36 THE FINE ARTS. 
bearded satyrs: still the name is confined chiefly to one satyr-form, which 
is usually connected with a wine-skin and itself has something of the appear- 
ance of one; in its drunken unwieldiness too it has more need of a support 
than the others, and this is afforded him sometimes by an ass and some- 
times by satyr-boys. He is usually the instructor and fosterer of Dionysus’s 
children. 
Lower in the animal world stand the race of Pans and Panisks, repre- 
senting the secret delight and dark horror of sylvan solitudes. Here too 
appears at first the human form characterized as Pan by the shepherd’s 
pipe, the pastoral crook, the bristly hair, and sprouting horns; but the 
Praxitelian school brought the goat-footed, horned, and hook-nosed shape 
into vogue. 
The female figures in the train of Dionysus offer less variety. Prominent 
among them is the graceful, blooming, ivy-crowned, and often richly 
dressed Ariadne. From the nymphs who exhibit no excitement of cha- 
racter, and the rarely occurring female satyrs, the Menads (Thyades, 
Clodones, Mimallones, Bassarides) are distinguished by their revelling 
enthusiasm, dishevelled hair, and head thrown back, with thyrsi, swords, 
serpents, roe-calves, tympana, and fluttering, loose-flying garments. 
To the Dionysian circle of beings belong also the Centaurs, as they 
seem perfectly fitted, by the unrestrained rudeness with which an animal 
life of nature is manifested in them, to join themselves to Dionysus. In 
the earlier times they were represented in front entirely as men, with a 
horse’s body growing on behind; but from the time of Phidias the blending 
was effected more happily by joining to the belly and breast of a horse the 
upper part of a human body, whose cast of countenance, pointed ears, and 
bristly hair, betray an affinity to the satyr; whereas in female forms 
(Centaurides) the human portion shows more wemanly and attractive 
shapes. 
b. Eros. In temple-statues appears Eros, the Amor of the Romans, as a 
boy of graceful and developed beauty ; but later art preferred the sportive, 
Anacreontic shapes of the childish form. As a still undeveloped, lively, 
and active boy he is seen, e. g. trying to fit the string to his bow, to carve 
his bow, &c.; and we have Erotes busily engaged in dragging off the 
insignia of the gods, taming wild beasts, and boldly and wantonly roving 
about among sea-monsters. Real children were also frequently represented 
in portrait-statues as Erotes (pl. 4, jig. 8). As a modification of the same 
idea we find Pothos and Himeros (Desire and Longing) represented in 
similar figures, and often grouped with Eros. Still more significant is the 
joining him with Anteros, the demon who enjoins reciprocal and avenges 
slighted love. 
A very rich and important class of sculptures is furnished by the union 
of Eros with Psyche, the soul, which is represented as a maiden with 
butterfly-wings, and often simply as a butterfly; by which union is 
expressed the idea of Eros elevating the soul to a higher blessedness, and 
guiding it through life and death. Sometimes both Eros and Psyche 
appear without wings, as in the beautiful group copied pl. 5, fig. 7. 
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