Editing Satyr (section)

===Hellenistic Era===
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| image1    = Pouring Satyr; marble, 150 AD, Antikensammlung Berlin, 141291.jpg
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| caption1  = One of the supposed Roman marble copies of [[Praxiteles]]'s ''Pouring Satyr'', which represents a satyr as a young, handsome adolescent{{sfn|Corso|2004|pages=281–282}}
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| caption2  = Ancient relief carving from the [[Naples National Archaeological Museum]] depicting a fight between a satyr and a nymph, a theme which became popular during the Hellenistic Era{{sfn|Burn|2004|pages=145–146}}
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[[File:Greek - Appliqué with Satyr Walking to Left - Walters 71557 (cropped).jpg|thumb|This [[Hellenistic period|Hellenistic]] satyr wears a rustic [[perizoma (loincloth)]] and carries a pedum (shepherd's crook). [[Walters Art Museum]], [[Baltimore]].]]

The iconography of satyrs was gradually conflated with that of the Pans, plural forms of the god [[Pan (god)|Pan]], who were regularly depicted with the legs and horns of a goat.{{sfn|Hansen|2004|page=279}}{{sfn|March|2014|page=436}} By the [[Hellenistic Period]] (323–31 BC), satyrs were beginning to sometimes be shown with goat-like features.{{sfn|Hansen|2004|page=279}}{{sfn|March|2014|page=436}} Meanwhile, both satyrs and Pans also continued to be shown as more human and less bestial.{{sfn|Hansen|2004|page=279}} Scenes of satyrs and centaurs were very popular during the Hellenistic Period.{{sfn|Burn|2004|page=145}} They often appear dancing or playing the aulos.{{sfn|Burn|2004|page=145}} The maenads that often accompany satyrs in Archaic and Classical representations are often replaced in Hellenistic portrayals with wood nymphs.{{sfn|Burn|2004|page=145}}

Artists also began to widely represent scenes of nymphs repelling the unwanted advances of amorous satyrs.{{sfn|Burn|2004|page=145}} Scenes of this variety were used to express the dark, beastly side of human sexuality at a remove by attributing that sexuality to satyrs, who were part human and part animal.{{sfn|Burn|2004|page=145}} In this way, satyrs became vehicles of a metaphor for a phenomenon extending far beyond the original narrative purposes in which they had served during earlier periods of Greek history.{{sfn|Burn|2004|pages=145–146}} Some variants on this theme represent a satyr being rebuffed by a [[hermaphrodite]], who, from the satyr's perspective, appears to be a beautiful, young girl.{{sfn|Burn|2004|page=145}} These sculptures may have been intended as kind of sophisticated erotic joke.{{sfn|Burn|2004|page=145}}

The Athenian sculptor [[Praxiteles]]'s statue ''Pouring Satyr'' represented the eponymous satyr as very human-like.{{sfn|Corso|2004|pages=281–282, 288}}{{sfn|Palagia|Pollitt|1996|page=111}} The satyr was shown as very young, in line with Praxiteles's frequent agenda of representing deities and other figures as adolescents.{{sfn|Corso|2004|page=282}} This tendency is also attested in the descriptions of his sculptures of Dionysus and the Archer [[Eros]] written in the third or fourth century AD by the art critic [[Callistratus (sophist)|Callistratus]].{{sfn|Corso|2004|page=282}} The original statue is widely assumed to have depicted the satyr in the act of pouring an ''[[oenochoe|oinochoe]]'' over his head into a cup, probably a ''[[kantharos]]''.{{sfn|Corso|2004|pages=282–283, 288}}{{sfn|Palagia|Pollitt|1996|page=111}} Antonio Corso describes the satyr in this sculpture as a "gentle youth" and "a precious and gentle being" with "soft and velvety" skin.{{sfn|Corso|2004|page=288}} The only hints at his "feral nature" were his ears, which were slightly pointed, and his small tail.{{sfn|Palagia|Pollitt|1996|page=111}}{{sfn|Corso|2004|page=288}}

The shape of the sculpture was an [[S Curve (art)|S-shape]], shown in [[Three-quarter profile|three-quarter view]].{{sfn|Corso|2004|page=288}} The satyr had short, boyish locks, derived from those of earlier Greek athletic sculpture.{{sfn|Corso|2004|page=288}} Although the original statue has been lost, a representation of the pouring satyr appears in a late classical relief sculpture from Athens{{sfn|Corso|2004|pages=283–284}}{{sfn|Palagia|Pollitt|1996|page=112}} and twenty-nine alleged "copies" of the statue from the time of the [[Roman Empire]] have also survived.{{sfn|Corso|2004|pages=285–28}} [[Olga Palagia]] and J. J. Pollitt argue that, although the ''Pouring Satyr'' is widely accepted as a genuine work of Praxiteles,{{sfn|Palagia|Pollitt|1996|page=112}} it may not have been a single work at all and the supposed "copies" of it may merely be Roman sculptures repeating the traditional Greek motif of pouring wine at ''[[symposium|symposia]]''.{{sfn|Palagia|Pollitt|1996|pages=112–113}}
[[File:Arretine Pottery, portion of bearded satyr, emptying a wine-skin.jpg|thumb|portion of bearded satyr, emptying a wine-skin, Ceramic, Arretine ware, Roman, Augustan Period 31 B.C.–A.D. 14]]