Legion of Honour, partly on account of his painting Nymph Abducted by a Faun. In 1873, another French Academicist William-Adolphe Bouguereau painted Nymphs and Satyr, which depicts four nude nymphs dancing around "an unusually submissive satyr", gently coaxing him into the water of a nearby stream. This painting was bought that same year by an American named John Wolfe, who displayed it publicly in a prominent location in the bar at the Hoffman House, a hotel he owned on Madison Square and Broadway. Despite its risqué subject, many women came to the bar to view the painting. The painting was soon mass reproduced on ceramic tiles, porcelain plates, and other luxury items in the United States. In 1876, Stéphane Mallarmé wrote "The Afternoon of a Faun", a first-person narrative poem about a faun who attempts to kiss two beautiful nymphs while they are sleeping together. He accidentally wakes them up. Startled, they transform into white water birds and fly away, leaving the faun to play his pan pipes alone. Claude Debussy composed a symphonic poem Prélude à l'après-midi d'un faune (Prelude to the Afternoon of a Faun), which was first performed in 1894.The late nineteenth-century German Existentialist philosopher Friedrich Nietzsche was either unaware of or chose to ignore the fact that, in all the earliest representations, satyrs are depicted as horse-like. He accordingly defined a satyr as a "bearded" creature "who derived his name and attributes from the goat." Nietzsche excluded the horse-like satyrs of Greek tradition from his consideration entirely and argued that tragedy had originated from a chorus of men dressed up as satyrs or goats (tragoi). Thus, Nietzsche held that tragedy had begun as a Dionysian activity. Nietzsche's rejection of the early evidence for horse-like satyrs was a mistake his critics severely excoriated him for. Nonetheless, he was the first modern scholar to recognize the full importance of satyrs in Greek culture and tradition, as Dionysian symbols of humanity's close ties to the animal kingdom. Like the Greeks, Nietzsche envisioned satyrs as essentially humans stripped down to their most basic and bestial instincts. Twentieth and twenty-first centuries In 1908, the French painter Henri Matisse produced his own Nymph and Satyr painting, in which the animal nature of the satyr is drastically minimized. The satyr is given human legs, but is exceptionally hairy. The seduction element is removed altogether; the satyr simply extends his arms towards the nymph,