Actaeon reconstruction opposes a too-pat consensus that has an archaic Actaeon aspiring to Semele, a classical Actaeon boasting of his hunting prowess and a Hellenistic Actaeon glimpsing Artemis' bath. Lacy identifies the site of Actaeon's transgression as a spring sacred to Artemis at Plataea where Actaeon was a " hero archegetes" ("hero-founder") The righteous hunter, the companion of Artemis, seeing her bathing naked in the spring, was moved to try to make himself her consort, as Diodorus Siculus noted, and was punished, in part for transgressing the hunter's "ritually enforced deference to Artemis" (Lacy 1990:42). Notes: In the second century AD,
Bathing and nymphs of Greek mythology were depicted bathing in allegorical paintings by artists such as Titian and François Boucher, both of whom painted the goddess Diana bathing. Artists continued to paint Biblical characters bathing, and also sometimes depicted contemporary women bathing in the river, an example being Rembrandt's "Woman Bathing". In the 19th century, the use of the bathing scene reached its high point in classicism, realism and impressionism. Oriental themes and harem and turkish baths scenes became popular. These scenes were based on the artists' imagination, because access by men to Islamic women was not generally permitted. In the