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." 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 rise to the later European concept of the noble savage. Satyrs occupied a paradoxical, liminal space in Renaissance art, not only because they were part human and part beast, but also because they were both antique and natural. They were of classical origin, but had an iconographical canon of their own very different from the standard representations of gods and heroes. They could be used to embody what Stephen J. Campbell calls a "monstrous double" of the category in which human beings often placed themselves.