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| Albrecht Altdorfer Satyr Family in a Landscape 1507 oil on panel Gemäldegalerie, Staatliche Museen zu Berlin |
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| Gianlorenzo Bernini Satyr and Panther ca. 1615 marble fountain Bode Museum, Berlin |
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| Théodore Géricault Satyr seizing Woman before 1824 drawing Musée Bonnat-Helleu, Bayonne |
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| Hellenistic Greek Culture Dionysus with Pan and small Satyr AD 170-180 marble table support (excavated in Ionia) National Archaeological Museum, Athens |
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| Hellenistic Greek Culture Satyrs unveiling Nymph within Tendrils 1st century BC marble table support Antikensammlung, Staatliche Museen zu Berlin |
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| Hellenistic Greek Culture Torso of Dancing Satyr AD 75-100 marble (excavated in Ionia) Antikensammlung, Staatliche Museen zu Berlin |
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| Anonymous Florentine Artist Bust of a Satyr ca. 1600-1625 bronze Museumslandschaft Hessen Kassel |
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| Master IB Satyress with Children ca. 1500-1510 engraving Kupferstichkabinett, Staatliche Museen zu Berlin |
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| Marcantonio Raimondi Satyr discovering Resting Nymph 1506 engraving Kupferstichkabinett, Staatliche Museen zu Berlin |
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| Girolamo Romanino Concert Champêtre with Nymphs and Satyrs ca. 1531-32 drawing Kupferstichkabinett, Staatliche Museen zu Berlin |
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| Roman Empire Bust of Satyr 2nd century AD marble Antikensammlung, Staatliche Museen zu Berlin |
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| Roman Empire Bacchanalian Procession AD 125-150 marble sarcophagus relief Antikensammlung, Staatliche Museen zu Berlin |
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| Roman Empire Bacchanalian Procession AD 150 marble sarcophagus relief Antikensammlung, Staatliche Museen zu Berlin |
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| Roman Empire Satyr 2nd century AD marble Ny Carlsberg Glyptotek, Copenhagen |
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| Roman Empire Satyr AD 50 marble Antikensammlung, Staatliche Museen zu Berlin |
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| Roman Empire Satyr pouring Wine AD 150 marble Antikensammlung, Staatliche Museen zu Berlin |
Then he [King Hydaspes] addressed himself to Charikleia and asked in Greek (for this language is cultivated among the naked sages and rulers of Ethiopia): "As for you, girl, why do you say nothing? Why do you make no answer to my questions?"
"At the altars of the gods, for whom we know we are being kept as sacrifice," she replied, "there shall you know who I am and who are my mother and father."
"And just where in the world are your mother and father?" asked Hydaspes.
"They are here," she answered. "They will be there at my sacrifice, have no doubt!"
Hydaspes smiled again. "My dream child really is a creature of dreams," he said, "if she imagines that her mother and father will be transported from Greece to the heart of Meroes! Bring them with us and pay them the customary attentions; they must want for nothing if they are to grace our sacrifice. But who is this standing here? He looks like a eunuch."
"He is indeed a eunuch," replied one of the attendants. "His name is Bagoas, and he is Oroondates' most-valued possession."
"Let him go with them too," ordered Hydaspes, "not as a sacrificial victim but to protect one of the victims: this girl, who is so young and beautiful that much careful thought is required to keep her free from stain until the hour of our sacrifice. Jealousy is endemic in eunuchs: they are employed to prevent others enjoying the pleasures of which they are themselves deprived."
So saying, he continued his inspection of the prisoners as each came in turn before him, and decided their fates. Those whom fortune had marked as born to be slaves he gave away, while those who were well-born he allowed to go free. He selected ten young men and an equal number of girls from those who were notable for their youthful beauty, and commanded that they should be taken south with Theagenes and his companions, to serve the same purpose.
– Heliodorus, from The Aethiopica, or, Theagenes and Charikleia (3rd or 4th century AD), translated from Greek by J.R. Morgan (1989)
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