rise to the later European concept of the noble savage. Satyrs occupied a paradoxical, liminal space in Renaissance art, not only because they were part human and part beast, but also because they were both antique and natural. They were of classical origin, but had an iconographical canon of their own very different from the standard representations of gods and heroes. They could be used to embody what Stephen J. Campbell calls a "monstrous double" of the category in which human beings often placed themselves. It is in this aspect that satyrs appear in Jacopo de' Barbari's 1495 series of prints depicting satyrs and naked men in combat and in Piero di Cosimo's Stories of Primitive Man, inspired by Lucretius. Satyrs became seen as "pre-human", embodying all the traits of savagery and barbarism associated with animals, but in human-like bodies. Satyrs also became used to question early modern humanism in ways which some scholars have seen as similar to present-day posthumanism, as in Titian's Flaying of Marsyas ( 1570–1576). The Flaying of Marysas depicts the scene from Ovid's Metamorphoses in which the satyr Marysas is flayed alive. According to Campbell, the people performing the flaying are shown calmly absorbed in their task, while Marsyas himself even displays "an unlikely patience". The painting reflects a broad continuum between the divine and the bestial. Early modern period In the 1560 Geneva Bible, the word sa’ir in both of the instances in Isaiah is translated into English as "satyr". The 1611 King James Version follows this translation and likewise renders sa’ir as "satyr". Edwards states that the King James Version's translation of this phrase and others like it was intended to reduce the strangeness and unfamiliarity of the creatures described in the original Hebrew text by rendering them as names of familiar entities. Edmund Spenser refers to a group of woodland creatures as Satyrs in his epic poem The Faerie Queene. In Canto VI, Una is wandering through the forest when she stumbles upon a "troupe of Fauns and Satyrs far away Within the wood were dancing in a round." Although Satyrs are often negatively characterized in Greek and Roman mythology, the Satyrs in this poem are docile, helpful creatures. This is evident by the way they help protect Una from Sansloy. Sylvanus, the leader, and the rest of the Satyrs become enamored by Una's beauty and begin to worship her as if