Editing Satyr (section)

===Renaissance===
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| caption1          = During the [[Renaissance]], satyrs began to appear in domestic scenes,{{sfn|March|2014|page=436}}{{sfn|Link|1995|page=52}} a trend exemplified by [[Albrecht Dürer]]'s 1505 engraving ''The Satyr's Family''.{{sfn|Link|1995|page=52}}
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| caption2          = [[Titian]]'s ''[[Flaying of Marsyas (Titian)|Flaying of Marsyas]]'' ({{circa}} 1570–1576) uses satyrs to challenge early modern [[humanism]].{{sfn|Campbell|2016|pages=66–71}}
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During the [[Renaissance]], satyrs and fauns began to reappear in works of European art.{{sfn|Riggs|2014|page=234}}{{sfn|Room|1983|page=270}} During the Renaissance, no distinction was made between satyrs and fauns and both were usually given human and goat-like features in whatever proportion the artist deemed appropriate.{{sfn|March|2014|page=436}}{{sfn|Room|1983|page=270}}<ref>Bull, 242</ref> A goat-legged satyr appears at the base of [[Michelangelo]]'s statue ''[[Bacchus (Michelangelo)|Bacchus]]'' (1497).{{sfn|Riggs|2014|pages=234–235}} Renaissance satyrs still sometimes appear in scenes of drunken revelry like those from antiquity,{{sfn|March|2014|page=436}} but they also sometimes appear in family scenes, alongside female and infant or child satyrs.{{sfn|March|2014|page=436}}{{sfn|Link|1995|page=52}} This trend towards more familial, domestic satyrs may have resulted from conflation with wild men, who, especially in Renaissance depictions from Germany, were often portrayed as living relatively peaceful lives with their families in the wilderness.{{sfn|Link|1995|page=52}}{{sfn|Campbell|2016|page=70}} The most famous representation of a domestic satyr is [[Albrecht Dürer]]'s 1505 engraving ''The Satyr's Family'', which has been widely reproduced and imitated.{{sfn|Link|1995|page=52}} This popular portrayal of satyrs and wild men may have also helped give rise to the later European concept of the [[noble savage]].{{sfn|Link|1995|page=52}}{{sfn|Jahoda|1999|pages=6–7}}

Satyrs occupied a paradoxical, liminal space in Renaissance art, not only because they were part human and part beast, but also because they were both antique and natural.{{sfn|Campbell|2016|page=70}} They were of classical origin, but had an iconographical canon of their own very different from the standard representations of gods and heroes.{{sfn|Campbell|2016|page=70}} They could be used to embody what Stephen J. Campbell calls a "monstrous double" of the category in which human beings often placed themselves.{{sfn|Campbell|2016|page=70}} It is in this aspect that satyrs appear in [[Jacopo de' Barbari]]'s {{circa}} 1495 series of prints depicting satyrs and naked men in combat{{sfn|Campbell|2016|page=70}} and in [[Piero di Cosimo]]'s ''Stories of Primitive Man'', inspired by Lucretius.{{sfn|Campbell|2016|page=70}} Satyrs became seen as "pre-human", embodying all the traits of savagery and barbarism associated with animals, but in human-like bodies.{{sfn|Campbell|2016|page=70}} Satyrs also became used to question early modern [[humanism]] in ways which some scholars have seen as similar to present-day [[posthumanism]],{{sfn|Campbell|2016|pages=66–71}} as in [[Titian]]'s ''[[Flaying of Marsyas (Titian)|Flaying of Marsyas]]'' ({{circa}} 1570–1576).{{sfn|Campbell|2016|pages=66–71}} ''The Flaying of Marysas'' depicts the scene from Ovid's ''Metamorphoses'' in which the satyr Marysas is flayed alive.{{sfn|Campbell|2016|page=67}} According to Campbell, the people performing the flaying are shown calmly absorbed in their task, while Marsyas himself even displays "an unlikely patience".{{sfn|Campbell|2016|page=67}} The painting reflects a broad continuum between the divine and the bestial.{{sfn|Campbell|2016|page=70}}