The myth of Diana and Actaeon can be found in Ovid’s Metamorphoses. The tale recounts the unfortunate fate of a young hunter named Actaeon, who was a grandson of Cadmus, and his encounter with chaste Artemis, known to the Romans as Diana, goddess of the hunt. The latter is nude and enjoying a bath in a spring with help from her escort of nymphs when the mortal man unwittingly stumbles upon the scene. The nymphs scream in surprise and attempt to cover Diana, who, in a fit of embarrassed fury, splashes water upon Actaeon. He is transformed into a deer with a dappled hide and long antlers, robbed of his ability to speak, and thereafter promptly flees in fear. It is not long, however, before his own hounds track him down and kill him, failing to recognize their master. Art The story became very popular in the Renaissance. The most common scene shown was Actaeon surprising Diana, but his transformation and his death were also sometimes shown. Titian painted the first two scenes in two of his greatest late poesies for Philip II of Spain, in Diana and Actaeon and The Death of Actaeon. The latter actually shows 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. In Matthew Barney's 2019 movie Redoubt set in the Sawtooth Mountains of the U.S. state of Idaho and an accompanying traveling art exhibition originating at the Yale University Art Gallery the myth is retold by the visual artist and filmmaker via avenues of his own design. Diane and Actaeon's myth has also deeply inspired the French film/theatre director, writer and visual artist Jean Michel Bruyère and his collective LFKs, who produced a series of 600 shorts and "medium" films, an interactive 360° installation, Si poteris narrare licet ("if you are able to speak of it, then you may do so") in 2002, a 3D 360° installation La Dispersion du Fils (from 2008 to 2016) and an outdoor performance, Une Brutalité pastorale (2000) all about the myth of Diana and Actaeon. Ballet 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