Hedymeles, ("Sweet Song"), Komos ("Revelry"), Kissos ("Ivy"), Molkos, Oinos, Oreimachos, Simos ("Snub-nose"), Terpon and Tyrbas ("Rout"). Later antiquity Hellenistic Era The iconography of satyrs was gradually conflated with that of the Pans, plural forms of the god Pan, who were regularly depicted with the legs and horns of a goat. By the Hellenistic Period (323–31 BC), satyrs were beginning to sometimes be shown with goat-like features. Meanwhile, both satyrs and Pans also continued to be shown as more human and less bestial. Scenes of satyrs and centaurs were very popular during the Hellenistic Period. They often appear dancing or playing the aulos. The maenads that often accompany satyrs in Archaic and Classical representations are often replaced in Hellenistic portrayals with wood nymphs. Artists also began to widely represent scenes of nymphs repelling the unwanted advances of amorous satyrs. Scenes of this variety were used to express the dark, beastly side of human sexuality at a remove by attributing that sexuality to satyrs, who were part human and part animal. In this way, satyrs became vehicles of a metaphor for a phenomenon extending far beyond the original narrative purposes in which they had served during earlier periods of Greek history. Some variants on this theme represent a satyr being rebuffed by a hermaphrodite, who, from the satyr's perspective, appears to be a beautiful, young girl. These sculptures may have been intended as kind of sophisticated erotic joke. The Athenian sculptor Praxiteles's statue Pouring Satyr represented the eponymous satyr as very human-like. The satyr was shown as very young, in line with Praxiteles's frequent agenda of representing deities and other figures as adolescents. This tendency is also attested in the descriptions of his sculptures of Dionysus and the Archer Eros written in the third or fourth century AD by the art critic Callistratus. The original statue is widely assumed to have depicted the satyr in the act of pouring an oinochoe over his head into a cup, probably a kantharos. Antonio Corso describes the satyr in this sculpture as a "gentle youth" and "a precious and gentle being" with "soft and velvety" skin. The only hints at his "feral nature" were his ears, which were slightly pointed, and his small tail. The shape of the sculpture was an S-shape, shown in three-quarter view. The satyr had short, boyish locks, derived from those of earlier Greek athletic sculpture. Although the original statue has