The numerous vases on which Dionysos appears, with or without Ariadne, accompanied by a throng of Satyrs and Maenads, sometimes in high revelry, sometimes in more peaceful circumstances, may next be mentioned, though it is not necessary to cite more than a few typical examples[[683]]; equally numerous are smaller groups, where only one or two followers appear, but only a few of these need be particularised.[[684]] Thus we see him in peaceful converse with Maenads or Nymphs[[685]]; seizing them with amorous intent[[686]]; listening to a Satyr playing the lyre or flute[[687]]; or going to a banquet, accompanied by Satyrs with torches[[688]]; or feeding a bird.[[689]] In banquet scenes he receives drink from a Satyr,[[690]] or plays at the kottabos (see p. [182])[[691]]; or Seileni steal his food and drink.[[692]] He watches a Lydian woman dancing in armour,[[693]] or dances himself to the flutes played by an actor.[[694]] In one instance he is seen leaving his chariot to join in the revels of his followers[[695]]; in another he takes part in the orgies of the Scythian Agathyrsi,[[696]] and he is seen in a drunken condition, supported by one of his followers.[[697]] He is not infrequently grouped with Eros, from whom he receives drink or a wreath[[698]]; also with Pan,[[699]] or with semi-personified figures such as Komos (Revelry)[[700]] or Oinopion (Wine-drinker).[[701]]
Pan only makes his appearance on late vases, usually in Dionysiac groups,[[702]] or as a single figure on the smaller Apulian wares; when he is depicted with goat’s legs and squat proportions, he is usually called Aegipan[[703]]; or, again, Paniskos, when he has the form of a beardless youth.[[704]] He surprises a Nymph asleep,[[705]] and is sometimes associated with the Nymph Echo.[[706]]
FIG. 120. DIONYSOS WITH SATYRS AND MAENADS (HYDRIA BY PAMPHAIOS IN BRIT. MUS.).
Dionysos’ connection with the Attic drama is more specially indicated by scenes in which he appears as the inventor or patron of tragedy, presenting a tragic mask to a young actor[[707]]; he also appears in an elaborate scene representing the preparations for a Satyric drama.[[708]] As the object of worship he is sometimes seen in a form which implies a reference to some primitive cult, as an aniconic pillar-image (ξόανον or βαίτυλος)[[709]]; or, again, in the form of a tree (Dionysos Dendrites), and homage is paid to him by Maenads.[[710]] Besides sacrifices to his image, we see sacrificial dances performed,[[711]] or choragic tripods consecrated to him.[[712]] His statue is once seen at a fountain.[[713]]
We must now treat of the scenes in which Seileni and Satyrs, Maenads and Nymphs, appear independently of Dionysos, or in particular actions without relation to him. They are, indeed, often, if not invariably, present in all scenes in which he takes part, whether mythological or of a less definite character; as, for instance, the return of Hephaistos to Olympos,[[714]] in which the gods are usually accompanied by a more or less riotous escort of Satyrs, and others as already mentioned. The attack of the Satyrs on Iris and Hera has been alluded to in connection with the latter[[715]]; and they seldom elsewhere appear in relation to the Olympian deities or other myths, except in those scenes which depict the rising of Persephone or Ge-Pandora from the earth.[[716]] But Satyrs and Maenads are sometimes represented as performing sacrifices, not only to Dionysos,[[717]] but also to Herakles,[[718]] or to a terminal figure of Hermes.[[719]] We turn next to scenes of more general character.
There are numerous vases, especially of the R.F. period, on which groups of Satyrs and Maenads are represented in revels of a more or less wild and unrestrained character, or else in more peaceful association. Those in which Dionysos himself is present have already been enumerated, but the general types may be now considered. It may, perhaps, be possible to distinguish two, or even three, classes of this subject: the inactive groups of Satyrs and Maenads[[720]]; those in which they rush along in frenzy and unrestrained licence, brandishing their thyrsi, or with tambourines (tympana) and other musical instruments[[721]]; and, lastly, scenes of convivial revelry (κῶμοι), in which they are engaged in drinking from all sorts of vessels.[[722]] Sometimes these revels are strictly confined to Satyrs, and then they become absolutely licentious in character[[723]]; or, again, a group of Maenads unattended tear along with torches, thyrsi, and musical instruments[[724]]; or, lastly, both join in dances hand-in-hand, a subject which on early vases is often adopted for a long frieze encircling a vase.[[725]]
As a pendant to these, many subjects and single figures must here be mentioned which seem to be excerpts from the larger compositions, as well as independent motives presenting special features found in the more elaborate scenes. We begin with subjects in which both Satyrs and Maenads take part, among which we find a favourite subject to be the gathering of fruit,[[726]] especially grapes, and the processes of the vintage.[[727]] Satyrs offer drink to Maenads,[[728]] or play the flutes for them to dance to[[729]]; and there is a favourite series of subjects of an amorous character, in which the Satyrs pursue the objects of their passion,[[730]] or surprise them asleep,[[731]] seize them and overcome their struggles to escape,[[732]] and finally enfold them in embraces,[[733]] or carry them on their shoulders.[[734]] Satyrs are also seen surprising women while bathing[[735]]; and a group of them appear astonished at the sunrise.[[736]]