Editing Satyr (section)

===Nineteenth century===
{{multiple image
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| image1            = Nymphe et Saty (Alexandre Cabanel) 1860.JPG
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| caption1          = ''Nymph Abducted by a Faun'' (1860) by [[Alexandre Cabanel]]. [[Palais des Beaux-Arts de Lille]], France.
| image2            = Makovsky - satyr-and-nymph.jpg
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| caption2          = ''Satyr and nymph'' (1863) by [[Konstantin Makovsky]]. State Museum of Fine Arts of the Republic of Kalmykia, Russia.
| image3            = William-Adolphe Bouguereau (1825-1905) - Nymphs and Satyr (1873) HQ.jpg
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| caption3          = ''[[Nymphs and Satyr]]'' (1873) by [[William-Adolphe Bouguereau]]. [[Clark Art Institute]], USA.
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During the nineteenth century, satyrs and nymphs came to often function as a means of representing sexuality without offending [[Victorian morality|Victorian moral sensibilities]].{{sfn|Scobey|2002|pages=43–66}}{{sfn|Luta|2017|pages=35–50}} In the novel ''[[The Marble Faun]]'' (1860) by the American author [[Nathaniel Hawthorne]], the Italian count Donatello is described as bearing a remarkable resemblance to one of Praxiteles's marble satyr statues.{{sfn|Riggs|2014|page=235}}{{sfn|Faedo|2010|page=359}} Like the satyrs of Greek legend, Donatello has a carefree nature.{{sfn|Riggs|2014|page=235}} His association with satyrs is further cemented by his intense sexual attraction to the American woman Miriam.{{sfn|Riggs|2014|page=235}}

Satyrs and nymphs provided a classical pretext which allowed sexual depictions of them to be seen as objects of high art rather than mere pornography.{{sfn|Luta|2017|pages=41–42}} The [[Emperor of the French|French emperor]] [[Napoleon III]] awarded the [[Academic art|Academic]] painter [[Alexandre Cabanel]] the [[Legion of Honour]], partly on account of his painting ''Nymph Abducted by a Faun''.{{sfn|Baguley|2000|page=317}} In 1873, another French Academicist [[William-Adolphe Bouguereau]] painted ''Nymphs and Satyr'', which depicts four nude nymphs dancing around "an unusually submissive satyr", gently coaxing him into the water of a nearby stream.{{sfn|Baguley|2000|page=317}} This painting was bought that same year by an American named John Wolfe,{{sfn|Baguley|2000|page=317}}{{sfn|Scobey|2002|page=43}} who displayed it publicly in a prominent location in the bar at the Hoffman House, a hotel he owned on [[Madison Square and Madison Square Park|Madison Square]] and [[Broadway (Manhattan)|Broadway]].{{sfn|Scobey|2002|page=43}} Despite its risqué subject, many women came to the bar to view the painting.{{sfn|Scobey|2002|pages=43–66}} The painting was soon [[Mass production|mass reproduced]] on ceramic tiles, porcelain plates, and other luxury items in the United States.{{sfn|Baguley|2000|pages=317–318}}

In 1876, [[Stéphane Mallarmé]] wrote "The Afternoon of a Faun", a first-person narrative poem about a faun who attempts to kiss two beautiful nymphs while they are sleeping together.{{sfn|Riggs|2014|page=235}} He accidentally wakes them up.{{sfn|Riggs|2014|page=235}} Startled, they transform into white water birds and fly away, leaving the faun to play his pan pipes alone.{{sfn|Riggs|2014|page=235}} [[Claude Debussy]] composed a [[symphonic poem]] ''[[Prélude à l'après-midi d'un faune]]'' (''Prelude to the Afternoon of a Faun''), which was first performed in 1894.{{sfn|Riggs|2014|page=235}}[[File:Venus and Satyr dli 165005563 cor.tif|thumb|288x288px|Anonymous (France) after [[François Boucher]], ''Venus with a Satyr'', 19th century, engraving and etching]]The late nineteenth-century German [[Existentialism|Existentialist]] philosopher [[Friedrich Nietzsche]] was either unaware of or chose to ignore the fact that, in all the earliest representations, satyrs are depicted as horse-like.{{sfn|Henrichs|1987|page=99}} He accordingly defined a satyr as a "bearded" creature "who derived his name and attributes from the goat."{{sfn|Henrichs|1987|page=99}} Nietzsche excluded the horse-like satyrs of Greek tradition from his consideration entirely{{sfn|Henrichs|1987|page=99}} and argued that tragedy had originated from a chorus of men dressed up as satyrs or goats (''tragoi'').{{sfn|Henrichs|1987|page=99}} Thus, Nietzsche held that tragedy had begun as a [[Dionysian and Apollonian|Dionysian]] activity.{{sfn|Henrichs|1987|page=99}} Nietzsche's rejection of the early evidence for horse-like satyrs was a mistake his critics severely excoriated him for.{{sfn|Henrichs|1987|page=99}} Nonetheless, he was the first modern scholar to recognize the full importance of satyrs in Greek culture and tradition, as Dionysian symbols of humanity's close ties to the animal kingdom.{{sfn|Henrichs|1987|page=99}} Like the Greeks, Nietzsche envisioned satyrs as essentially humans stripped down to their most basic and bestial instincts.{{sfn|Henrichs|1987|page=99}}