[58] Cf. Suidas, _s.v._ “Pratinas”: ... Φλιάσιος, ποιητὴς τραγῳδίας, ἀντηγωνίζετο Αἰσχύλῳ τε καὶ Χοιρίλῳ, ἐπὶ τῆς ἑβδομηκοστῆς Ὀλυμπιάδος, καὶ πρῶτος ἔγραψε Σατύρους ... καὶ δράματα μὲν ἐπεδείξατο νʹ, ὦν Σατυρικὰ λβʹ. ἐνίκησε δὲ ἅπαξ. Note that the earliest name was simply Σάτυροι, “satyrs.” Murray has proposed another interpretation of Suidas’ phrase: “I take this to mean that Pratinas was the first person to write words for the revelling masquers to learn by heart. Thespis, like many early Elizabethans, had been content with a general direction: ‘Enter Satyrs, in revel, saying anything’” (incorporated in Miss Harrison’s _Themis_, p. 344). Nevertheless, he adds that he “does not wish to combat” the other view. [59] Fig. 3 is taken from Furtwängler and Reichhold, _Griechische Vasenmalarei_, first series, II, Pls. 11-12. The _membrum virile_ has been omitted in the reproduction. [60] Cf. _op. cit._, I, 696 f. [61] This was originally assembled by Hartwig in _Römische Mittheilungen_, XII (1897), 89 ff. and Wernicke, _op. cit._ It is now conveniently summarized by Cook, _op. cit._, pp. 697 ff. [62] Fig. 4 is taken from Baumeister, _Denkmäler_, Fig. 422. The two craters at Deepdene are illustrated in Cook, _op. cit._, Pl. XXXIX, Figs. 1-2. [63] The three dinoi are discussed by Miss Bieber in _Athenische Mitteilungen_, XXXVI (1911), 269 ff. and Pl. XIII, Figs. 1-3 and Pl. XIV, Figs. 1-5. My Figs. 5-7 are taken from her publication, corresponding to Pl. XIII, Fig. 1, Pl. XIV, Fig. 4, and Pl. XIV, Figs, 1 and 2 respectively. Cook maintains that all six vases are descended from a fresco by Polygnotus, _op. cit._, pp. 700 f.; but this suggestion seems improbable. [64] Cf. De Prott, “De Amphora Neapolitana Fabulae Satyricae Apparatum Scaenicum Repraesentante,” in _Schedae Philologicae Hermanno Usener Oblatae_ (Bonn, 1891), pp. 47 ff. It seems strange that De Prott should mar his own interpretation by supposing the figure whom I have called Hesione to be a Muse. The Scythian cap ought to be decisive. [65] Cf. Miss Bieber, _op. cit._, Pl. XIV, Fig. 3. [66] Except the eleventh and twelfth choreutae on the Naples crater (Fig. 4), viz., the figure with a lyre near the middle of the lower row and the fully clad figure next to the last on the right. If De Prott is correct in considering these figures choreutae, they must be regarded (I suppose) as having not yet completed their make-up. [67] Fig. 8 is taken from Baumeister, _Denkmäler_, Fig. 424. The choreutae in this scene are not to be understood as having no tails; their position does not permit this feature to be seen, cf. Haigh, _The Attic Theatre³_, p. 293, note. [68] Cf. _Etymologicum Magnum_, _s.v._: τραγῳδία: ... ἢ ὅτι τὰ πολλὰ οἱ χοροὶ ἐκ σατύρων συνίσταντο, οὓς ἐκάλουν τράγους σκώπτοντες ἢ διὰ τὴν τοῦ σώματος δασύτητα ἢ διὰ τὴν περὶ τὰ ἀφροδίσια σπουδήν· τοιοῦτον γὰρ τὸ ζῷον. ἢ ὅτι οἱ χορευταὶ τὰς κόμας ἀνέπλεκον, σχῆμα τράγων μιμούμενοι. [69] Cf. Horace _Ars Poetica_, vss. 220 f: