson by Bertram C. A. Windle. Large portions of the book are block quotations in Latin of works from antiquity regarding the anatomy and socialization of the pygmy, much of which Tyson regarded as inaccurate myths and hearsay.

The artwork refers to a Spanish literary work La Fábula de Polifemo y Galatea and Ovid's Metamorphoses. The oil painting was commissioned by French banker Jean Pointel and pictures characters from the Greek mythology. In the foreground pictured are semi-nude nymphs, being watched by satyrs hidden in the nearby bushes. On green fields behind them are people listening to music played on a flute by the Cyclops Polyphemus, who in turn appears to be blended into rocky mountains in the background.

When Zeus suggested that Dionysus defeat the Indians in order to earn a place among the gods, Dionysus declared war against the Indians and travelled to India along with his army of Bacchantes and satyrs. Among the warriors was Aristaeus, Apollo's son. Apollo armed his son with his own hands and gave him a bow and arrows and fitted a strong shield to his arm.Nonnus, Dionysiaca 13 After Zeus urged Apollo to join the war, he went to the battlefield.

City centre The Grote Kerk (St. Eusebius' Church), built 1452–1560, lost most of its tower during World War II, of which a part has been reconstructed to a modern design and opened in 1964. Officially the tower is not part of the church and is owned by the municipality. The house of Maarten van Rossum, a general serving Duke Charles van Gelre, has been the town hall since 1830: The satyrs in its Renaissance ornamentation earned it the name Duivelshuis (devil's house).

Polyphemus prays to his father, Poseidon, for revenge and casts huge rocks towards the ship, which Odysseus barely escapes. The story reappears in later Classical literature. In Cyclops, the 5th-century BC play by Euripides, a chorus of satyrs offers comic relief from the grisly story of how Polyphemus is punished for his impious behaviour in not respecting the rites of hospitality. In his Latin epic, Virgil describes how Aeneas observes blind Polyphemus as he leads his flocks down to the sea.

Burgess' goal was to complete the record before graduating high school but ended up completing it until a little after graduation. The album was released in 2012. Before the release of Wild Beyond Belief! Burgess high school friend Jarrett Nettnin joined Satan's Satyrs followed by Stephen Fairfield who became their drummer. In 2013, the group began writing material for their next album Die Screaming in 2014 when they were invited by Jus Oborn of Electric Wizard to play at Roadburn Festival in 2013.

Ammannati continued work on this fountain for a decade, adding around the perimeter a cornucopia of demigod figures: bronze reclining river gods, laughing satyrs and marble sea horses emerging from the water. In 1550 Ammannati married Laura Battiferri, an elegant poet and an accomplished woman. Later in his life he had a religious crisis, influenced by Counter-Reformation piety, which resulted in condemning his own works depicting nudity, and he left all his possessions to the Jesuits. He died in Florence in 1592.

Rimbaud focuses on such pagan deities as Cybele (the Earth), Venus (Beauty), Eros (Love), and the Sun. By assigning overtly sexual overtones to them, he also suggests the fertility that they embody. In the eyes of the young Rimbaud, the various deities exists in a complementary relationship to each other (the male Sun and female Earth). In addition, Pan with his company of fauns and satyrs, are ever present; they serve to cast the polytheistic world in the wild light of the Dionysian orgy.

In Roman culture, Liber, Bacchus and Dionysus became virtually interchangeable equivalents. Thanks to his mythology involving travels and struggles on earth, Bacchus became euhemerised as a historical hero, conqueror, and founder of cities. He was a patron deity and founding hero at Leptis Magna, birthplace of the emperor Septimius Severus, who promoted his cult. In some Roman sources, the ritual procession of Bacchus in a tiger-drawn chariot, surrounded by maenads, satyrs and drunks, commemorates the god's triumphant return from the conquest of India.

But, they were not the main focus and are not even mentioned in the texts. However, women are depicted on Attic vases as being close to the process of wine production along with the unmixed wine. Along with that, the satyrs of untamed nature are also found, along with the god himself. In Athens, the festival was originally held in the Lenaion (possibly a theatre outside the city or a section of the Agora) but probably moved to the Theatre of Dionysus by the mid-fifth century.

Papposilenus playing the crotals, theatrical type of the satyr play, Louvre Satyr plays were an ancient Greek form of tragicomedy, similar in spirit to the bawdy satire of burlesque. They featured choruses of satyrs, were based on Greek mythology, and were rife with mock drunkenness, brazen sexuality (including phallic props), pranks, sight gags, and general merriment. Satyric drama is one of the three varieties of Athenian drama, the other two being tragedy and comedy. The Satyric style shares many attributes with comedy,Shaw (C. A.) “Satyric Play.

The external frieze of the church peculiarly depicts secular images of hippocamps and winged satyrs completed by the brothers Bisogni. The interior was decorated during the early Renaissance by local artists, including terracotta sculptures by Antonio Begarelli. The sacristy has engraved choir benches (1548) by Gianfrancesco da Cremona. The interior has altarpieces by Francesco Bianchi Ferrari, Ercole dell'Abate, Giacomo Cavedone, Giovanni Gherardo Dalle Catene, J. van Ghelde, Giovanni Battista Ingoni, Ludovico Lana, Pellegrino Munari, Girolamo Romanino, C. Ricci, Ercole Setti, Giovanni Taraschi, Francesco da Verona, and others.

Other names also abound, however, such as the Sicilian Donas de fuera ('ladies from outside'), or French bonnes dames ('good ladies'). In the Finnic-speaking world, the term usually thought most closely equivalent to elf is haltija (in Finnish) or haldaja (Estonian). Meanwhile, an example of an equivalent in the Slavic- speaking world is the vila (plural vile) of Serbo-Croatian (and, partly, Slovene) folklore. Elves bear some resemblances to the satyrs of Greek mythology, who were also regarded as woodland-dwelling mischief-makers.

According to Aristotle, tragedy evolved from the satyr dithyramb, an Ancient Greek hymn, which was sung along with dancing in honor of Dionysus. The term , derived from "goat" and "song", means "song of the goats," referring to the chorus of satyrs. Others suggest that the term came into being when the legendary Thespis (the root for the English word thespian) competed in the first tragic competition for the prize of a goat (hence tragedy). Mask of Dionysus found at Myrina (Aeolis) of ancient Greece c.

Dionysus surrounded by satyrs Aristotle writes in the Poetics that, in the beginning, tragedy was an improvisation "by those who led off the dithyramb", which was a hymn in honor of Dionysus. This was brief and burlesque in tone because it contained elements of the satyr play. Gradually, the language became more serious and the meter changed from trochaic tetrameter to the more prosaic iambic trimeter. In Herodotus Histories and later sources, the lyric poet Arion of Methymna is said to be the inventor of the dithyramb.

Lloyd adopted the trappings of the California psychedelic rock scene by playing at the rock venue the Fillmore, wearing colorful clothes, and giving his albums titles like Dream Weaver and Forest Flower, which were bestselling jazz albums in 1967. Flautist Jeremy Steig experimented with jazz in his band Jeremy & the Satyrs with vibraphonist Mike Mainieri. The jazz label Verve released the first album (Freak Out) by rock guitarist Frank Zappa in 1966. Rahsaan Roland Kirk performed with Jimi Hendrix at Ronnie Scott's Jazz Club in London.

Founding members were: Chapin "Smitty" Smith, Clint "Bud" Olsen, Roy Whitney, Dub Keith, Randy Kinney, Raoul Vasquez and Don Gath. Don Gath is recorded in the minutes of the Oedipus Motorcycle Club of Los Angeles, the second oldest continuously running gay motorcycle club, as their founding member in 1958. The Satyrs Motorcycle Club helped spawn many motorcycle clubs across the nation in its early years. Many groups "borrowed and copied" the club's bylaws, as they were unsure how to establish themselves after the McCarthyism of the 1950s.

The main innovation that ancient critics ascribed to Pratinas was the separation of the satyric from the tragic drama.Suda, πρῶτος ἔγραψε ΣατύρουςHelenius Acron, Commentaries on Horace 230, reading Pratinae for Cratini Pratinas is frequently credited as having introduced satyr plays as a species of entertainment distinct from tragedy, in which the rustic merry-makings and the extravagant dances of the satyrs were retained. The change preserved a highly characteristic feature of the older form of tragedy, the entire rejection of which would have met with serious obstacles, not only from the popular taste, but from religious associations, and yet preserved it in such a manner as, while developing its own capabilities, to set free the tragic drama from certain of its genre constraints. A band of Satyrs, as the companions of Dionysus, formed the original chorus of tragedy; and their jests and frolics were interspersed with the more serious action of the drama, without causing any more sense of incongruity than is felt in the reading of those humorous passages of Homer, from which Aristotle traces the origin of the satyric drama and of comedy.

The Tempest begins with the spectacle of a storm- tossed ship at sea, and later there is a second spectacle—the masque. A masque in Renaissance England was a festive courtly entertainment that offered music, dance, elaborate sets, costumes, and drama. Often a masque would begin with an "anti-masque", that showed a disordered scene of satyrs, for example, singing and dancing wildly. The anti-masque would then be dramatically dispersed by the spectacular arrival of the masque proper in a demonstration of chaos and vice being swept away by glorious civilization.

The Rossetti factory was active in Lodi between 1729 and 1736.. Rossetti ceramics were fired with the Gran fuoco technique . and most are in monochromatic turquoise. Rossetti excelled in the decoration known as the 'Bérain' style, which takes its name from the French decorator Jean Bérain the Elder, with pillars, balustrades, capitals, urns, shells, stylized leaves garlands, divinities and satyrs;.. Some ceramics feature landscapes in the center, with views of cities and castles, hills, lakes, clouds and birds. There are also two examples of polycrome Rossetti ceramics, representing scenes of a lake and a town.

He holds a fennel staff, tipped with a pine-cone and known as a thyrsus. Later images show him as a beardless, sensuous, naked or half-naked androgynous youth: the literature describes him as womanly or "man-womanish". In its fully developed form, his central cult imagery shows his triumphant, disorderly arrival or return, as if from some place beyond the borders of the known and civilized. His procession (thiasus) is made up of wild female followers (maenads) and bearded satyrs with erect penises; some are armed with the thyrsus, some dance or play music.

Moriomachia – featuring a bull-turned-man engaging in mock-heroic battle over his armour at the court of Moropolis – was "one of the earliest English responses to Don Quixote".Colin Burrow, ‘Anton, Robert (fl. 1606–1618)’, Oxford Dictionary of National Biography, online edn, Oxford University Press, Sept 2004, accessed 18 September 2010 Anton was also the author of a quarto volume of satires, published in 1616, under the title of The Philosophers Satyrs. A second edition appeared in the following year, bearing the title Vices Anatomic Scourged and Corrected in New Satires.

In this poem, the animals that surround her are not former lovers transformed but primeval 'beasts, not resembling the beasts of the wild, nor yet like men in body, but with a medley of limbs'. Three ancient plays about Circe have been lost: the work of the tragedian Aeschylus and of the 4th-century BCE comic dramatists Ephippus of Athens and Anaxilas. The first told the story of Odysseus' encounter with Circe. Vase paintings from the period suggest that Odysseus' half-transformed animal-men formed the chorus in place of the usual Satyrs.

It has four finials on its lid, the figure of Dionysus flanked by aroused satyrs, and love scenes of Heracles and Iolaos. The catalogue of his own collection of ancient Roman mercantile sealings stamped in lead was written by conte C. Gaetani and doubtless published at Ficoroni's expense.Piombi antichi mercantili... Dissertazione... chi servir potrebbe Appendici ai Piombi antichi del Signor Abbate F. de' F. (Rome, 1740); it was translated into Latin as De plumbeis antiquorum numismatibus dissertatio, by Domenico Cantagalli [Rome, 1750]): Cole and Pollen; (De Plumbeis Antiquorum...). He died in Rome.

The decoration of the Great Hall was in part the responsibility of Mary's wardrobe servant Servais de Condé. The detail of the other formal banquet on the day of baptism was described in the manuscript called the Diurnal of Occurents.A Diurnal of Remarkable Occurents in Scotland (Bannatyne Club, 1833), pp. 104. On the day of the banquet with satyrs, there had been fireworks directed by John Chisholm and the gunners Charles Bordeaux and James Hector with a pageant consisting of an assault on a mock castle by wildmen.

Pausanias Description of Greece 7:17; Arnobius Against the Pagans 5.5 This shadowy figure resided at Pessinus and attempted to marry his daughter to the young Attis in spite of the opposition of his lover Agdestis and his mother, the goddess Cybele. When Agdestis and/or Cybele appear and cast madness upon the members of the wedding feast. Midas is said to have died in the ensuing chaos. King Midas is said to have associated himself with Silenus and other satyrs and with Dionysus, who granted him a "golden touch".

Rutilus was again elected consul in 352 BC. At the end of his term, he ran for censor and won, despite patrician opposition. He was also consul in 344 BC and 342 BC, when he led the army in the Samnite Wars. His son of the same name was tribune of the plebs in 311 BC and consul in 310 BC.T.P. Wiseman says that it was not his son, but Marcius Rutilus himself who was consul in 310; see "Satyrs in Rome?" Journal of Roman Studies 78 (1988), p. 4.

Archaeological evidence, primarily from Pompeii and Herculaneum, and literary sources seem to indicate the existence of private "sex clubs" in some Roman homes (domūs).McGinn (2004), pp. 157–159. Most Romans lived in apartments (insulae); the domus was a large, independent dwelling owned by a family of considerable means, and in Rome was central to the family's social identity. A few of these residences have rooms decorated with pornographic art"Pornographic" here means portrayals of ordinary human beings having sex, as distinguished from depictions of mythological rapes or aroused satyrs and Priapuses.

Satyrs, known for their sexual voracity, are often pictured with bestial features. Mock bestiality is recorded as a form of sexual roleplay in Imperial Rome. Nero is supposed to have enjoyed a form of bondage with either male or female partners in which he dressed in animal skins to attack their genitals, just as condemned prisoners were bound and attacked by wild animals in the arena (see Damnatio ad bestias).Suetonius, Life of Nero 29; Carlin A. Barton, The Sorrows of the Ancient Romans: The Gladiator and the Monster (Princeton University Press, 1993), p. 68.

Athenaeus, xiv. 617 Hyporcheme was closely related to the satyric drama by the humorous character which it often assumed, and dithyrambs by its ancient choruses of Satyrs. Pratinas may perhaps be considered to have shared with his contemporary Lasus of Hermione the honor of founding the Athenian school of dithyrambic poetry. Some interesting fragments of his hyporchemes are preserved, especially a considerable passage in Athenaeus which gives an important indication of the contest for supremacy which was then going on both between poetry and music, and between the different kinds of music.

Herodotus (1.23) says "Arion was second to none of the lyre-players in his time and was also the first man we know of to compose and name the dithyramb and teach it in Corinth". However J.H. Sleeman observes of the dithyramb, or circular chorus, "It is first mentioned by Archilochus (c 665 BC) … Arion flourished at least 50 years later … probably gave it a more artistic form, adding a chorus of 50 people, personating satyrs… who danced around an altar of Dionysus. He was doubtless the first to introduce the dithyramb into Corinth".

The Triumph of Bacchus is a painting by the Walloon artist Michaelina Wautier. It was painted between 1650 and 1656 and is considered one of Wautier's greatest works, as well as one of her largest. Based on classical texts, the picture shows a procession with the drunken god Bacchus at its centre, surrounded by other humans, satyrs and animals. It was possibly commissioned to be part of the large collection of art amassed by Archduke Leopold Willhelm; in any case by 1659 it was noted in an inventory of the collection.

In book 6 of Ovid's Fasti: Cybele invited all the gods, satyrs, rural divinities, and nymphs to a feast, though Silenus came uninvited with his donkey. At it, Vesta lay carelessly at rest, and Priapus spotted her. He decided to approach her in order to violate her; however, the ass brought by Silenus let out a timely bray: Vesta was woken and Priapus barely escaped the outraged gods.Ovid, Fasti VI. 319-48 Mentioned in book 1 of the Fasti is a similar instance of Priapus' impropriety involving Lotis and Priapus.

The wasps buzzing around Mars' head suggest that it may have been painted for a member of his neighbours the Vespucci family, whose name means "little wasps" in Italian, and who featured wasps in their coat of arms. Mars lies asleep, presumably after lovemaking, while Venus watches as infant satyrs play with his military gear, and one tries to rouse him by blowing a conch shell in his ear. The painting was no doubt given to celebrate a marriage, and decorate the bedchamber.Lightbown, 164–168; Dempsey; Ettlingers, 138–141, with a later date.

Acting on his interest in book production, he bought an Adano press in 1951. During the next decade, as Talkarra Press (an Aboriginal word for "stone"), he produced ten innovative limited editions, including Dulcie Deamer's poem "Blue Centaur" (1953), P. R. Stephensen's "Kookaburra's and Satyrs" (1954) and R. D. FitzGerald's poem of a convict- flogging, "The Wind at Your Door" (1959). In 1956, he re-established the bankrupt Wentworth Press. From successive premises in Sydney, Surry Hills and Marrickville - and trading as Wentworth Books - he published about 120 books, mostly Australian history, literature and poetry.

Karl Kerényi: The Gods of the Greeks, Thames & Hudson, London 1951, p. 104 and note 284. In the first century BC, Diodorus Siculus cited Homer and Hesiod to the contrary, observing: Diodorus states (Book I.18) that Osiris first recruited the nine Muses, along with the satyrs, while passing through Aethiopia, before embarking on a tour of all Asia and Europe, teaching the arts of cultivation wherever he went. According to Hesiod's account (c. 600 BC), generally followed by the writers of antiquity, the Nine Muses were the nine daughters of Zeus and Mnemosyne (i.e.

In Greek mythology, Silenus (; Ancient Greek: Σειληνός Seilēnos) was a companion and tutor to the wine god Dionysus. He is typically older than the satyrs of the Dionysian retinue (thiasos), and sometimes considerably older, in which case he may be referred to as a Papposilenus. The plural sileni refers to the mythological figure as a type that is sometimes thought to be differentiated from a satyr by having the attributes of a horse rather than a goat, though usage of the two words is not consistent enough to permit a sharp distinction.

With the ability to take extra prosthetics such as layers of fur or skin "to resemble a digitigrade leg, from canine and feline to fantastical demons, dragons, satyrs and even robots", these devices are promoted as being easy to get used to, partly because they "allow for realistic and natural movement as they are jointed at the knee and the ankle." Citing low pre-order numbers, Weta unceremoniously canceled the commercial production of Weta Legs by informing those who did pre-order by email. The Weta Legs page has since been removed from Weta's website.

Standing 1.52 metres (approximately 5 feet) tall, with a gadrooned everted lip, it has a deep frieze carved with a mythological bas-relief that successfully defies secure identification: a half-draped female figure Iphigenia seated below a statue of a goddess on a high plinth, restored as Diana, with heroic warriors on either side, perhaps Agamemnon and either Achilles or Odysseus standing to either side. Two fluted loop handles rise from satyrs' heads on either side of the acanthus-leaf carved base, and it stands on a spreading gadrooned base on a low square plinth.

Standing 1.72 metres tall and with a diameter of 1.35 m., the vase has a deep frieze with bas-reliefs and an everted gadrooned lip over a gadrooned lower section, where paired satyrs' heads mark the former placement of loop handles;The form of the bell krater with its upturned loop handles had been standardized in Attic pottery since the fifth century. The similar Medici Vase retains its handles springing up from the heads. it stands on a spreading fluted stem with a cabled motif round its base, on a low octagonal plinth.

This was the time of the grape harvest: the grapes were crushed by foot in large vats, then the wine was left to ferment in jugs. After that process, people could drink the ambrosial wine and enjoy it. Satyrs making wine, Dionysian bas-relief from altar of unknown date, National Archaeological Museum of Athens In the nearly four centuries that passed between Hesiod and Xenophon, no improvements can be found in agriculture. Tools remained mediocre and there were no inventions to lighten the work of either man or animal.

In these holes, taps have been fitted in the shape of satyrs, holding animal bladders, from which the liquid in the amphora could flow out. They, like the decorative bands and other decorative elements (the knob on the cap or the sleeves which cover the join between the handles and the amphora) are made of gilt copper sheet. The sleeves for the handles are in the shape of masks and maple scrolls. The shape imitates the Panathenaic amphora, which were manufactured in this form in the third and second centuries BC in Athens.

Tradition attributes Thespis as the first person to represent a character in a play. This took place in 534 BC during the Dionysia established by Peisistratus. Of his tragedies we know little except that the choir was still formed by Satyrs and that, according to Aristotle, he was the first to win a dramatic contest, and the first () who portrayed a character rather than speaking as himself. Moreover, Themistius, a writer of the 4th century AD, reports that Thespis invented the prologue as well as the spoken part ().

Mentored by her friend, Roger Zelazny, she started publishing stories in 1992, and she published her first novel, Brother to Dragons, Companion to Owls in December, 1994. In her Athanor series, she writes about the creatures of legend — shape-shifters, satyrs, merfolk, and unicorns — who have sworn to keep their existence hidden from a human race prone to kill what it does not understand. In her Firekeeper Saga, she writes about a woman who discovers that politics among the wolves she was raised by and politics among human royalty are not so different.

The new building from 1766 was erected on the square Place de Montarcher opposite the Governor's residence. The theater had seats for 1500 people, and a staff of twelve male and eight female actors. The exterior was not dissimilar from the other buildings around the square, except for the two balconies over the entrance, which belonged to the boxes of the governor and the military intendent of the colony. The interior was decorated in blue and gold, with a proscenium of two sculptured satyrs on each side of the French Lilly.

Day Dreamin' Davey. Teacher: Bring me that squirt gun this instant! The teacher switches the subject of her lessons to ancient Greece,Day Dreamin' Davey. Teacher: Now back to our discussion of Greek civilization... of which Mount Olympus is the setting of Davey's next daydream where he fights enemies such as eagles, satyrs, and other Greek fighters, as well as the stage boss Cyclops; before the player can fight him, a magical shield from the Golden Man and a bow and arrow provided by twin gods Artemis and Apollo must be collected.

Ariadne has a shared gaze with Dionysus on the side featuring their encounter, and is the only female depicted wearing a mantle. In the other side of the cup, Hephaistos is depicted on his mule, or horse, being led by Dionysus, just as in the archaic story. The mule is shown to have an erect penis and all of the satyrs are depicted with obnoxiously long, erect penises, adding toward the theme of sexual excitement and celebration. Such themes were commonly seen on band cups used in symposiums.

Ignudi, putti, satyrs, grotesques, and standing Atlas figures (Atlantes) help support the painted framework. Gian Pietro Bellori, a biographer of seventeenth-century artists and Platonic apologist, called the cycle "Human Love Governed by Celestial Love". This observation was based principally on Carracci's depiction of putti representing Cupid (equated by Bellori with profane love) and Anteros (equated with sacred love) found at the four corners of the vault. For example, Bellori writes: > The painter wished to represent with various symbols the war and peace > between heavenly and common love formulated by Plato.

In The Lightning Thief, he gets a "searcher's license" after delivering Percy safely, allowing him to search for the lost god Pan. When Polyphemus captures him in The Sea of Monsters, he activates an empathy link, a psychic bond with Percy created a year before, allowing them some telepathic communication across great distances. He uses this to guide Percy to his rescue. At the end of The Last Olympian, he is named a Lord of the Wild and given a seat on the satyrs' ruling council, the Council of Cloven Elders.

Despite being designated as a masque, the work is sung throughout, and is in many respects reminiscent of a comic opera. It is set by Windsor Castle, and depicts satyrs and fairies who guard the castle and its inhabitants during ceremonial occasions. The masque concludes with a banquet with the King and Queen in attendance. Of particular note is the wood nymphs’ aria "Let us play and dance and sing", which has a large range of approximately 2 and a half octaves and has some impressive coloratura passages.

"Michael Drayton: The Complete Works of Michael Drayton Esq., vol 3, Poly-Olbion (1612), Song the 23rd: "Blazons of the Shires". Sometime prior to 1662, Thomas Fuller had written: "I behold these as most ancient, because a very simple sort of music, being little more than an oaten pipe improved with a bag, wherein the imprisoned wind pleadeth melodiously for the enlargement thereof. It is incredible with what agility it inspireth the heavy heels of the country clowns, overgrown with hair and rudeness, probably the ground-work of the poetical fiction of dancing satyrs.

In 1573 the Senate of Palermo bought a fountain initially intended for the Palace of San Clemente in Florence, with the intention of placing it in the square. To make way for the monumental achievement, designed for an open place, several homes were demolished and the fountain was re-adapted to the site with the addition of new parts. In 1581 the works of accommodation of the fountain on the square. The large central fountain is the focal point for sixteen nude statues of nymphs, humans, mermaids and satyrs.

Tapestry with Shield-Bearing Satyrs with the royal monogram S.A. (Sigismundus Augustus), woven in Brussels in about 1555 Sigismund Augustus carried on with the development of several royal residencies including Wawel, Vilnius Castle, Niepołomice and the Royal Castle in Warsaw. In the 1560s he acquired the Tykocin Castle and rebuilt it in Renaissance style. During the reign of Sigismund Augustus the structure served as a royal residence with an impressive treasury and library as well as the main arsenal of the crown. Sigismund Augustus was a passionate collector of jewels and gemstones.

The Scarlet Fig: or, Slowly through a Land of Stone, is a fantasy novel written by American writer Avram Davidson, edited by Grania Davis and Henry Wessells, published in hardcover by Rose Press in 2005. An ebook edition was published by Prologue Press in August 2012. It is the third and final novel of the author's Vergil Magus sequence, following The Phoenix and the Mirror (1969) and Vergil in Averno (1987). It follows Vergil's adventures in an alternate ancient Mediterranean world where harpies, basilisks, and satyrs co- exist with Rome, Carthage, and the Punic Wars.

Myths often revolved around heroes and their actions, such as Heracles and his twelve labors, Odysseus and his voyage home, Jason and the quest for the Golden Fleece and Theseus and the Minotaur. Many species existed in Greek mythology. Chief among these were the gods and humans, though the Titans (who predated the Olympian gods) also frequently appeared in Greek myths. Lesser species included the half-man-half-horse centaurs, the nature based nymphs (tree nymphs were dryads, sea nymphs were Nereids) and the half man, half goat satyrs.

Besides the Olympians, the Greeks also worshipped various local deities. Among these were the goat-legged god Pan (the guardian of shepherds and their flocks), Nymphs (nature spirits associated with particular landforms), Naiads (who dwelled in springs), Dryads (who were spirits of the trees), Nereids (who inhabited the sea), river gods, satyrs (a class of lustful male nature spirits), and others. The dark powers of the underworld were represented by the Erinyes (or Furies), said to pursue those guilty of crimes against blood-relatives. The Greek deities, like those in many other Indo-European traditions, were anthropomorphic.

According to M. L. West, they may be Celtic survivals of goat-like nature spirits from Proto-Indo-European mythology, analogous to the Roman fauns and Greek satyrs. Passersby often reported seeing an sitting atop a rock at dusk, watching them go by. During the summer, the was supposed to remain in the solitude of the wilderness, but, during the winter, he would come down and visit the local farms at night or take up residence in a local mill. Wild s were troublemakers and vandals who perpetrated acts of butchery, arson, and ravaging, but, once domesticated, they were fiercely loyal.

De Cock made in 1713 Caryatids for the choir stalls of the former priory of Corsendonk in Oud-Turnhout. A statuary marble group of boy, satyrs and goat by de Cock is dated 1724. The early 18th century War and Peace is a terracotta sculpture, x in size, and signed with his monogram on the right side, possibly at the time of the peace talks in 1710 in Geertruidenberg. Allegory of Sculpture, measuring x , is a black chalk, pen and brown ink, black ink drawing, with the inscriptions Joannes Claud: de Cock invenit delineavit Anno= MDCCVI and Sculptura Pace, et Abondante.

Elizabeth Amber wrote this series of erotic historical paranormal romance novels based on her interest in Greco-Roman artifacts celebrating the grape harvest. Satyrs are the carnal followers of the wine god, Bacchus in ancient Roman mythology, and are depicted on many urns and amphorae found in Roman ruins. In her novels, three half-satyr, half-human brothers own a lavish estate and vineyard in 1800s Tuscany, Italy, where they guard ancient secrets and conduct unusual rituals. When a letter arrives instructing them to seek out three endangered half- faerie brides, they see it as an opportunity to sire heirs.

Ithell Colquhoun supported his claim to have been a proto- > Surrealist and posthumously the critic Mario Amaya made the case for Spare > as a Pop Artist. Typically, he was both of these - and neither. A superb > figurative artist in the mystical tradition, Spare may be regarded as one of > the last English Symbolists, following closely his great influence George > Frederick Watts. The recurrent motifs of androgyny, death, masks, dreams, > vampires, satyrs and religious themes, so typical of the art of the French > and Belgian Symbolists, find full expression in Spare's early work, along > with a desire to shock the bourgeois.

On a belly amphora executed around 525 BC, he depicts an ivy-bearing Dionysus bringing his mother Semele from the underworld; the god looks back at her as she climbs into a chariot drawn by the magnificent pair of horses who dominate the scene. Hermes, wearing his characteristic petasos hat, carries branches of foliage as he accompanies the horses. Three bearded horse-tailed satyrs of varying size fill out the composition. The largest leaps in amazement on the chariot-shaft, looking back at the recovered Semele; another stands shoulder-height before the horses as he plays an aulos, the double-pipe wind instrument.

404-5 part translated in Innes, Thomas, A Critical Essay on the Ancient Inhabitants of Scotland, vol. 1 (1729), 349-352 Although the choreography was perfect, when the satyrs first wagged their tails, the Englishmen took it as reference to an old saying that Englishmen had tails. This story of English tails was first set down in the Middle Ages by the chronicle writers William of Malmesbury, Wace, and Layamon in his Brut. The origin was a legend that Saint Austin cursed the Kentish men of Rochester to have rayfish tails, and afterwards they were called muggles.

Its physical presence as a stage backdrop was used as a constant reference to the origin of the characters. It also functions as a visual device and a highly visible reminder of the barrier between the world of high art and that of the hooligans and the homeless. T. P. Wiseman remarks that Harrison has "opened up the possibilities" of an ancient Greek play which was until recently the exclusive domain of scholars specialising in the classics. According to Wiseman, Harrison's achievement is mirrored by the scene in his play when a chorus of satyrs jumps out of the papyrus crates.

Finding its origins in rural, agricultural rituals dedicated to Dionysus, the satyr play eventually found its way to Athens in its most well- known form. Satyr's themselves were tied to the god Dionysus as his loyal woodland companions, often engaging in drunken revelry and mischief at his side. The satyr play itself was classified as tragicomedy, erring on the side of the more modern burlesque traditions of the early twentieth century. The plotlines of the plays were typically concerned with the dealings of the pantheon of Gods and their involvement in human affairs, backed by the chorus of Satyrs.

With it he is able to overcome his shyness and approach women in public places with a bold directness. However he is then left with the problem of how he reveals his real self to the women he befriends. It was written just after Huxley and his wife moved to Italy, where they lived from 1923 to 1927. The title is from the play Edward II by Christopher Marlowe, c1593, Act One, Scene One, lines 59-60: "My men, like satyrs grazing on the lawns, shall with their goat feet dance the antic hay", which is quoted on the frontispiece.

With the number of vases going to Italy one can conclude that there is a great need for large vases in Italy. Once again the size of the vase is not up to the painter, the content on the vase is what that painter determines. There are a greater number of larger vases being produced by the workshop, which means that the painter is able to draw and paint larger scenes of his choice. In this case the painter chose to mainly focus on departure scenes, and scenes of the God Dionysus with maenads and satyrs.

The Ichneutae (, Ichneutai, "trackers"), also known as the Searchers, Trackers or Tracking Satyrs, is a fragmentary satyr play by the fifth-century BC Athenian dramatist Sophocles. Three nondescript quotations in ancient authors were all that was known of the play until 1912,Hunt (1912) 31. when the extensive remains of a second-century CE papyrus roll of the Ichneutae were published among the Oxyrhynchus Papyri. With more than four hundred lines surviving in their entirety or in part, the Ichneutae is now the best preserved ancient satyr play after Euripides' Cyclops, the only fully extant example of the genre.

Lodwick's old tutor, Lord Grimuldo, tries to persuade his former student to repent; failing this, Grimuldo pretends to have been testing Lodwick and to be, in reality, a fellow libertine. Grimuldo offers to introduce Lodwick to a superior mistress, and brings him to a lush garden filled with strange music, where they watch a masque of nymphs and satyrs. The woman Lodwick meets there is enticing but disturbing; she hints that she has unusual powers, and offers him unlimited dominion -- and finally concedes that she is a devil, a succubus. A deeply upset Lodwick flees homeward, only to find Piero with Astella.

Capricons are the Deltora Quest equivalent of Fauns or Satyrs, having the upper body of a human and the lower body of a goat. Only one appears in the first book of the third series: Dragon's Nest. He is known as Rolf and though he is a friend at first whom Lief, Barda and Jasmine rescue from the Granous, in the end it turns out he was a servant of the Shadow Lord and the guardian of the Sister of the East. The Capricons supposedly once lived in a beautiful, rose-pink city named Capra in the far northeast of Deltora.

The Careless Shepherdess conforms to many of the conventions of the pastoral form as it existed in the years and decades after Sir Philip Sidney's Arcadia. "The play is not lacking in inventiveness, as, for example, the scene in which a threatened duel between two shepherds is frustrated by the threat of the shepherdesses involved to fight the duel themselves; and in that of the carrying off of all the characters by a tribe of satyrs, led by a banished shepherd turned outlaw."Felix Emmanuel Schelling, Elizabethan Drama 1558-1642, Boston, Houghton Mifflin, 1908; Vol. 2, p. 169.

In the Athenian Dionysia, each playwright customarily entered four plays into the competition: three tragedies and one satyr play to be performed either at the end of the festival or between the second and third tragedies of a trilogy, as a spirited entertainment, a comic relief to break the oppression of hours of gloomy and fatalistic tragedy. They were short, half the duration of a tragedy. The general theme of heaven, fate, and the gods affecting human affairs in the tragedies was carried through into the festivities of the chorus of satyrs and Sileni, companions of Dionysus.

Actor as Papposilenus, around 100 AD, after 4th-century BC original A.E. Haigh writes extensively on costumes for the satyric drama. The chorus members all wore masks in accordance with Bacchic tradition.Haigh (1907, 290) The earliest reliable testimony is supplied by the Pandora Vase dating from the middle of the 5th century BC. On that vase, the satyrs are portrayed as half men and half goats, wearing goat’s horns on their heads, thus referring to the goat deities of the Doric type.Haigh (1907, 293–294) A later representation can be seen on the Pronomos Vase, found in Naples.

Egyptian garment panel featuring Dionysiac themes, 5th century. The popularity of the cult of Dionysus, introduced to Egypt by the early Ptolemy rulers in the 3rd century BC, continued into early Byzantine times (4th-7th century), The Cult of Dionysus was strongly associated with satyrs, centaurs, and sileni, and its characteristic symbols were the bull, the serpent, tigers/leopards, the ivy, and the wine. The Dionysia and Lenaia festivals in Athens were dedicated to Dionysus, as well as the Phallic processions. Initiates worshipped him in the Dionysian Mysteries, which were comparable to and linked with the Orphic Mysteries, and may have influenced Gnosticism.

One sleeping drunkard on the left and another with a goat on the right only show their bare backsides. A third satyr who clings to the large column shaft appears to have no good intentions. Only at second glance it becomes clear that the apparent disorder is organized by a strict ordering principle, since all three satyrs embrace the center in the form of an equilateral triangle.Bettina Baumgärtel, Alessandro Magnasco, gen. Il Lissandrino (1667 - 1749), und Clemente Spera (1661 - 1730), Das Satyrfest, 1710 – 1715’ Antique ruins with figures with Sebastiano Ricci Spera also collaborated with other leading figure painters.

The name "Firesign Theatre" was suggested by an astrologer-friend of the troupe who noted that all four members had been born under "fire signs." The cover art, by Robert Grossman, features caricatures of the members as their respective astrological animals: Austin as a ram (Aries), Proctor as a lion (Leo), and Bergman and Ossman as two Satyrs or Centaurs (Sagittarius). The Sagittarians are armed, respectively, with a bow and suction-cup arrow and a squirt gun, and the other members are seated on their backs. An eponymous pair of pliers sits on the ground beneath them.

The painting itself may also copy that on metal vessels more closely than was thought.Preface to Ancient Greek Pottery (Ashmolean Handbooks) by Michael Vickers (1991) The Derveni Krater, from near Thessaloniki, is a large bronze volute krater from about 320 BC, weighing 40 kilograms, and finely decorated with a 32-centimetre-tall frieze of figures in relief representing Dionysus surrounded by Ariadne and her procession of satyrs and maenads. The alabastron's name suggests alabaster, stone. Glass was also used, mostly for fancy small perfume bottles, though some Hellenistic glass rivalled metalwork in quality and probably price.

He is said to have associated himself with Silenus and other satyrs and with Dionysus, who granted him the famous "golden touch". The mythic Midas of Thrace, accompanied by a band of his people, traveled to Asia Minor to wash away the taint of his unwelcome "golden touch" in the river Pactolus. Leaving the gold in the river's sands, Midas found himself in Phrygia, where he was adopted by the childless king Gordias and taken under the protection of Cybele. Acting as the visible representative of Cybele, and under her authority, it would seem, a Phrygian king could designate his successor.

As to the subject, Titian himself appears to describe it simply as "the landscape", and his son Orazio calls it "the nude woman with the landscape and the satyr", both in letters to Philip, but later an inventory of El Pardo calls it "Jupiter and Antiope".Hale, 532 In Madrid in the 1620s, Vicente Carducho (d. 1638, see below) referred to its subject as "Antiope and some shepherds and satyrs on a large canvas".Brotton, 99 In the correspondence of the French and Spanish ambassadors as Charles I's collection was being sold in 1649-53, the nude is "Venus".

Owing to opposition from York Minster the scheme was abandoned, but by 1826 the barbicans of four of the gates had been demolished. In the face of this a public campaign to save the walls was launched in 1824, but attention on both sides of the debate was diverted by the Minster fire. In 1828 Etty had written to his mother expressing horror at the demolition proposals, but distracted by the need to complete Sleeping Nymph and Satyrs was unable to take any action himself. By 1831 the Corporation had decided to demolish the barbicans but to retain and restore the walls.

The most significant members of the thiasus were the human female devotees, the maenads, who gradually replaced immortal nymphs. In Greek vase-paintings or bas-reliefs, lone female figures can be recognized as belonging to the thiasus by their brandishing the thyrsos, the distinctive staff or rod of the devotee. Triumph of Dionysus on a fragmentary Roman mosaic (3rd century, Sousse Archaeological Museum) Other regulars of the retinue were various nature spirits, including the sileni (or human dancers costumed as such), phalluses much in evidence, satyrs, and Pan. The ithyphallic sileni are often shown dancing on vase paintings.

The Satyrs Motorcycle Club was founded on November 5, 1954 at the home of Chapin "Smitty" Smith, when, along with seven founding members, the Club held its first official meeting. The club's incarnation had begun a few weeks prior, after a night of drinking, partying, and sex. It is the oldest continuously operating gay organization in the United States, and the first gay organization with a set of bylaws and a club constitution. It did not use the Mattachine Society's "cell structure" developed by Harry Hay to avoid the homosexual/communism witch hunt between 1947 and 1957.

God of War II is an action-adventure game with hack and slash elements. It's a third-person single-player video game viewed from a fixed camera perspective. The player controls the character Kratos in combo-based combat, platforming, and puzzle game elements, and battles foes who primarily stem from Greek mythology, including harpies, minotaurs, Gorgons, griffins, cyclopes, cerberuses, Sirens, satyrs, and nymphs. Other monsters were created specifically for the game, including undead legionnaires, ravens, undead barbarians, beast lords, rabid hounds, wild boars, and the army of the Fates, including sentries, guardians, juggernauts, and high priests.

The "handsome and boldly-carved design" includes pilasters with lions on the bases flanking paired double doors with arched heads and satyrs in the spandrels, and also incorporates carved cherubs and grotesques, and painted panels to the external (landing) face; it is surmounted by a central emblem. The carved wooden panelling above the stone fireplace incorporates four painted portraits, including Henry VIII and Sir George Cotton, and dates from the 16th and 17th centuries. The remaining panelling in the library is not original. The hammerbeam roof is concealed by a decorated plasterwork ceiling, probably dating from the 17th century.

Hypatia's life continues to be fictionalized by authors in many countries and languages. In Umberto Eco's 2002 novel Baudolino, the hero falls in love with a half-satyr, half-woman, who is descended from a group of Hypatia's young female disciples, who fled after their teacher's murder. These disciples set up a female-only community who "tried to keep alive what they had learned from their mistress... [living] apart from the world, to rediscover what Hypatia had really said." All the women, who reproduce by "fecundation" with satyrs, are named Hypatia and are collectively known as "hypatias".

In 1880, First Lady Lucy Webb Hayes installed a new carpet and lace curtains in the State Dining Room. She also purchased two Victorian candelabra for $125 each ($ in dollars) from Tiffany & Co.. The three-tiered items, featuring floral garlands and the heads of satyrs and reclining children at the base, were probably made in Europe (their manufacturer is not known) and have remained in the room ever since. In 1882, President Chester A. Arthur contracted with Tiffany & Co. to redecorate the State Dining Room. Most of the work involved painting and regilding, and it was at this time that the Monroe surtout du table was regilded.

The primary use for the kylix was drinking wine (usually mixed with water, and sometimes other flavourings) at a symposium or male "drinking party" in the ancient Greek world, so they are often decorated with scenes of a humorous, light-hearted, or sexual nature that would only become visible when the cup was drained. Dionysos, the god of wine, and his satyrs or related komastic scenes, are common subjects. On the external surface sometimes, large eyes were depicted, probably also with humorous purposes (Eye-cup). Other humorous purposes would include designs on the base of the cup, such as the male genitals on the Bomford Cup, a late 6th century kylix.

In 1941, the statue of the woman bending to dry her hair was moved from its position at the front of the studio to its current location at the top of the stairs leading to the swimming pool, on the understanding that the move would be temporary until Norman could find another base. This rearrangement was to make way for Norman's latest creation, the three-figure statue of a female nude and two satyrs. It was around 1943 that the two statues of the satyr and the sphinx were constructed and installed in their positions marking the path to the bottom of the garden and the swimming pool.

The Satyresses depicted with a human head and torso, generally including bare breasts, but the body of a goat from waist down. They were a late invention by poets and artists and are comparatively rare in classical art. Such a creature may also be known as a fauness, but this nomenclature is rarely seen in English; ' is the spelling in French. Though not often seen compared to the omnipresent depictions of male satyrs and centaurs, the satyress figure was certainly not unknown to Renaissance artists. Michelangelo included a haggard satyress nursing drunken toddlers at her elderly breasts in his 1533 work, The Children's Bacchanal.

Some of the English guests, including Christopher Hatton, sat down behind the high table to face away from the spectacle, and the Queen and the English ambassador, the Earl of Bedford had to smooth things over. Melville said that Hatton told him he would have stabbed Bastian for the offence, done because Mary, for once, showed more favour to Englishmen rather than the French.Thomson, Thomson, ed., Sir James Melvill of Halhill; Memoirs of his own life (Bannatyne Club, 1827), pp. 171-172. The supper with courses served by satyrs was on the 19 December 1566, two days after the baptism of the Prince, according to an English journal of the event.

The Triumph of Bacchus received a number of rather grand and elaborate idealized treatments in Renaissance art, of which Titian's Bacchus and Ariadne, then in the Spanish royal collection, was an imaginative variant. Usually Bacchus was processing in a chariot drawn by leopards, with a retinue of satyrs and revellers, including his guardian Silenus. The use of the title for Velázquez's painting is almost ironic given the very different treatment here. One inspiration for Velázquez is Caravaggio's treatments of religious subjects combining central figures in traditional iconographical robes with subsidiary figures in contemporary dress, and Ribera's naturalistic portraits of figures from antiquity, sometimes depicted as beggars.

The second type of departure scene is of a full chariot and the horsemen with women and youths holding spears on the side of the chariot. The horses that are pulling the chariot are drawn in a frontal manner, meaning the faces of the horses are facing the on looker of the vase. The second theme that is very prevalent in the drawings that the painter of Nicosia Olpe did is of the God Dionysus with maenads and satyrs. Dionysus is the god of fertility in nature and also the god of wine, this is why he is usually depicted holding a gourd or a cup of some sort.

The feet are lions' paws, which sometimes clasp a ball or stands on toads; the rims and plaques bear groups of fighting animals, warriors, revelles or athletes, nymphs and satyrs, or mythological subjects in relief. Feasters recline and horsemen gallop on the rims of bowls; handles are formed by single standing figures, arched pairs of wrestlers, lovers holding hands, or two vertical soldiers carrying a horizontal comrade. Nude athletes serve as handles for all kinds of lids and vessels, draped women support mirror-disks around which love-gods fly, and similar figures crown tall shafts of candelabra. Handle-bases are modelled as satyr-masks, palmettes and sphinxes.

The material for a satyric drama, like that for a tragedy, was taken from an epic or mythology, and the action, which took place under an open sky, in a lonely wood, the haunt of the satyrs, had generally an element of tragedy; but the characteristic solemnity and stateliness of tragedy was somewhat diminished, without in any way impairing the splendour of the tragic costume and the dignity of the heroes introduced. The satyr plays generally took on topics that were popularized within society in the approach of a satyric farce. Satyr plays incorporated aspects of comedy. Some well known examples are Heracles, Agen, and Menedemus.

The number of persons in the chorus is not known, although there were probably either twelve or fifteen, as in tragedy. In accordance with the popular notions about the satyrs, their costume consisted of the skin of a goat, deer, or panther, thrown over the naked body, and besides this a hideous mask and bristling hair. The dance of the chorus in the satyric drama was called sicinnis, and consisted of a fantastic kind of skipping and jumping. The only satyr play to survive in its entirety is Euripides' Cyclops, based on Odysseus' encounter with the cyclops, Polyphemus, in Book 9 of the Odyssey.

The nymphs and satyrs danced joyfully at the news. The crag split open to display a palatial hall, furnished with a throne lit with multi-colored lights. The "Knights Masquers" were revealed, and the Prince of Wales entered, riding in a chariot drawn by two "white bears." (Two polar bears captured in the Arctic in 1609 were kept by Philip Henslowe and Edward Alleyn as part of their bear-baiting operation at the Beargarden, and may have been tame enough in 1611 to use in the staging of Oberon.)Teresa Grant, "White Bears in Mucedorus, The Winter's Tale, and Oberon, the Faery Prince," Notes and Queries 48 (Sept.

As was common practice among Antwerp painters, Boeckhorst often collaborated as a figure painter on compositions with landscape painters Jan Wildens and Jan Brueghel the Younger and still life painter Frans Snyders.Jan Brueghel II (Antwerp 1601–1678) and Jan Boeckhorst (Münster/Rees 1604–1668 Antwerp), Sleeping Nymphs observed by Satyrs, at Dorotheum An example is the Peasants going to the market (Rubenshuis, Antwerp) on which he collaborated with Frans Snyders. This genre scene, which also acts as an allegory of the four elements, is of a monumentally large scale at 217.5 cm in height and 272.5 cm in width. The work shows the influence of Jordaens' genre paintings.

He places the 'honest' race of satyrs among the infernal species, a point emphasised by the accompanying Wenceslas Hollar print that shows the battle in heaven and the fall of Lucifer as taking place outside the mouth of the cave in which the traveller is blowing on his broth. In this way the fable’s interpretation is subtly redirected and its condemnation of the double-tongued turns into a sly stab at the Puritan vocabulary by the time the moral is reached: :::Fiends and Saints convertible be, for where :::We spy a Devil, some say a Saint goes there.The fables of Aesop paraphras'd in verse (1668), Fable 66, pp.

Vintage by Satyrs and Maenads. Ancient Greek Attic black-figure cup, end of 6th century BC. Cabinet des médailles de la Bibliothèque nationale de France, Paris, France The Vintagers, after a miniature of the "Dialogues de Saint Gregoire" (thirteenth century)—manuscript of the Royal Library of Belgium Vintage, in winemaking, is the process of picking grapes and creating the finished product—wine (see Harvest (wine)). A vintage wine is one made from grapes that were all, or primarily, grown and harvested in a single specified year. In certain wines, it can denote quality, as in Port wine, where Port houses make and declare vintage Port in their best years.

The collection includes An Allegory with Putti and Satyrs, oil on canvas, attributed to sixteenth century artist and Netherlander Vincent Sellaer. One of the most substantial collections pertains to Belle Vue Zoo and Gardens, Manchester's most renowned entertainment attraction and zoological center, in operation from the 1830s to the 1980s. The collection contains thousands of posters, programmes and photographs, as well as the financial and business papers of the owner, John Jennison; large numbers of items in this collection are available in digitised form online. A 2014 grant of £45,000 obtained by Chetham's Library allowed curators to make the collection available to online users, via digitization projects.

It was suggested that Artemis Orthia and the bear were linked in ways that relate to mothering and the birthing of children. Because Artemis is related to the ideas of nature and nourishment, she is also thought to be fruitful. Many myths portray her as a figure that has a society of nymphs serving her as royalty along with satyrs that come from Dionysos, therefore, causing females at a young age to become very honourable towards the cult. Young females seen honouring the cult were considered to be celibate but performed their dancing in such a way that would be considered improper and very hyper sexualized.

In Greek mythology, Hecaterus or Hekateros (Ancient Greek: Ἑκάτερος) was a minor god and the father of five daughters (the Hecaterides) by the daughter of Phoroneus, and through them grandfather of the Oreads, Satyrs, and Curetes.Strabo, Geography, 10. 3. 19, quoting Hesiod His name has been interpreted as referring to the hekateris (a rustic dance which involves quickly moving hands), and himself as a patron or personification of this dance.Theoi Project - Hecaterus On the other hand, it has been suggested that the name "Hekateros" (which stands in the genitive case Ἑκατέρου in the original Greek text) could result from corruption of the purported ἑκ Δώρου "of Dorus".

The Triumph of Bacchus, a Roman mosaic from Africa Proconsolaris, dated 3rd century AD, now in the Sousse Archaeological Museum, Tunisia The origins and development of this honour are obscure. Roman historians placed the first triumph in the mythical past; some thought that it dated from Rome's foundation; others thought it more ancient than that. Roman etymologists thought that the soldiers' chant of triumpe was a borrowing via Etruscan of the Greek thriambus (θρίαμβος), cried out by satyrs and other attendants in Dionysian and Bacchic processions.Versnel considers it an invocation for divine help and manifestation, derived via an unknown pre-Greek language through Etruria and Greece.

In the meantime, Dionysus mourns for Ampelus. Ampelus is transformed into the vine and Dionysus makes wine for the first time, reflecting on how Ampelus has escaped death. Dionysus adopts the vine as his personal attribute and claims to be superior to the other gods, because no other plant is so beautiful and provides so much merriment to humankind. Insertion of a second legend on the origins of the vine: it was growing wild and unknown of until Dionysus saw a snake suckling the juice from the grapes; Dionysus and his satyrs build the first wine press, make wine for the first time and have the first feast of the harvest, completely inebriated.

In 1905, he once more exhibited at the Royal Academy's summer exhibition, having submitted a drawing known as The Resurrection of Zoroaster, featuring beaked serpents swirling around the figure of the ancient Persian philosopher who founded Zoroastrianism. Diversifying his employment, In 1906, Spare published his first political cartoon, a satire on the use of Chinese wage slave labourers in British South Africa, which appeared in the pages of The Morning Leader newspaper.Baker 2011. p. 31. When not involved in these jobs, he devoted much of his time to illustrating a second publication, A Book of Satyrs, which consisted of a series of nine satirical images lampooning such institutions as politics and the clergy.

The boiling of grape must was discovered as another means of adding sweetness to the wine. The Greeks believed wine could also be improved by adding resin, herbs, spice, seawater, brine, oil and perfume. Retsina, mulled wine and vermouth are some modern examples of these practices. As late as the Second Council of Constantinople in 691 AD, exactly three centuries after Theodosius closed the temples, a canon was issued expressly forbidding the cries of "Dionysus!" from the wine treaders, who still were masked;In representations of Antiquity, the wine- treaders are invariably satyrs and sileni,: "they were indeed the wine- treaders in disguise," Kerenyi observes; in medieval images peasants tread the grapes, their shifts tucked into their belts.

The ancient Greeks believed that small penises were ideal. Scholars believe that most ancient Greeks probably had roughly the same size penises as most other Europeans, but Greek artistic portrayals of handsome youths show them with inordinately small, uncircumcised penises with disproportionately large foreskins, indicating that these were seen as ideal. Large penises in Greek art are reserved exclusively for comically grotesque figures, such as satyrs, a class of hideous, horse-like woodland spirits, who are shown in Greek art with absurdly massive penises. Actors portraying male characters in ancient Greek comedy wore enormous, fake, red penises, which dangled underneath their costumes; these were intended as ridiculous and were meant to be laughed at.

The Satyrs are the third group of liminal girls working at the Black Lily dairy farm. Far more erotically inclined than the Minotaurs or the Pans, they originally go after Kimihito (as he's the only male there), but after learning and mastering his special "milking by hand" technique, they turn their attentions to the other girls (in their own words, they "don't have any sexual hang-ups") and practically take over the dairy farm, allowing Kimihito to go home. So far, they are the only species that can withstand the effects of a full moon due to "their sex drive being on 24/7" and thus retain some control over their actions at night.

In 2 Nephi 23:21, the Book of Mormon quotes Isaiah 13:21, which mentions a "satyr". Satyrs are creatures from Greek mythology, which are half-man, half-goat. The KJV translates Isaiah 34:14 thus: :The wild beasts of the desert shall also meet with the wild beasts of the island, and the satyr shall cry to his fellow; the screech owl also shall rest there, and find for herself a place of rest. ("וְרָבְצוּ־שָׁם צִיִּים וּמָלְאוּ בָתֵּיהֶם אֹחִים וְשָׁכְנוּ שָׁם בְּנֹות יַֽעֲנָה וּשְׂעִירִים יְרַקְּדוּ־") Other English-language versions of the Bible, including the New International Version, translate the word שעיר (sa`iyr) as "wild goat"; other translations include "monkey" and "dancing devil".

His designating it a masque was to indicate that the modern choreography typical when he wrote the piece would not be suitable. Constant Lambert also wrote a piece he called a masque, Summer's Last Will and Testament, for orchestra, chorus and baritone. His title he took from Thomas Nash, whose masqueIt was a "comedy" when it was printed, in 1600 as A Pleasant Comedie, call'd Summers Last will and Testament, but, as a character announces, "nay, 'tis no Play neither, but a show." With Nash's stage direction "Enter Summer, leaning on Autumn's and Winter's shoulders, and attended on with a train of Satyrs and wood-Nymphs, singing: Vertumnus also following him" we are recognizably in the world of Masque.

This type of comedy has been a fixture ever since Greek plays. For instance Sophocles once wrote a satyr play, no longer extant, about satyrs who seek to persuade a king that they are worthy suitors of his daughter by bragging about their capacity for flatulence. Aristophanes claimed that he hoped his plays would not be too highbrow for the common people to understand though he acknowledged that his work presupposed a level of intelligence that was not normally assumed. Even the word 'comedy' is derived from a Greek phrase meaning either Song of Revelry or Song of The Village, the latter of which implies that it is meant for everyone including the lowest common denominator.

Historically, body hair has been associated with virility, power and attractiveness but the removal of body hair by men is not just a modern-day fad. In fact, hair removal has a traceable history that stretches as far back as ancient Egypt, where men and women would shave their bodies, heads and faces and priests ritualistically shaved their bodies every three days. Back in the 5th century BC, the Greeks heralded the young, hairless, athletic man as beautiful while hairy bodies were considered hideous and associated with satyrs, barbarians and the cult of Dionysus. The same ideal male image is found in the statue of David during the Renaissance, when Michelangelo explored classical imagery.

Other inhabitants of the Narnian world based on known mythological or folkloric creatures include Boggles, Centaurs, Cruels, Dragons, Dryads, Earthmen (the Narnian version of gnomes), Efreets, Ettins, Fauns, Giants, Ghouls, Griffins, Hags, Hamadryads, Horrors, Incubi, Maenads, Merpeople, Minotaurs, Monopods, Naiads, Ogres, Orknies (perhaps from Old English orcneas "walking dead"),Schakel, Peter J. The Way into Narnia: A Reader's Guide, p. 128. Winged Horses, People of the Toadstools, Phoenix, Satyrs, Sea Peoples (a version of the merpeople), Sea serpents, Sylvans, Spectres, Sprites, Star People, Unicorns, Werewolves, Wooses, and Wraiths. These are a free mix of creatures from Greco-Roman sources and others from native British tradition.Briggs, K. M. The Fairies in English Tradition and Literature, p.

Because of his death and resurrection, Osiris was associated with the flooding and retreating of the Nile and thus with the yearly growth and death of crops along the Nile valley. Diodorus Siculus gives another version of the myth in which Osiris was described as an ancient king who taught the Egyptians the arts of civilization, including agriculture, then travelled the world with his sister Isis, the satyrs, and the nine muses, before finally returning to Egypt. Osiris was then murdered by his evil brother Typhon, who was identified with Set. Typhon divided the body into twenty-six pieces, which he distributed amongst his fellow conspirators in order to implicate them in the murder.

The narrator of the novel is Greta, a young human female employed at a Recuperation Station where soldiers recover from battles. Greta is an Entertainer: part prostitute, part nurse, part psychotherapist. However, other characters narrate parts of the story in lengthy monologues about their experiences and opinions as they visit the spider-staffed facility. New soldiers, entertainers, and medical staff are recruited by existing Change War participants from various places and times; characters include: Cretan Amazons, Roman legionnaires, eight-tentacled Lunans (natives of a civilization that thrived on Earth's Moon a billion years ago), Hussars, Wehrmacht Landsers, Venusian satyrs (recruited from Venus a billion years in the future), American GIs, and Space Commandos.

Herma Here the Neoclassical tradition has taken the ancient genre and used it to depict another ancient theme. The plants and skins shown on the two sculptures reflect both pastoral settings and Bacchic revelry. The male herm may represent the god Dionysus, who was often depicted with grapes and a leopard, but pointed ears on this herm may indicate that it is not the god himself but rather one of his satyr followers. Likewise the female herm may be a dryad (nymph of the woods, often paired with satyrs or fauns), or a Maenad (a human female devotee of Dionysus), often described as clad in skins and cavorting madly or drunkenly, as this figure’s vibrant posture may suggest.

Morton is bedecked as Master of Merry Disports, while Scrooby, vested as English priest, wears a chaplet of vine leaves on his head and a garland over one shoulder; he is Abbot of Misrule. Lackland enters behind them; he is May Lord; he wears white, with a rainbow scarf across his breast and a small dress sword at his side. Prence is his comic train-bearer, and he is attended by the Nine Worthies. Every form of traditional English reveller is present, including nymphs, satyrs, dwarfs, fauns, mummers, shepherds and shepherdesses, Morris dancers, sword dancers, green men, wild men, jugglers, tumblers, minstrels, archers, and mountebanks; there are even an ape, a hobby horse and a dancing bear.

Despite his high status, Etty continued to study at the RA life classes. Professor Jason Edwards of the University of York suggests that this image may have been intended to be hung horizontally with the model on his back, but it is more likely to be a study for a alt=nude male with his arms tied above his head As soon as the 1828 Summer Exhibition was over, Etty stopped work on other projects to concentrate on a diploma piece, without which he could not become a Royal Academician. This piece, Sleeping Nymph and Satyrs, was presented to the Academy in October, and in December 1828 Etty became a Royal Academician.

The bulk of Swann's fantasy fits into a rough chronology that begins in ancient Egypt around 2500 BC and chronicles the steady decline of magic and mythological races such as dryads, centaurs, satyrs, selkies and minotaurs. The coming of more "advanced" civilisations constantly threatens to destroy their pre- industrial world, and they must continually seek refuge wherever they can. They see the advent of Christianity as a major tragedy; the Christians regard magic and mythological beings as evil and seek to destroy the surviving creatures, although some manage to survive and preserve some of their old ways through medieval times down to the late 19th Century and perhaps even the 20th. An undercurrent of sexuality runs through all of these stories.

Froud was born in Detroit, Michigan, in 1954 to sculptor and artist Walter Midener and painter and 3D-collage artist Margaret "Peggy" Midener (née Mackenzie; 1925-2016). Her father was a German expatriate while her mother was from Detroit. Froud began making her own dolls from the age of five based on her favourite stories, including "lots of fauns, satyrs, centaurs and things with wings" from Greek mythology and fairy tales. She studied art and music at Interlochen Center for the ArtsWendy & Brian Froud bio page on the Endicott Studio website before attending the Center for Creative Studies' College of Art and Design, where, focused on fabric design and ceramics, she graduated with a BFA in Fine Arts in 1976.

Tapestry with shield-bearing satyrs and monogram SA of king Sigismund Augustus, ca. 1555. The Jagiellonian tapestries (), are a collection of tapestries woven in the Netherlands and Flanders, which originally consisted of 365 pieces assembled by the Jagiellons to decorate the interiors of the royal Wawel Castle in Kraków, Poland. National Heritage Board of Poland The collection is also collectively known as the Wawel Arrasses, as the majority of the preserved fabrics are in the possession of the Wawel Castle Museum and the French city of Arras, which was once a manufacturing centre of this kind of wall decoration in the beginning of the 16th century. The works became state property of the Crown of the Kingdom of Poland according to the will of Sigismund II Augustus.

Herodotus is the only ancient writer who mentions the Satrae, and Tomaschek regards the name not as that of a people but of the warlike nobility among the Thracian Dii and Bessi. J. E. Harrison identifies them with the Satyri (Satyrs), the attendants and companions of Dionysus in his revels, and also with the Centaurs. The name Satrokentae, a Thracian tribe according to Hecataeus (quoted in Stephanus of Byzantium), seems to support the second identification. The Greek Histories of Herodotus named the Satrae as a part of the Thrace tribes which lived in the Nestus and Strymin Valley (Book, VIO, 110), "have continued living in freedom" till his time, and "dwell on high mountains covered with forests of all kinds and snow, and they are excellent warriors".

Other connections are the sculptures in the two exedras of the Statue Gallery: in the southern one are two satyrs, symbols of ungoverned passion and lust, while opposite are the virgin Athena, goddess of wisdom, and Ceres, the preserver of marriage and sacred law. In the Landscape Room it is possible to go from looking at the paintings to looking through the window at a real Landscape garden, one influenced by the images on the walls. The works collected in Italy include: sculpture, paintings, mosaics, books, manuscripts and old master drawings (most of which have been sold). The books included one of Leonardo da Vinci's note books now known as the Codex Leicester which was sold from the collection in 1980.

The members of these gay motorcycle clubs rode mostly Harley Davidson motorcycles and on periodic weekends rode their motorcycles to outings at picnic grounds in the Sierra Nevada. The first gay motorcycle club in the United States was the Satyrs, founded in Los Angeles in 1954. The first gay motorcycle club in San Francisco was the Warlocks, which was founded in 1960, followed by the California Motorcycle Club, also founded in 1960 later in the year. By the mid-1960s, San Francisco's South of Market district had become the center of the gay motorcycle club scene and was home to motorcycle clubs such as the Barbary Coasters (founded in 1966) and the Constantines and the Cheaters (both founded in 1967).

In Europe, the hare has been a symbol of sex and fertility since at least Ancient Greece. The Greeks associated it with the gods Dionysus, Aphrodite and Artemis as well as with satyrs and cupids. The Christian Church connected the hare with lustfulness and homosexuality, but also associated it with the persecution of the church because of the way it was commonly hunted. In Northern Europe, Easter imagery often involves hares or rabbits. Citing folk Easter customs in Leicestershire, England, where "the profits of the land called Harecrop Leys were applied to providing a meal which was thrown on the ground at the 'Hare-pie Bank'", the 19th-century scholar Charles Isaac Elton proposed a possible connection between these customs and the worship of Ēostre.

Berenice Sydney was included in ten group exhibitions between 1963 and 1975 and held eleven solo shows, in addition to being invited to represent Britain at the Biennale della Grafica d'Arte in Florence in 1974. The following year she showed her "stained-glass effect" canvases at the McAlpine Gallery of the Ashmolean Museum. Her first professional exhibition was held at the Drian Galleries in 1968 and included Susanna and the Elders with Charlie the Pigeon, Coffee Pot and 3 Yellow Flowers and The Drummer Boy.Max Wykes-Joyce, "Berenice Sydney", 'Arts Review', March 1984 She began to exhibit her works on paper including Dancing Nymphs, Hermaphroditus, Pan and Two Nymphs, The Marriage of Psyche and Eros, Naiads Surprised by Satyrs, in 1968.

Tomkins wrote and published madrigals—amongst which The Fauns and Satyrs Tripping, included in Morley's The Triumphs of Oriana (1601); Songs of 3,4,5 and 6 parts (1622); 76 pieces of keyboard (organ, virginal, harpsichord) music, consort music, anthems, and liturgical music. Stylistically he was extremely conservative, even anachronistic: he seems to have completely ignored the rising Baroque practice around him, with its Italian-inspired idioms, and he also avoided writing in most of the popular forms of the time, such as the lute song, or ayre. His polyphonic language, even in the fourth decade of the 17th century, was frankly that of the Renaissance. Some of his madrigals are extremely expressive, with text-painting and chromaticism worthy of Italian madrigalists such as Marenzio or Luzzaschi.

Rubens frequently returned to the theme of Bacchus, such as in his Drunken Hercules (1612-1618, Gemäldegalerie, Dresden) Young Bacchus Supported by Two Satyrs (post 1614, now lost but known through the engraving of Jonas Suyderhoef CG Voorhelm-Schneevoogt's engraving in Catalog des estampes gravees d'apres PP Rubens, Haarlem 1875, p.133.), Sylvester's Retinue (1618, Alte Pinakothek, Munich) and the studio work Bacchanalia (1612-1614, Palazzo Durazzo-Pallavicini, Genoa). They all draw on classical art, particularly a relief sculpture of a drunken Hercules and Bacchic sarcophagi scenes - one of the latter is now in Moscow and was known to Rubens, who based a sketch entitled Drunken Heracles with a Faun on it. Matilde Battistini: Symbole i alegorie. Warszawa: Wydawnictwo „Arkady”, 2005, s. 207. .

In 1652 he departed for Sweden and Queen Christina of Sweden made him her first court painter. Bourdon's facility rendered him adept at portraiture, whether in a dashing Rubens mannerQueen Christina on Horseback 1653, Museo del Prado, Madrid. or in intimate, sympathetic bust- length or half-length portraits isolated against plain backgrounds that set a formula for middle-class portraiture for the rest of the century,Queen Christina, Nationalmuseum, Stockholm; Unknown Man, Musée Fabre, Montpellier; Corfitz Ulfeldt, Frederiksborg, Denmark landscapes in the manner of Gaspar Dughet or capricci of ruins, mythological "history painting" like other members of Poussin's circleThe Finding of Moses, c. 1650, National Gallery of Art, Washington; Bacchus and Ceres with Nymphs and Satyrs, Museum of Fine Arts, Budapest, etc or the genre subjects of the Dutch Bamboccianti who were working in Rome.

In the Stuttgart Gallery is also his "Hercules and Omphale". His other paintings in oil, ranging in date from 1829 to 1860 include many on mythological subjects: "Sleeping Venus and Two Satyrs", "Leda and the Swan" "Apollo and the Muses", "Bacchus and Ariadne", "Venus and Cupid", "Ceres and Jason", "Aeolus Aeola", "Pluto and Proserpine", "Neptune and Thetis", several Genii and Amorettes, and some portraits. Among Gegenbaur's frescoes, in addition to those already mentioned, are "Jupiter giving Immortality to Psyche", "The Marriage of Cupid and Psyche", four scenes from the life of Psyche, "The Four Seasons", an "Aurora" --all at the Schloss Rosenstein. In addition to these works, we may mention, as well as various Madonnas, "The Ascension of the Virgin", "The Crucifixion", "Hercules and Omphale", the last in the Thorwaldsen Museum in Copenhagen.

The Trust's custodianship and management of the Springwood property over the last thirty years has been informed by an evolving understanding of the property: and of the most appropriate interpretation of the place for the visiting public. The place is important in demonstrating aesthetic characteristics and/or a high degree of creative or technical achievement in New South Wales. The landscape and statues of the Norman Lindsay property is highly significant because it represents an eclectic mix of Blue Mountains hill station gardenesque and interwar domestic styles with idiosyncratic overlays of the work of the artist Norman Lindsay and members of his family in a park-like setting surrounded by remnant native Bushland. The garden is adorned with sculptures of nymphs, satyrs, sphinxes and female forms, fountains and urns.

Thor #129 Ares fought a duel with Hercules, forming an alliance with the Enchantress to make Hercules her slave and ally against the Avengers using water from the Spring of Eros, which led to Hercules being exiled from Olympus for a year.Avengers #38 Ares organized the Warhawks, which included Satyrs whose pipes caused violence in humans, and with them battled the Avengers. He dispatched Kratos and Bia to capture Hercules. After allying with the Enchantress again, he used the Black Knight's Ebony Blade to quench the Promethean Flame and conquer Olympus, by turning all the other Olympians to crystal, although Hercules was not transformed, but exiled to Earth with amnesia, due to being brutally beaten by Ares' henchman the Yellow-crested Titans and drifting between Olympus and Earth for six days and nights.

The masque was the sixth in the series of extravagant shows that Jonson and Jones produced for the Stuart Court in the Christmas holiday season, a series that had begun with The Masque of Blackness in 1605 and had continued through the previous year's Prince Henry's Barriers (The Lady of the Lake). In Oberon, Jones delivered another installment of the spectacle that the English Court had come to expect. The masque began with a front curtain displaying a map of the British Isles, which was drawn to reveal a large rock or crag, lit by a moon that passed through the sky above. Perched on the crag, surrounded by satyrs and nymphs, an unusually sober and sagelike Silenus prophesied the arrival of the fairy prince, Oberon, who would bestow order and beneficent rule.

It has been widely recognized that Shakespeare's The Winter's Tale shows the influence of Oberon, necessitating the conclusion that the play was written or at least completed after the January 1611 performance of the masque. The main signs of influence in Shakespeare's play are the bear in III,iii and the dance at the sheepshearing in IV,iv, which resembles the dance of satyrs in the masque.Mary Chan, Music in the Theatre of Ben Jonson, Oxford, Clarendon Press, 1980; p. 307. Oberon presents a significant demonstration of the influence that the masques of the era had on the commercial theatre of Shakespeare and his compatriots; "the bears in Mucedorus, Oberon, and The Winter's Tale were all connected...."Melissa D. Aaron, Global Economics, Newark, DE, University of Delaware Press, 2005; p. 216.

The frieze depicts the thiasus, an ecstatic Bacchanalian procession accompanying Dionysus, draped with the panther skin and playing the aulos, and Ariadne. However, the accompanying figures often said to be satyrs have neither the common characteristics of cloven feet nor equine tails flowing to the floor as typically shown on Greek pottery; some references identify to the figures as sileni. The draped figures are often said to be Maenads but are clearly not: Maenads are females who accompany Dionysus but on the vase a draped male figure is depicted. One of the figures is shown being anointed, typically a symbolic act of divinity, leading to the interpretation of some of the figures as Apollo and Dionysus rescuing Silenus who is shown falling down reaching for a spilled flagon of wine.

This fresco shows a more lively composition than Perugino's, both in the figures and the rocks in the landscape, which do not follow a symmetrical pattern and are spatially deeper. Bernardino holds a book on which is written PATER MANIFESTAVI NOMEN TVVM OMNIBVS ("Father, I have shown your name to everyone"), the words the friars were chanting as Bernardino passed away on Ascension eve, 1444. Under the previous scenes is a monochrome band, today only partially readable: It originally housed blind niches and reliefs, of which one remains today with a military procession with prisoners and satyrs. It is one of the first examples of the taste for antiquities which was becoming widespread in Rome at the time, and which was used also by Filippino Lippi in the Carafa Chapel in Santa Maria sopra Minerva.

During the 17th century, peasant interiors served as an opportunity to crowd the picture with small details and fill the space with animals and (where the theme is the friendship between satyr and man) members of the man's family. Alternatively, members of the satyr's family are shown where La Fontaine's fable is followed, culminating in the charming little satyrs who crowd round the traveller in Gustave Doré's illustration. The Netherlands painters also show a particular interest in light, especially those near in time to Caravaggio and the effects he achieved. Most often the light enters from the door, although in some paintings the source is more ambiguous and creates a dramatic effect as it picks out a group either at the centre or to one side of the painting.

The Bible employs the term "dew" in this sense in such verses as Song of Solomon 5:2Song of Solomon 5:2 KJV - I sleep, but my heart waketh: it is the Bible Gateway and Psalm 110:3, declaring, in the latter verse, for example, that the people should follow only a king who was virile enough to be full of the "dew" of youth.Psalm 110:3 KJV - Thy people shall be willing in the day Bible Gateway The orchid's twin bulbs were thought to resemble the testicles, which is the etymology of the disease orchiditis. There was an ancient Roman belief that the flower sprang from the spilled semen of copulating satyrs. In a number of mythologies around the world, semen is often considered analogous to breast milk.

Smith 1991, 130 Hellenistic sculpture also includes for the first time large genre subjects of children and peasants, many of whom carry Dionysian attributes such as ivy wreaths, and "most should be seen as part of his realm. They have in common with satyrs and nymphs that they are creatures of the outdoors and are without true personal identity."Smith 1991, 136 The fourth-century BC Derveni Krater, the unique survival of a very large scale Classical or Hellenistic metal vessel of top quality, depicts Dionysus and his followers. Dionysus appealed to the Hellenistic monarchies for a number of reasons, apart from merely being a god of pleasure: He was a human who became divine, he came from, and had conquered, the East, exemplified a lifestyle of display and magnificence with his mortal followers, and was often regarded as an ancestor.

One of the Ptolemaia festivals from the 270s BC was described by the historian Callixenus of Rhodes and part of his account survives, giving a sense of the enormous scale of the event. The festival included a feast for 130 people in a vast royal pavilion and athletic competitions. The highlight was a Grand Procession, composed on a number of individual processions in honour of each of the gods, beginning with the Morning Star, followed by the Theoi Soteres, and culminating with the Evening Star. The procession for Dionysus alone contained dozens of festival floats, each pulled by hundreds of people, including a four-metre high statue of Dionysus himself, several vast wine-sacks and wine krateres, a range of tableaux of mythological or allegorical scenes, many with automata, and hundreds of people dressed in costume as satyrs, sileni, and maenads.

Harrison said that he chose Salt's Mill as a venue because the "ghosts of the past were strong" in that place and it was part of his "slow burning revenge" against his teacher who "denied him the opportunity to recite poetry or take part in plays because of his accent". He also mentioned that clogging "geared the satyrs into action", because that dance is "one of the principal expressions of the rhythm of life". In A Companion to Sophocles Harrison's work is cited as an example of bidirectional influence, in that the ancient play influenced Harrison's work and in turn Harrison's play is shown to have influenced the modern perception of Sophocles and his works. According to the book, the papyrus is used as the stage background of Harrison's play both at the Delphi performance and in London at the Olivier Theatre.

It has three handles, joined to the body with bearded satyrs' masks. It stands on three lion's legs, and a triangular base, all provided for it in the 16th century. For centuries, until the discovery of the Tazza Albani, it was the largest in diameter of known antique vases.Leoncini 1991:105. The whereabouts of the vase can be traced through the interest it incited in artists, starting in the 16th century, when the vase was drilled to serve as a garden fountain.The history of the vase is described in Leoncini 1991, with illustrations of numerous artists' representations of the vase and bibliography. The earliest visual documentation is a drawing by Giuliano da Sangallo in the Barberini Codex, Vatican Library,Inv. Latino 4424. made after 1488, which bears an inscription of its location, at Santa Cecilia in Trastevere, Rome.

He is also said to have introduced applause, as he would clap his hands at the singing of the Muses, for whom this was a sign of acclaim preferable to any verbal ones."Clapping" is the literal meaning of Krotos' name: Perseus Digital Library – κρότος entry from the Greek-English Lexicon by Liddel, H. G. and Scott, R. (LSJ); see meaning 2 To commemorate his diligence, the Muses asked Zeus to place him among the stars, which he did, transforming Krotos into the constellation Sagittarius. Various details of his stellar image were thought to represent one of his virtues: lower body of a horse for his skills of a horse rider; arrows for his keenness and swiftness as a hunter; a Satyr's tail for him being as delightful to the Muses as the Satyrs are to Dionysus.Hyginus, Fabulae, 224; Poetical Astronomy, 2.

These speakers include Phoebus, the classical sun god, who also represents poetry; and "the pilot of the Galilean Sea," St. Peter, whose "dread voice" momentarily banishes the pastoral mood of the poem while prophesying against the "corrupted clergy" of the Laudian church in England. The balance between conventional pastoral imagery and these other elements has, over time, created the impression that Lycidas is one of the most innovative pastoral elegies. In "The Life of Milton," the 18th-century literary critic and polymath Samuel Johnson infamously called the pastoral form "easy, vulgar, and therefore disgusting," and said of "Lycidas": :It is not to be considered as the effusion of real passion; for passion runs not after remote allusions and obscure opinions. Passion plucks no berries from the myrtle and ivy, nor calls upon Arethuse and Mincius, nor tells of rough satyrs and fauns with cloven heel.

Richard Eyre calls Harrison's 1990 play, The Trackers of Oxyrhynchus "among the five most imaginative pieces of drama in the 90s". Jocelyn Herbert, famous designer of the British theatrical scene, comments that Harrison is aware of the dramatic visual impact of his ideas: "The idea of satyrs jumping out of boxes in Trackers is wonderful for the stage. Some writers just write and have little idea what it will look like, but Tony always knows exactly what he wants." Edith Hall has written that she is convinced that Harrison's 1998 film-poem Prometheus is "artistic reaction to the fall of the British working class" at the end of the twentieth century, and considers it as "the most important adaptation of classical myth for a radical political purpose for years" and Harrison's "most brilliant artwork, with the possible exception of his stage play The Trackers of Oxyrhynchus".

God of War is a third-person single player action-adventure video game with hack and slash elements, viewed from a fixed camera perspective. The player controls the character Kratos in combo-based combat, platforming, and puzzle game elements, and battles Greek mythological foes that include undead soldiers, harpies, minotaurs, Medusa and the Gorgons, cyclopes, wraiths, Sirens, satyrs, centaurs, cerberuses, and boss opponents—the Hydra and a giant minotaur known as Pandora's Guardian. Platforming elements require the player to climb walls and ladders, jump across chasms, swing on ropes, and balance across beams to proceed through sections of the game. Some puzzles are simple, such as moving a box so that the player can use it as a jumping-off point to access a pathway unreachable with normal jumping, but others are more complex, such as finding several items across different areas of the game to unlock one door.

Infant satyr and landscape Mars, with the wasp's nest on the right Venus watches Mars sleep while two infant satyrs play,Usually so called, but possibly infant Pans or fauns, Bellingham, 367 carrying his helmet (a sallet) and lance as another rests inside his breastplate under his arm. A fourth blows a small conch shell in his ear in an effort, so far unsuccessful, to wake him. The clear implication is that the couple have been making love, and the male habit of falling asleep after sex was a regular subject for ribald jokes in the context of weddings in Renaissance Italy.Langmuir, 26; Lightbown, 164–168 The lance and conch can be read as sexual symbols.Fermor, 46; Bellingham, 362 The scene is set in a grove of myrtle, traditionally associated with Venus and marriage, or possibly laurel, associated with Lorenzo de' Medici (il Magnifico), or perhaps both plants.Bellingham, 361–362; Lightbown, 164 There is a limited view of the meadow beyond, leading to a distant walled city.

The Kuretes or Kouretes () were nine dancers who venerate Rhea, the Cretan counterpart of Cybele. A fragment from Strabo's Book VIIQuoted by Jane Ellen Harrison, "The Kouretes and Zeus Kouros: A Study in Pre-Historic Sociology", The Annual of the British School at Athens 15 (1908/1909:308-338) p. 309; Harrison observes that Strabo's not very illuminating statement serves to show "that in Strabo's time even a learned man was in complete doubt as to the exact nature of the Kouretes" and second, "that in current opinion, Satyrs, Kouretes, Idaean Daktyls, Korybantes and Kabeiroi appeared as figures roughly analogous". gives a sense of the roughly analogous character of these male confraternities, and the confusion rampant among those not initiated: > Many assert that the gods worshipped in Samothrace as well as the Kurbantes > and the Korybantes and in like manner the Kouretes and the Idaean Daktyls > are the same as the Kabeiroi, but as to the Kabeiroi they are unable to tell > who they are.

The guide's vagueness creates more questions than supplying answers; for example it includes a picture of satyrs with flaming torches greeting visitors at the Rock Entrance; there is no explanation as to whether they are costumed staff, statues or merely some sort of allegorical illustration. The new garden was visited by members of the Court of Louis XVI, including Jacques Delille, Marie-Joseph de Chénier, Hubert Robert, Elisabeth Vigée-Lebrun; and visitors from abroad, possibly including Benjamin Franklin. Thomas Jefferson was so impressed by the round interior rooms of the column that he created similar rooms in his own Paris residence, the hotel de Langeac, as well as his house at Monticello, and the library of the University of Virginia in Charlottesville, Virginia. King Gustav III of Sweden reproduced the ruined column (on a much smaller scale) in his own gardens at Haga in Stockholm as well as several versions of the metal Tartar tent.

1); a muddled version is recounted in Flavius Philostratus' Life of Apollonius of Tyana, vi.27: "Midas himself had some of the blood of satyrs in his veins, as was clear from the shape of his ears; and a satyr once, trespassing on his kinship with Midas, made merry at the expense of his ears, not only singing about them, but piping about them. Well, Midas, I understand, had heard from his mother that when a satyr is overcome by wine he falls asleep, and at such times comes to his senses and will make friends with you; so he mixed wine which he had in his palace in a fountain and let the satyr get at it, and the latter drank it up and was overcome". The old satyr had been drinking wine and wandered away drunk, to be found by some Phrygian peasants who carried him to their king, Midas (alternatively, Silenus passed out in Midas' rose garden).

Gowing comments: "It was on behalf of order and the laws of harmonious proportion, which sound in the music of strings, that Apollo claimed victory over the chaotic and impulsive sound of the pipes."Gowing; Rosand (2010), 19–20; Held, 190; Hale, 713, 715-717 For Edgar Wind the contest determined "the relative powers of Dionysian darkness and Apollonian clarity; and if the contest ended with the flaying of Marsyas, it was because flaying was itself a Dionysian rite, a tragic ordeal of purification by which the ugliness of the outward man was thrown off and the beauty of his inward self revealed".Wind, 172–173 Alternatively, there have been suggestions that the painting has a political meaning, either general or specific, and depicts the "just punishment" of hubristic opponents.Held, 190–191, 193 The 'three ages of man' are all represented (if satyrs are allowed to count), indeed on the right they are aligned diagonally.

67; Joshua Whatmough, The Foundations of Roman Italy (1937), p. 159. The simultaneous oneness and multiplicity of these deities is an example of monotheistic tendencies in ancient religion: "Lower gods were executors or manifestations of the divine will rather than independent principles of reality. Whether they are called gods, demons, angels, or numina, these immortal beings are emanations of the One": Michele Renee Salzman, "Religious koine in Private Cult and Ritual: Shared Religious Traditions in Roman Religion in the First Half of the Fourth Century CE," in A Companion to Roman Religion (Blackwell, 2007), p. 113. The nymphs, with whom the lymphae are identified, are among the beings who inhabit forests, woodlands, and groves (silvas, nemora, lucos) and ponds, water sources and streams (lacus, fontes ac fluvios), according to Martianus Capella (2.167), who lists these beings as pans, fauns, fontes, satyrs, silvani, nymphs, fatui and fatuae (or fautuae), and the mysterious Fanae, from which the fanum (sacred precinct or shrine) is supposed to get its name.

Harrison uses one of the satyrs in his work to hint that the classical world may be neglected in the modern era: The Routledge Companion to Directors' Shakespeare quotes Harrison as saying that without the satyr plays we are missing the whole picture of the Greek imagination as applied to ancient Greek tragedy and its ability to use the satyr plays as a vehicle to absorb the impact of the tragic events and to not be defeated by them. In that sense, Harrison continues, the satyr plays precipitated a "spirit of celebration" into the dramatic festival which also caused a "release into the worship of Dionysus". According to the same book, with his Trackers, Harrison wants to criticise the tendency of the elitists and right-wing politicians to divide art and society along refined and popular lines, represented by separate Apollonian and Dionysiac camps. Harrison made a point against this artificial segregation by choosing a third venue for the performance of his play between Delphi and London; he chose an abandoned textile mill in Salt's Mill, Bradford, as a "homecoming" for his play.

Boy carrying a shell, Bode-Museum Satyr-bust-shaped oil lamp with raptor claw, Bode-Museum Severo (Calzetta) da Ravenna or Severo di Domenico Calzetta (active ca 1496 – ca 1543) was an Italian sculptor of the High Renaissance and Mannerism, who worked in Padua, where he is likely to have finished his training, in Ferrara and in Ravenna, where he first appears in a document of 1496. Though Severo specialized in small bronzes, his only securely documented work is the marble St John the Baptist, signed by him, which was commissioned in 1500 for the entrance to the chapel of St Anthony in the Basilica of Saint Anthony of Padua, and remains in place. Though he produced religious figures, such as the Corpus from a crucifix in the Cleveland Museum of Art, his main subjects were pagan, including dragons and satyrs, and functional objects, such as inkwells, candlesticks, and oil lamps. Pomponius Gauricus mentions Severo in his chapter on bronzes in De sculptura (1504), without identifying any subjects.

Augustine of Hippo, De > civitate Dei 15.23: Et quoniam creberrima fama est multique se expertos uel > ab eis, qui experti essent, de quorum fide dubitandum non esset, audisse > confirmant, Siluanos et Panes, quos uulgo incubos uocant, inprobos saepe > extitisse mulieribus et earum appetisse ac peregisse concubitum; et quosdam > daemones, quos Dusios Galli nuncupant, adsidue hanc inmunditiam et temptare > et efficere, plures talesque adseuerant, ut hoc negare inpudentiae uideatur: > non hinc aliquid audeo definire, utrum aliqui spiritus elemento aerio > corporati (nam hoc elementum etiam cum agitatur flabello sensu corporis > tactuque sentitur) possint hanc etiam pati libidinem, ut, quo modo possunt, > sentientibus feminis misceantur. Dei tamen angelos sanctos nullo modo illo > tempore sic labi potuisse crediderim; for an alternative English translation > by Marcus Dods, from Nicene and Post-Nicene Fathers, first series, vol. 2 > (Buffalo, NY: Christian Literature Publishing Co., 1887), revised and edited > by Kevin Knight, see New Advent. Isidore of Seville echoes Augustine closely, but expands the identifications with other divine figures: > The 'hairy ones' (pilosi)For a discussion of "hairy demons", in early > sources sometimes translated as satyrs, see Unclean spirit.

On one side, Dionysus reclines with two satyrs and two maenads around him. On the other side, Thyestes is protesting to king Adrastos the impending exposure (left out in the wilds, presumably to die) of his son Aegisthos, while Adrastos’ wife comforts the baby’s mother, Thyestes’ daughter Pelopeia. Several gods range over all the mortals: Artemis, who is telling Pan to find a goat to nurse the baby; Apollo, a Fury, and a nude youth who is the personification of the city Sikyon, where this is all taking place. Ancient viewers would have been familiar enough with the play to recognize the play and the myth behind the play, which we know through Hyginus’ Fabulae 87-88. It is a particularly gruesome myth, although none of the gruesomeness is pictured outright here: it is up to the viewer’s familiarity to recognize that Thyestes raped his daughter because Apollo told a prophecy that a son born of that union would kill Thyestes’ brother Atreus, against whom he has a grudge.

Jacobean court-cupboard There was something, on the whole, in the early Elizabethan replete with dignity, a massy magnificence that agreed with that of the era and the monarch, that went well, too, with the mighty farthingales and ruffs of the ladies, the trunk-hose and puffed and banded doublets of the gallants, while the people who used it — Shakespeare, Walter Raleigh, Ben Jonson, Francis Bacon — still have a peculiar interest. Well as it suited doughy old Queen Bess herself, the forms which it took under her successor, with their assumption of foreign conceits and their display of profuse gilding, accorded no less characteristically with the arrogant, pedantic, and petty James. All of this furniture, however, is exceedingly attractive, and there are few who would not rejoice over any article of it which is not too unwieldy for modern quarters. A typical sideboard and dresser offer a medley of design, with not too well drawn fawns and satyrs, fruits and flowers, Cupids, birds, scrolls, shields and straps, cornucopias, mermaids, monsters and foliages.

Writer Max P. Belin observes that as a plot device, the Well World has its advantages and disadvantages. It enables the protagonists of the stories to travel "across mountains, grasslands, oceans, deserts, and forests" without the use of any magical means for moving from world to world (such as those in C. S. Lewis's The Magician's Nephew (1955), which would be outside the domain of a science fiction story) or inexplicable "hypertechnology." Rather, they travel under their own power from hex to hex. (With many hexes, it is possible to travel from one border to another in a matter of days, or sometimes weeks.) Since each hex not only has different environments and species -- ranging from conventional classical mythological species such as yeti, centaurs, and satyrs to more esoteric science fiction species such as giant carnivorous insects and mobile plants -- but as well a different, fixed, level of allowable technology -- from non-tech and semi-tech hexes through to highly advanced technology that closely resembles outright magic (plus actual Well magic) -- and since there are 1,560 of them, the author never need repeat situations and locations through the entire series of books.

Leon Battista Alberti had praised it and recommended it as a subject for artists to recreate in his highly influential De pictura of 1435, and there were four translations of Lucian's Greek into Latin or Italian during the 15th century.Lightbown, 230; Ettlingers, 144–145 A number of Botticelli's secular works show an interest in recreating some of the lost glories of Ancient Greek painting, which are recorded in classical literature, especially the ekphrasis, a popular literary genre consisting of the description of a painting, which had an obvious utility before reproductions were widespread. His Mars and Venus, painted some ten years earlier, is generally agreed to borrow part of its composition, the infant satyrs playing with Mars' armour, from another ekphrasis by Lucian, but no other Botticelli painting is clearly an attempt to recreate an ancient composition almost in full.Ettlingers, 144 The painting is an allegory with nine figures (as well as many painted statues) but at 62 x 91 cm is far smaller than his large mythological paintings, but larger than the usual size of his spalliere pieces intended to be fitted into panelling or furniture.

There is evidence, most notably in the eastern walls of the tetrastyle atrium, that after the great earthquake in AD 62, the House of the Faun was rebuilt and/or repaired; and the building was used again until the eruption of Mount Vesuvius. Although the eruption was devastating, the layers of ash covering the city preserved artworks, like the mosaics of the House of the Faun, which would have otherwise been likely destroyed or decayed due to the passage of time. The House of the Faun was named for the bronze statue of the dancing faun located, originally, on the lip of the impluvium, a basin for catching rainwater; it has been moved to the centre of the impluvium, as seen in the adjacent picture. Fauns are spirits of untamed woodland, which literate and Hellenized Romans often connected to Pan and Greek satyrs, or wild followers of the Greek god of wine and drama, Dionysus. It is a purely decorative sculpture of a high order: "the pose is light and graceful," Kenneth Clark observed,Clark, The Nude: A Study in Ideal Form 1956:263 (illustrated fig. 145).

Among the more absurd claims of Indica were the stories of a race of people with only one leg, or with feet so big they could be used as an umbrella Ctesias' books contains such a mix of obviously dubious apocrypha among its truths that it was sometimes mocked by subsequent authors as a source of wild yarns and myths. In the second century AD, the satirist Lucian depicted Ctesias as being condemned to a special part of hell reserved for those who spread wild lies during their lifetimes.Ctesias: On India Indica apparently included such anecdotes as the description of a race of one-legged people called the Monosceli, another whose feet were so big they could be used as umbrellas (the Skiopolae), men with tails like satyrs, and claimed that people in the actual land of Serica (a word thought in some other cases to be the Greek word for part of China) were 18 feet tall.Notes on the Indica of Ctesias Lucian's own similar book, A True Story, was presented as a satire of Indica, including an introduction that calls Ctesias and other similar authors inexperienced liars.