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On the East Pediment of the Parthenon on the Acropolis of Athens, completed in 432 BC, the Athenians saw a new image of Dionysos as a young man in relaxed attitude. In the following centuries, this new image was the main manifestation of this god in Greek art. Our hypothesis is that in Kratinos’ comedy Dionysalexandros, in Aristophanes’ Frogs, as well as in Euripides’ tragedy Bacchae the Dionysos on stage had to fit to his iconography. This paper is an attempt to reconstruct Dionysos’ figure as presented to the Athenians in the theatre and thus to better understand the message of the three plays.