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,
Diana and Actaeon the transformation still in progress; like many depictions the head is shown transformed, but most of the body remains human. Less often Actaeon is fully transformed when caught by his dogs. The story was popular on Italian Renaissance maiolica. The origins of the "Diana and Actaeon Pas de Deux," a "divertissement" created for a 1935 version of "La Esmeralda," lie in two earlier ballet productions. The first of these was "Tsar Kandavl" (aka "Le Roi Candaule"), premiered in 1868 by the Imperial Russian Ballet in Saint Petersburg. Based on a story told by Herodotus in his "Histories," this four-act ballet,