560 – 636) records an anecdote later recounted in the Golden Legend, that Anthony the Great encountered a satyr in the desert who asked to pray with him to their common God. During the Early Middle Ages, features and characteristics of satyrs and the god Pan, who resembled a satyr, became absorbed into traditional Christian iconography of Satan. Medieval storytellers in Western Europe also frequently conflated satyrs with wild men. Both satyrs and wild men were conceived as part human and part animal and both were believed to possess unrestrained sexual appetites. Stories of wild men during the Middle Ages often had an erotic tone and were primarily told orally by peasants, since the clergy officially disapproved of them. In this form, satyrs are sometimes described and represented in medieval bestiaries, where a satyr is often shown dressed in an animal skin, carrying a club and a serpent. In the Aberdeen Bestiary, the Ashmole Bestiary, and MS Harley 3244, a satyr is shown as a nude man holding a wand resembling a jester's club and leaning back, crossing his legs. Satyrs are sometimes juxtaposed with apes, which are characterized as "physically disgusting and akin to the Devil". In other cases, satyrs are usually shown nude, with enlarged phalli to emphasize their sexual nature. In the Second-Family Bestiary, the name "satyr" is used as the name of a species of ape, which is described as having a "very agreeable face, restless, however, in its twitching movements." Renaissance During the Renaissance, satyrs and fauns began to reappear in works of European art. During the Renaissance, no distinction was made between satyrs and fauns and both were usually given human and goat-like features in whatever proportion the artist deemed appropriate. A goat-legged satyr appears at the base of Michelangelo's statue Bacchus (1497). Renaissance satyrs still sometimes appear in scenes of drunken revelry like those from antiquity, but they also sometimes appear in family scenes, alongside female and infant or child satyrs. This trend towards more familial, domestic satyrs may have resulted from conflation with wild men, who, especially in Renaissance depictions from Germany, were often portrayed as living relatively peaceful lives with their families in the wilderness. The most famous representation of a domestic satyr is Albrecht Dürer's 1505 engraving The Satyr's Family, which has been widely reproduced and imitated. This popular portrayal of satyrs and wild men may have also helped give