Pan teaching Daphnis to play the panpipes; Roman copy of a Greek original from the 3rd-2nd centuries BCE by Heliodoros.
“The worship of Pan never has died out,” said Mortimer. “Other newer gods have drawn aside his votaries from time to time, but he is the Nature-God to whom all must come back at last. He has been called the Father of all the Gods, but most of his children have been stillborn.”
So says a character in The Music on the Hill, one of the slightly more serious stories from Saki’s The Chronicles of Clovis (1911). Saki’s Pan is a youthful spirit closer to a faun than the goatish creature of legend. But being a gay writer whose tales regularly feature naked young men (surprisingly so, given the time they were written) I’m sure Saki would have appreciated the Roman statue above. There’s nothing chaste about this Pan with his “token erect of thorny thigh” as Aleister Crowley put it in his lascivious 1929 Hymn to Pan, a poem which caused a scandal when read aloud at his funeral some years later. The Roman statue was for a long while an exhibit in the restricted collection of the Naples National Archaeological Museum where all the more scurrilous and priapic artefacts unearthed at Pompeii were kept safely away from women, children and the great unwashed. These are now on public display and include the notorious statue of a goat being penetrated by a satyr.
