Satyrs

Albrecht Altdorfer
Satyr Family in a Landscape
1507
oil on panel
Gemäldegalerie, Staatliche Museen zu Berlin

Gianlorenzo Bernini
Satyr and Panther
ca. 1615
marble fountain
Bode Museum, Berlin

Théodore Géricault
Satyr seizing Woman
before 1824
drawing
Musée Bonnat-Helleu, Bayonne

Hellenistic Greek Culture
Dionysus with Pan and small Satyr
AD 170-180
marble table support
(excavated in Ionia)
National Archaeological Museum, Athens

Hellenistic Greek Culture
Satyrs unveiling Nymph within Tendrils
1st century BC
marble table support
Antikensammlung, Staatliche Museen zu Berlin

Hellenistic Greek Culture
Torso of Dancing Satyr
AD 75-100
marble
(excavated in Ionia)
Antikensammlung, Staatliche Museen zu Berlin

Anonymous Florentine Artist
Bust of a Satyr 
ca. 1600-1625
bronze
Museumslandschaft Hessen Kassel

Master IB
Satyress with Children
ca. 1500-1510
engraving
Kupferstichkabinett, Staatliche Museen zu Berlin

Marcantonio Raimondi
Satyr discovering Resting Nymph
1506
engraving
Kupferstichkabinett, Staatliche Museen zu Berlin

Girolamo Romanino
Concert Champêtre with Nymphs and Satyrs
ca. 1531-32
drawing
Kupferstichkabinett, Staatliche Museen zu Berlin

Roman Empire
Bust of Satyr
2nd century AD
marble
Antikensammlung, Staatliche Museen zu Berlin

Roman Empire
Bacchanalian Procession
AD 125-150
marble sarcophagus relief
Antikensammlung, Staatliche Museen zu Berlin

Roman Empire
Bacchanalian Procession
AD 150
marble sarcophagus relief
Antikensammlung, Staatliche Museen zu Berlin

Roman Empire
Satyr
2nd century AD
marble
Ny Carlsberg Glyptotek, Copenhagen

Roman Empire
Satyr
AD 50
marble
Antikensammlung, Staatliche Museen zu Berlin

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)