Satyrs were creatures linked strongly with Dionysus, the Greek god of wine, pleasure, and theater. These party-loving, mischievous, and uninhibited creatures were an exception in ancient Greek art because there was no solid mythological tradition around satyrs. Instead, they were created as an iconographic element, probably based on satyr plays and ancient dance performances. Satyrs embodied hedonism, pleasure-seeking, and all the perks of being a human. What made satyrs so popular, and what was their role in Greek art?
Horse, Goat, or Man? What Exactly Is a Satyr?
Satyrs are briefly mentioned in the Homeric hymns from the 7th century BCE. The poems mention silenoi, dancing partners to nymphs. Based on these poems, we know that satyrs existed early in Greek culture. Yet, there is no solid mythological basis for their existence. Satyrs are neither humans nor gods, and although they are companions of Dionysus, they frequently appear in art on their own.
The earliest depictions of satyrs show them with long horse ears and the tail of a horse but with the body of a man. The legs are either human legs or horse legs with hooves. From the 5th century BCE, most images of satyrs depict them with human legs. Satyrs are always unattractive by ancient Greek standards. They have undesirable characteristics, such as signs of old age, baldness, pot bellies, short height, and rough faces with stumpy noses. Sometimes the satyrs are young, or even babies, but they always have recognizable characteristics.
Those who know their ancient Greek myths might remember Silenus, the lovechild of the god Hermes and an unnamed nymph. Silenus was described as a stub-nosed, horse-tailed, ugly, chubby, bearded drunkard. He became Dionysus’ teacher and caregiver when the god was a baby. Silenus also had a group of followers who looked similar to him.
Unfortunately, the iconography of Silenus and the satyrs is inconsistent, so we can’t say for sure that Silenus and the satyrs are exactly the same. There may have been deliberate differences between satyrs and Silenus in early images, but later, their characters became too similar to distinguish. From 450 BCE onwards, Silenus started to look more like a goat, and the character began to resemble the god Pan.
How Are Satyrs Different From Other Human-Animal Hybrids in Greek Art?
In Greek art, satyrs are not the only hybrid mixes of humans and animals. There are several other examples. The Greeks had varied versions of the Egyptian sphinx in their art, replacing the head of the Egyptian sphinx with a typical Greek archaic sculpture head but keeping the same lion body. Centaurs, with a horse’s body but a human torso and head, were also very popular and mainly used in violent battle scenes. The mythical Minotaur had a human body but the head of a bull. The Minotaur is seen in ancient art on its own but also as a frieze, with several Minotaur in a chorus line. Sirens were women with bird bodies, alluring Odysseus and his men off course at sea, another popular myth depicted often in art.
There was an apparent fascination in ancient Greece with the clash between civilization and the wild, between man and nature and humans and animals. The hybrid creatures gave a natural outlet to examine what it means to be a human by comparing these two elements. The idea of transformation, a recurring theme in drama, also inspired Greeks.
While these various human-animal hybrids existed, satyrs stood out in several ways. All other hybrid characters had a set of predictable mythological scenes and expected behaviors. They were prisoners of their own mythological story. On the other hand, satyrs were used in iconography for an exact opposite purpose: to create unpredictable connections, shock, and surprise.
When Was the First Satyr Image Created?
The ancient Greeks depicted the first humans in vase painting around 750 BCE. We see the first images of dancing, monstrous satyrs in vase paintings from 670-660 BCE. Initially, these beastly creatures were only seen in violent connections, especially towards women. In the coming decades, the satyrs were gradually domesticated and turned into more whimsical and drunken characters. There was no contradiction between these two types of satyrs, and both coexisted in art.
Dionysus, the god of wine and theater, was significant in Greek mythology. Dionysus represented all the worldly pleasures that humans could enjoy. One of the earliest portrayals of Dionysus in a vase painting is from the famous François Vase, dating back to 570 BCE. The vase is a treasure trove for archaeologists, as all the gods in the painting are named. This image is the first time we see Dionysus accompanied by his followers, who are called silenoi in the painting. This procession of Dionysus and his entourage became a popular theme in art, and satyrs were included in almost all Dionysian imagery.
In the 5th century BCE, satyrs were one of the most popular topics in vase paintings. They did keep some of their outrageous behavior, but especially when accompanying the god Dionysus, they acted tamer. A typical image from this period shows the satyrs dancing and greeting the friendly god as he approaches.
Playful, Insatiable Beasts
Satyrs are curious characters in ancient Greek art because they had a vast repertoire of antics they could engage in. Initially, their behavior was mainly violent, but in the 5th century BCE, many paintings of satyrs were likely inspired by satyr plays and show satyrs in various activities. The theater was a big part of life in the ancient Greek polis, and the theater-going audience would have been familiar with these figures. Images of satyrs performing practical tasks, such as drawing water from a well, preparing offerings, trying their hand at different professions, or as stable hands caring for mules and donkeys, all to comical effect, were all found in the theater. These scenes could be from plays in which they acted as servants of Dionysus.
The typical satyr behavior blends bestiality, playfulness, and resourcefulness. As far as sexuality goes, they seem to be completely uninhibited, unsatiable, and incredibly limber. And not too picky with their partners.
Because satyrs were associated with wine, they were a common topic in vases used in symposium banquets. The male participants of the symposium appreciated satyrs drinking, pursuing women or animals, and engaging in general hooliganism.
Satyrs in Sculpture
Satyrs appeared in a wide array of Greek art beyond vase painting. Small bronze sculptures of satyrs seem to have been especially popular in ancient Greece and even more common in Etruscan culture. The playful and mischievous nature of the satyr allowed for the exploration of different dynamic poses and expressions. Satyrs in sculptures were often portrayed with exaggerated features, including anatomically incorrect and large male body parts. Small bronze statuettes of satyrs might have had a powerful significance as fertility objects. It is possible that these small objects also had a religious significance and were used as votive objects in religious practice.
Satyrs were popular motifs in wall paintings and various other forms of visual representation. These depictions show satyrs engaging in diverse activities, from lively dances to musical performances, and participating in the festivities of Dionysian celebrations.
Why Are Satyrs Involved in So Many Sex Scenes?
There were conventions for how the Greek gods were portrayed in art. Although there were variations and even new additions to the myths, they were treated with a certain degree of predictability and conventionality, which helped people to recognize them. Satyrs, on the other hand, were instantly recognizable from their appearance. This allowed the vase painters to unleash their creativity and push boundaries, much to the joy of the buyers.
Vase painters were not artists in the sense that we might understand the term today. Apart from big symposium vases commissioned by wealthy individuals, they painted commercial images. The painters had a buying audience in mind, which dictated the subjects they chose to create. Because vases were used daily, people were saturated with vase-painting images and knew how to read them. Some images were so popular that they were repeated by several painters over a long period. Something shocking, surprising, and humorous, such as extravagant sexual acts in this environment, was greatly appreciated.
Satyrs were connected to fertility, but possibly the biggest reason for their sexual escapade imagery is the symposium culture. These social and philosophical gatherings of male citizens featured discussions, excessive drinking, and entertainment. The symposium vases, often depicting satyrs, were used for serving, cooling, and mixing wine. What better for these rowdy boys’ night out than scandalous images of wild, unrestrained behavior, including sexual pursuits? Perhaps these images provoked thoughts and discussions about the primal forces of nature and humans.
What’s So Funny About Satyrs?
Satyrs were frequently portrayed as comical characters in Greek literature, drama, and art. Ancient Greeks had a different sense of humor than we have today. Laughing at physical abnormality or anyone less than the beauty ideal was not a problem. The classic idea of hierarchy turned upside down was also comical, such as a clever slave tricking his master.
Greeks valued humor in various aspects of their culture, including literature and theater. Humor played a role in daily life, with anecdotes, jokes, and witty remarks being appreciated. Humorous elements, including jokes, banter, and comedic performances, were also part of the symposium culture. The playful exchange of ideas and witty remarks added an enjoyable dimension to these intellectual gatherings.
Satyrs fitted perfectly with the Greek sense of humor. Satyrs were known for their playful and mischievous behavior, and they conveyed a sense of lightheartedness and fun. Their hybrid human and animal elements could also be seen as funny. Satyrs were often seen contrasting gods, athletes, soldiers, and heroes. Their less refined nature and undignified behavior added to their comical effect compared to the divine and heroic figures.
Are Satyrs and Fauns the Same?
Satyrs and fauns share similar appearance and representation but come from different cultural backgrounds. In Greek art, satyrs were companions of Dionysus and were recognizable from their half-human, half-animal appearance, but later, they resembled humans more. They were associated with revelry, wine, and mischief. Their behavior could be outrageously beastly, drunken, violent, and immoral. They were usually shown with large male body parts in the earlier archaic period.
On the other hand, fauns belong to Roman mythology. Fauns are nature spirits or woodland deities, depicted as half-human, half-goat, but always with goat legs. Fauns were associated with fertility, the forest, and nature. Their character is also mischievous but much more friendly and harmless compared to satyrs. Fauns were shy, timid creatures of the forest. In later centuries, fauns were used in art in a similar way to satyrs, as an excuse to produce images of attacks against women.
While there are distinct differences between Greek satyrs and Roman fauns in terms of their cultural origins, their appearance is so similar that there is naturally overlap in how they are interpreted in art.
Satyr Plays and the Origin of Satyrs
Satyr plays were a specific genre of ancient Greek drama performed during theatrical festivals, particularly during the City Dionysia in Athens. They were a form of tragicomedy characterized by satirical and humorous elements. Satyr plays were performed as the fourth play at the festival after three tragedies. Following serious tragedies, satyr plays offered relief by infusing humor, levity, and irreverence into the atmosphere. This comedic relief counterbalanced the weighty and somber themes of the tragedies.
Satyr plays typically featured a chorus of actors as satyrs. A papposilenus, the oldest satyr, led the choir. The plays parodied the themes and conventions of the Greek tragedies performed earlier. The satyrs in the plays were portrayed as rowdy and lustful, contrasting the more severe and solemn tone of tragic plays.
The only satyr play to survive entirely is Euripides’ Cyclops, which tells about Odysseus’ encounter with the Cyclops Polyphemus, as described in Homer’s Odyssey. Fragments from Sophocles’ satyr play has satyrs aiding the god Apollo in locating his stolen cattle and encountering the baby Hermes. While smaller fragments of other satyr plays exist, many have disappeared entirely. Only a fragment of music from a satyr play has endured.
What Ended the Popularity of Satyrs in Art?
The decline in the popularity of satyrs as a subject in ancient Greek art happened gradually. As societal values evolved, there was a shift from celebrating wild, untamed behaviors associated with satyrs. The focus turned more towards philosophical and intellectual pursuits rather than the Dionysian revelry that satyrs represented.
Artists started exploring different mythological figures, religious themes, heroic tales, and idealized human forms. The prominence of Dionysian celebrations might have declined or evolved into other forms, affecting the relevance of satyrs in religious contexts.
Satyrs started to resemble the god Pan more during the Hellenistic period, from 323 BCE, and both Pan and the satyrs look and act more like humans. The exaggerated features are gone, and satyrs look more like beautiful young men. The advancing Christianity ended the old religious practices in ancient Greece, and satyrs and the pantheon of Greek gods from mythology were left in history. Satyrs left a lasting mark in European art. The motif of a woman resisting a faun as he tries to take advantage of her remained a popular theme, especially during the Renaissance. Fauns, Pan, and even medieval depictions of the devil have elements from ancient satyr paintings.
Selected References
Carpenter, T. H. (1997) Dionysian Imagery in Fifth-Century Athens, Oxford Monographs on Classical Archaeology.
Cohen, B. (2000) Not the Classical Ideal – Athens and the Construction of the Other in Greek Art, Brill.
Henrichs, A. (1987) “Myth Visualized: Dionysus and his Circle in Sixth-Century Attic Vase Painting,” Papers on the Amasis Painter and his World, Paul Getty Museum.
Isler-Kerényi, C. (2004) Civilizing Violence: Satyrs on 6th-Century Greek Vases, University of Zurich.
Woodard, R.D. (2007) The Cambridge Companion to Greek Mythology, Cambridge University Press.
Vout, C. (2018) Sex on Show – Seeing the Erotic in Greece and Rome, British Museum Press.
