she is a deity. However, the Satyrs prove to be simple-minded creatures because they begin to worship the donkey she was riding. In the seventeenth century, satyrs became identified with great apes. In 1699, the English anatomist Edward Tyson (1651–1708) published an account of his dissection of a creature which scholars have now identified as chimpanzee. In this account, Tyson argued that stories of satyrs, wild men, and other hybrid mythological creatures had all originated from the misidentification of apes or monkeys. The French materialist philosopher Julien Offray de La Mettrie (1709–1751) included a section titled "On savage men, called Satyrs" in his Oeuvres philosophiques, in which he describes great apes, identifying them with both satyrs and wild men. Many early accounts of the orangutan describe the males as being sexually aggressive towards human women and towards females of its own species, much like classical Greek satyrs. The first scientific name given to this ape was Simia satyrus. Relationships between satyrs and nymphs of this period are often portrayed as consensual. This trend is exemplified by the 1623 painting Satyr and Nymph by Gerard van Honthorst, which depicts a satisfied satyr and nymph lasciviously fondling each other after engaging in obviously consensual sex. Both are smiling and the nymph is showing her teeth, a sign commonly used by painters of the era to signify that the woman in question is of loose morals. The satyr's tongue is visible as the nymph playfully tugs on his goat beard and he strokes her chin. Even during this period, however, depictions of satyrs uncovering sleeping nymphs are still common, indicating that their traditional associations with rape and sexual violence had not been forgotten. Nineteenth century During the nineteenth century, satyrs and nymphs came to often function as a means of representing sexuality without offending Victorian moral sensibilities. In the novel The Marble Faun (1860) by the American author Nathaniel Hawthorne, the Italian count Donatello is described as bearing a remarkable resemblance to one of Praxiteles's marble satyr statues. Like the satyrs of Greek legend, Donatello has a carefree nature. His association with satyrs is further cemented by his intense sexual attraction to the American woman Miriam. Satyrs and nymphs provided a classical pretext which allowed sexual depictions of them to be seen as objects of high art rather than mere pornography. The French emperor Napoleon III awarded the Academic painter Alexandre Cabanel the