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 Her Companions her tears", according to Wheelock. (Christ also kneeled before his disciples and washed their feet at the Last Supper.) Selena Cant believes Vermeer's contemporaries would have immediately drawn the association of foot-washing with the idea of Jesus washing feet. "[T]his maidservant steals the scene", according to Cant, who points out the "unusual brown-bronze bodice" worn by the servant. According to Wheelock, the painting "has [...] no obvious literary source". As a depiction of Diana, the painting is notable in part for what it does not depict—neither Actaeon catching sight of Diana and her nymphs bathing nor the actual moment when