The Devil was represented as black, with goat’s horns, ass’s ears, cloven hoofs, and an immense phallus. He is, in fact, the Satyr of the old Dionysiac processions, a nature-spirit, the essence of joyous freedom and unrestrained delight, shameless if you will, for the old Greek knew not shame. He is the figure who danced light-heartedly across the Aristophanaic stage, stark nude in broad midday,[1] animally physical, exuberant, ecstatic, crying aloud the primitive refrain, Φαλῆς, ἑταῖρε Βακχίου, ξύγκωμε, νυκτεροπλάνητε, μοιχε, παιδεραστά, (Phales, boon mate of Bacchus, joyous comrade in the dance, wanton wanderer o’ nights, fornicating Phales), in a word he was Paganism incarnate, and Paganism was the Christian’s deadliest foe; so they took him, the Bacchic reveller, they smutted him from horn to hoof, and he remained the Christian’s deadliest foe, the Devil.[2] It was long before the phallic demon was banished the stage, for strange as it may seem, positive evidence exists that he was known there as late as Shakespeare’s day. In 1620 was published in London by Edward Wright _A Courtly Masque: The Deuice called, The World tost at Tennis_. “As it hath beene diuers times Presented to the Contentment of many Noble and Worthy Spectators: By the Prince his Seruants.” It was “Inuented and set downe by Tho: Middleton, Gent, and William Rowley, Gent.” The title-page presents a rough engraving of the various characters in this masque, doubtless from a sketch made at the actual performance. Outside the main group stands a hideous black figure “The Diuele,” who made his appearance towards the end to take part in the last dance, furnished with horns, hoofs, talons, tail, and a monstrous phallus. It may be remarked that these horns are prominent on the goat-like head (a clear satyr) of the Devil in _Doctor Faustus_ as depicted on the title-page of the Marlovian quarto. A phallus, to which reference is made in the text, was also worn by the character dressed up as the monkey (_Bavian_) in the May-dance scene in Shakespeare & Fletcher’s _The Two Noble Kinsman_, Act III, 5, 1613. It is worth remembering that troops of phallic demons formed a standing characteristic of the old German carnival comedy. Moreover, several of the grotesque types of the Commedia dell’ arte in the second decade of the seventeenth century were traditionally equipped in like manner.[3] That the Devil was so represented in the English theatre is important. It gives us the popular idea of the Prince of Evil, and incidentally throws a side-light upon much of the grotesque and obscene evidence in the contemporary witch-trials.