In classical art Actaeon is normally shown as fully human, even as his hounds are killing him (sometimes he has small horns), but in Renaissance art he is often given a deer's head with antlers even in the scene with Diana, and by the time he is killed he has at the least this head, and has often completely transformed into the shape of a deer. Aeschylus and other tragic poets made use of the story, which was a favourite subject in ancient works of art. There is a well-known small marble group in the British Museum illustrative of the story, in gallery 83/84. Two paintings by the 16th century painter Titian (Death of Actaeon and Diana and Actaeon).Actéon, an operatic pastorale by Marc-Antoine Charpentier. Percy Bysshe Shelley suggests a parallel between his alter-ego and Actaeon in his elegy for John Keats, Adonais, stanza 31 ('[he] had gazed on Nature's naked loveliness/ Actaeon-like, and now he fled astray/ .../ And his own thoughts, along that rugged way,/ Pursued, like raging hounds, their father and their prey.') The aria "Oft she visits this lone mountain" from Purcell's Dido and Aeneas, first performed in 1689 or earlier. Giordano Bruno, "Gli Eroici Furori". In canto V of Giambattista Marino's poem "Adone" the protagonist goes to theater to see a tragedy representing the myth of Actaeon. This episode foreshadows the protagonist's violent death at the end of the book. In Act I Scene 2 of Jacques Offenbach's Orpheus in the Underworld, Actaeon is Diana (Artemis)'s lover, and it is Jupiter who turns him into a stag, which puts Diana off hunting. His story is relinquished at this point, in favour of the other plots. Ted Hughes wrote a version of the story in his Tales from Ovid. In Alexandre Dumas' novel La Reine Margot, Charles IX of France, fond of the hunt, has a much-loved and ill-fated hunting dog named Actaeon. Diane and Actéon Pas de Deux from Marius Petipa's ballet, Le Roi Candaule, to the music by Riccardo Drigo and Cesare Pugni, later incorporated into the second act of La Esmeralda (ballet). In Twelfth Night by William Shakespeare, Orsino compares his unrequited love for Olivia to the fate of Actaeon. "O, when mine eyes did see Olivia first, Methought she purged the air of pestilence, That instant was I turned into a hart, and my desires like fell and cruel hounds e'er since