Some works depict female satyrs with their children; others describe the child satyrs as playing an active role in the events, including one instance of a painting by Jean Raoux (1677-1735).

This change is seen in several tapestry fragments depicting, with mechanical virtuosity, a familiar labor of Heracles and several horned satyrs at a Dionysiac festival.

It is set by Windsor Castle, and depicts satyrs and fairies who guard the castle and its inhabitants during ceremonial occasions.

It begins early, with a red-chalk drawing by Claude Gillot depicting satyrs in a woodland struggling to pull a cart from the mud while their passenger, a female faun, looks on in slump-shouldered pique.

During the last few decades there has been a revival of interest in the collection and technical exploration of small-scale bronzes from the Renaissance, depicting gods, goddesses, religious figures, nymphs, fauns, satyrs, animals and simple folk.

There are sumptuous gold necklaces dripping with golden rosettes, large gold drinking vessels in the shape of galloping horses, silver jugs with friezes depicting wild satyrs pursuing maenads, and a splendid Pegasus wall plaque.

One standard theme depicts satyrs, which symbolize ribaldry, with rhyta and wineskins.

Attic painted vases depict mature satyrs as being strongly built with flat noses, large pointed ears, long curly hair, and full beards, with wreaths of vine or ivy circling their balding heads.

Some classical works depict young satyrs being tended to by older, sober satyrs, while there are also some representations of child satyrs taking part in Bacchanalian / Dionysian rituals (including drinking alcohol, playing musical instruments, and dancing).