We are searching data for your request:

Forums and discussions:
Manuals and reference books:
Data from registers:
Wait the end of the search in all databases.
Upon completion, a link will appear to access the found materials.

Leda is a figure from Greek mythology who was famously seduced by Zeus when he took the form of a swan. She was a queen of Sparta and mother of beautiful Helen who sparked the Trojan War, and the Dioscuri twins. Leda and the swan was a popular subject for both Greek and Roman artists and is frequently seen in ancient sculpture, pottery, and mosaics.


Leda was the daughter of King Thestius of Pleuron in Aetolia. She was the wife of Tyndareus, the king of Sparta, and together they had various children including Helen, who would fall in love with Paris and cause the Trojan War, the Dioscuri hero twins of Castor and Pollux (aka Polydeuces), Clytemnestra (future wife of King Agamemnon), Timandra, and Phylonoe.

Leda & the Swan

Leda was famously seduced by Zeus when the king of the Olympian gods took the form of a swan. The result of this union, which occurred on the banks of the River Eurotas, was an egg from which the beautiful Helen and Polydeuces were born. The second twin son, Castor, was born to Leda's husband Tyndareus on the very same night the egg hatched. This explains why one of the twins was considered mortal and the other immortal, but some writers, notably Homer and Pindar, have the twins daily share the boon of immortality. As a climax to the story, Leda is granted immortality by Zeus and transformed into the goddess Nemesis. However, in Homer's Odyssey, the hero Odysseus sees Leda on his tour through Hades.

Leda was seduced by Zeus when the god took the form of a swan. The result of this union was an egg from which the beautiful Helen was born.

The Nemesis Version

In an alternative version of the myth, it is the goddess Nemesis who is pursued by Zeus (although an early version has the roles reversed). The goddess transforms herself into a fish and swims away in order to escape his attentions, but the amorous Zeus is not deterred and changes into a beaver to better pursue his prey. Nemesis next changes into various other creatures including a hare, a bee, and then a mouse, but Zeus merely becomes a swifter or more predatory creature each time until, finally as a swan, Zeus captures Nemesis while she is a goose. In some versions, an extra twist of deceit is added when Zeus appeals to Leda's pity by pretending he is being pursued by an eagle and then ravishes her.

After the pair has lain together, Nemesis flees to Sparta where she lays a purple-blue egg in the marshes outside the city. Leda finds the egg one day (or a shepherd does and gives it to his queen), and she takes it back to the palace where she hides it in a chest. From the hatched egg Helen is born, as in the other version of the myth, and Leda raises the girl as her own daughter. A third version has Hermes throw the egg between Leda's thighs while she is on a stool, presumably while giving birth to Polydeuces.

Leda in Art

Leda embracing a swan or holding an egg was a scene frequently represented in Greek art. A celebrated marble statue of Leda holding a swan is now on display in the Capitoline Museums of Rome. Dating to the Roman period, it is thought to be a copy of a Greek original sculpted c. 400 BCE and the earliest known representation of the swan myth with Leda. Zeus with Leda and an egg sitting on a throne (but no swan in sight) is seen on Attic red-figure pottery of the mid- to late-5th century BCE.

Love History?

Sign up for our free weekly email newsletter!

A c. 425 BCE bas-relief from the Temple of Nemesis at Rhamnus depicts an adult Helen being brought from Nemesis to Leda. It is currently on display in the National Museum of Stockholm. Helen emerging from an egg appears on red-figure pottery from Apulia and Campania during the 4th century BCE. Finally, Leda being pursued by a swan is depicted in the central panel (emblemata) of a Roman period mosaic from the sanctuary of Aphrodite at Palaipafos on Cyprus and is typical of the more erotic depictions of the swan myth from the Late Classical period onwards.

Author Biography

William Butler Yeats was born on June 13, 1865, in the Dublin suburb of Sandymount. His father was a lawyer and a well-known portrait painter, and his mother was the daughter of a shipping merchant. Yeats began writing verse in his teens shortly after entering the Metropolitan School of Art in Dublin. There he became interested in the occult, which remained a lifelong passion. In 1887, Yeats moved to London, where he became acquainted with some of the leading literary figures of his day. He also joined the Theosophical Society of Madame Blavatsky, where he furthered his interest in occult practices and magic.

In 1889, Yeats’s first volume of poems, The Wanderings of Oisin, appeared to critical acclaim. The same year he met and fell in love with Maud Gonne, a passionate activist deeply committed to Irish nationalism. Under Gonne’s influence, Yeats became increasingly involved in Ireland’s political struggle for independence from Britain. Yeats was also active in societies that attempted an Irish literary revival. Together with Lady Isabella Augusta Gregory, whom he met in 1896, he founded the Irish Theatre, which was to become the Abbey Theatre, and he served as its chief playwright for many years.

In part because of the hatred and the bigotry of the Nationalist movement, Yeats became increasingly disappointed by the Irish cause, and his poetry is full of protests against it. He was further disillusioned with Irish politics when, in 1903, Maude Gonne, having turned down his own marriage proposals, married a Nationalist activist. Yeats’s attitude is reflected in the works written during his middle-age years in which he writes unsparingly of Ireland as a “blind, bitter land.” In 1916, Maude Gonne’s husband, together with other Irish freedom fighters, was executed in the Dublin Easter Rising, prompting Yeats to write “Easter 1916,” in which he eulogizes the dead heroes but offers also an honest appraisal of their activities. Maud Gonne refused yet another proposal from Yeats, and in 1917 he married Georgie Hyde-Lees, who shared his interest in mysticism and spiritualism.

By this time, Yeats was a well-known figure. He was appointed to the Irish Senate in 1922, the same year that the Irish Civil War broke out. The

following year, Yeats was awarded the Nobel Prize for literature. Although he received the prize chiefly for his dramatic works, his significance today rests on his achievement as a poet. Yeats’s most highly acclaimed work was actually written after he received the Nobel Prize. He finished a first version of “Leda and the Swan” (which was titled “Annunciation” originally) the same year he won the prize and had it published in 1924 in a new, radical magazine called To-morrow. Yeats said he was inspired to write the poem after contemplating on Ireland’s place in world politics. He revised the poem six times, and it appeared in its final form in The Tower in 1928. That volume, together with The Winding Stair and Other Poems (1933) and Last Poems and Plays (1940) confirmed Yeats’s reputations as one of the most influential twentieth-century poets writing in English. When he died on January 28, 1939, in Roquebrune, France, he was considered indisputably to be the greatest poet that Ireland had every produced.

[This text has been suppressed due to author restrictions]

[This text has been suppressed due to author restrictions]

Kat's Project for Leda

Leda and Kat wearing matching necklaces.

Leda left YouTube, and the internet, due to the abuse she received online. Following Leda's final video (re-upload) and the deletion of her sites, her friend Kat launched a project to help cheer her up. The goal was to let Leda know that her fans appreciated all she had done through YouTube and that there were more positives to be gained from the experience than negatives. Kat created this video and several others on the same account, explaining that she wished to create a binder full of positive messages and fan art, which she would then present to Leda. She created a deadline of the 12th of September for these messages to be sent in and included in the project. Many people participated as the project offered closure to her fans since her accounts were deleted. However, Leda was not happy with Kat for doing this, and stop talking to her for a while when this happened.

“Leda and the Swan” by Jerzy Hulewicz

  • Title: Leda and the Swan
  • Artist: Jerzy Hulewicz
  • Created: 1928
  • Media: Oil on canvas
  • Dimensions: 90 × 100 cm (35.4 × 39.3 ″)
  • Type: Mythological Art
  • Museum: National Museum, Warsaw

“Leda and the Swan” after Michelangelo – National Gallery, London

Leda - History

Roy Pike in the brand new Leda LT22 at Snetterton on 31 August 1970. Copyright John Ballantyne 2009. Used with permission.

In August 1970, following the abject disaster of the LT20 design, Len Terry produced a modified LT22 design. This replaced the LT20's rear suspension with more normal lower wishbones, top links and radius rods. But it still didn't work.

Apart from the more conventional rear suspension, the LT22, was the same as the LT20, and its awful handling merely proved that there was more to the LT20/22's failure than the experiment with its suspension. Roy Pike was an excellent development driver, and the car was also tested by Graham McRae and Frank Gardner, but nothing would improve it and it was quickly abandoned. Terry designed a smaller, slimmer and lighter LT25 for 1971 but this continued to dent Terry's previously excellent reputation as a designer.

Please email Allen at [email protected] if you can add anything.

John Lambert in the variously-described Leda at Harewood in August 1974. Copyright Steve Wilkinson 2006. Used with permission.

Revised car built in time for Snetterton 31 Aug 1970. Qualified fourth and raced by Pike to sixth at Snetterton, and sixth again at Hockenheim two weeks later, but crashed in practice for Oulton Park in 19 September. Rebuilt but not ready in time for the final race of season. Subsequently sold to David Lazenby and renamed "Hawke DL7" as a planned F5000 project for 1971. The project was abandoned and the Leda "sold to a sprinter".

To Allan Mountain 1972 and fitted with the 289ci Ford engine from Mountain's old Cooper-Cobra T66. Raced by John Lambert (York, UK): first raced in Croft libre 19 Mar 1972 (retired), took fourth in a Top 10 run-off at the Wharfedale Trophy hill climb at Castle Howard in late March 1972 retired with "death rattle from the old Ford engine" at Croft on Easter Monday 3 Apr 1972 Ford engine rebuilt with ex-Bob Miller bits and took third in class at Harewood May 1972 but dropped a valve in practice at Croft at the end of that month. Later fitted with an Alan Smith/Bartz Chevrolet V8 engine for sprints and libre racing in late 1972 and in 1973, also winning BTD at the new Norfolk Park (Sheffield) hill climb that season. The car was then described as a "LT27" at Scammonden in September 1974 second in class at Cadwell Park hill climb in August 1975 and again as a Leda "LT27" in hillclimbs in 1976. Subsequent history unknown.

Driven by: Roy Pike. First race: Snetterton (UK R17), 31 Aug 1970. Total of 2 recorded races.

In a letter to Phil Henny dated 29 Dec 1971, Len Terry said that Malaya Garage still had the original LT22 ('that was going to be the Hawke') plus two complete LT22 tubs. The existence of these two extra tubs do confuse matters as Allan Mountain's car, when it first appeared, was thought to be a car only previously used for testing. Maybe the car rebuilt after Oulton Park was regarded as a new car, in which case it would fit this description. The fate of the two tubs is unknown.

On Whit Sunday 28 May 1972, the Cuff brothers (Frome, Somerset) drove a Leda F5000 at the Tregrehan hill climb, Stephen winning with Chris just 0.3s behind him. The report implies Stephen had driven the car before. Two "new" 1971 Ledas were then advertised by Stephen Cuff (Nunney, Somerset) in October 1972. Note that Lambert's LT22 was already racing before the Cuffs' car appeared and the surviving LT25 was still running at that time in F5000. Raced by Stephen Cuff at Wiscombe Park 13 May 1973. In March 1973, while Lambert and the Cuff brothers were still running their respective Ledas, a new, unraced, and 90% completed Leda LT22 was advertised from Wickford, Essex, a long way from either Lambert or the Cuffs. This might be the Leda that was "cannibalised (corners, drivetrain, etc) to make John Turner's fabulous Skoda-Chevrolet Super Saloon", which debuted at Mallory Park in April 1974 (source: Marcus Pye). Turner was from Stalbridge in Dorset.

In October 1980, Keith Cox (Halesowen, West Midlands) advertised his LT25, noting that he also had a monocoque and suspension parts for a LT22. In January 1984, Jonathon Bradburn had the LT25 and a 'kit' of a LT22. He sold all this to Lawrence Sufryn who kept the LT25 but sold the LT22 'kit' via Alan Baillie to dealer Roger Hurst in 1987. It then went from Hurst to Graham Williams (Stratford-on-Avon, UK) 1989, then to Barry and Richard Line, and then to Graham Galliers (Shrewsbury, UK) in Sepember 1999. Galliers still had it in March 2000 but nothing more is known of it after this. Galliers died in October 2013.

The J. Paul Getty Museum

This image is available for download, without charge, under the Getty's Open Content Program.

Statue of Leda and the Swan

Unknown 132.1 × 83.5 × 52.1 cm (52 × 32 7/8 × 20 1/2 in.) 70.AA.110

Open Content images tend to be large in file-size. To avoid potential data charges from your carrier, we recommend making sure your device is connected to a Wi-Fi network before downloading.

Not currently on view

Object Details


Statue of Leda and the Swan


Palatine Hill, Villa Magnani, Rome, Italy (Place Found)

Object Number:

132.1 × 83.5 × 52.1 cm (52 × 32 7/8 × 20 1/2 in.)

Credit Line:
Alternate Title:

Leda and the Swan (Display Title)

Object Type:
Object Description

Greek mythology tells the story of Leda, a queen of Sparta who caught the eye of Zeus, king of the gods. Zeus frequently had affairs with mortals, often disguising himself as an animal to overpower or deceive his victims. In seducing Leda, Zeus took the form of a swan, and here he is drawn into her lap while she holds up a sheltering cloak.

Found in 1775 in Rome, this statue is a first-century Roman copy of an earlier Greek statue from the 300s B.C. attributed to Timotheos. More than two dozen copies of this statue survive, attesting to the theme's popularity among the Romans. The contrast of the clinging, transparent drapery on Leda's torso, especially over her left breast, and the heavy folds of cloth bunched between her legs characterizes Timotheos's style. The statue both conceals and reveals the female body: a tension often found in sculpture of the 300s B.C., before actual female nudity became acceptable.

After its discovery, the statue was extensively restored and reworked. Both arms, most of the outstretched cloak, the swan's head, and the folds of cloth between Leda's legs are eighteenth-century restorations. The head, though ancient, is not original to this work, but comes from a statue of Venus.


Found: Palatine Hill, Villa Magnani, Rome, Italy (first recorded in Dallaway 1800)

Abbot Paul Rancurel (Villa Magnani, Palatine Hill, Rome)

By 1776 - 1779

Gavin Hamilton, British, 1723 - 1798 (Rome, Italy), sold to William Petty-Fitzmaurice, 1779.

1779 - 1805

William Petty-Fitzmaurice, 2nd earl of Shelburne, 1st marquess of Lansdowne, 1737 - 1805 (Lansdowne House, London, England), acquired from his estate by his son, John Henry Petty-Fitzmaurice, 1805.

1805 - 1809

John Henry Petty-Fitzmaurice, 1765 - 1809 (Lansdowne House, London, England), by inheritance to his wife, Mary Arabella Petty, 1809.

1809 - 1810

Mary Arabella Petty, marchioness of Lansdowne, died 1833 (Lansdowne House, London, England), sold to her brother-in-law, Henry Petty-Fitzmaurice, 1810.

1810 - 1863

Henry Petty-Fitzmaurice, 3rd marquess of Lansdowne, 1780 - 1863 (Lansdowne House, London, England), by inheritance to his heirs, 1863.

1863 - 1866
1866 - 1927
1927 - 1936

Henry William Edmund Petty-Fitzmaurice, 6th marquess of Lansdowne, British, 1872 - 1936 (Bowood House, Wiltshire, England) [offered for sale, The celebrated collection of ancient marbles: Property of the most honourable the Marquess of Lansdowne, Christie's, March 5, 1930, lot 36, bought back into the Lansdowne Collection and transferred to Bowood House, Wiltshire, England.], by inheritance to his heirs, 1936.

1936 - 1944

Charles Hope Petty-Fitzmaurice, 7th Marquess of Lansdowne, British, 1917 - 1944 (Bowood House, Wiltshire, England), by inheritance to his heirs, 1944.

1944 - 1951

George John Charles Mercer Nairne Petty-Fitzmaurice, 8th marquess of Lansdowne, 1912 - 1999 (Bowood House, Wiltshire, England), sold to J. Paul Getty through Spink & Son, Ltd., 1951.

1951 - 1970

J. Paul Getty, American, 1892 - 1976 (Sutton Place, Surrey, England), donated to the J. Paul Getty Museum, 1970.

Beyond Beauty: Antiquities as Evidence (December 16, 1997 to January 17, 1999)
Ancient Art from the Permanent Collection (March 16, 1999 to May 23, 2004)

Dallaway, James. Anecdotes of the Arts in England (London: Printed for T. Cadell and W. Davies, 1800), p. 340.

Tresham, Henry. A Catalogue of the Lansdowne Marbles[. ] (London: William Bulmer and Co., 1810), p. 6, no. 18.

Fea, Carlo. Osservazioni sui monumenti delle belle arti che rappresentano Leda (Rome: Pagliarini, 1821), 10.

Müller, Karl Otfried. "Nachrichten über einige Antiken-Sammlungen in England: (Aus den Tagebüchern des Prof. Ottf. Müller in Göttingen)." Amalthea oder Museum der Kunstmythologie und bildlichen Alterthumskunde 3 (Leipzig, G. J. Göschen, 1825), pp. 44-5.

Clarac, Cte. Frédéric de. Musée de sculpture antique et moderne, ou description historique et graphique du Louvre et de toutes ses parties (Paris: Imprimerie Nationale, 1841-53), vol. 3, p. 715a pl. 410B.

Michaelis, Adolf. "Die Sammlung Lansdowne." Archäologischer Anzeiger 20 (1862), p. 338.

Overbeck, J. Griechische Kunstmythologie II (Leipzig: Engelmann, 1871), p. 491ff.

Michaelis, Adolf. "Die Privatsammlungen antiker Bildwerke in England." Archaeologische Zeitung 32 (1875), pp. 1-70, p. 38, no. 47.

Michaelis, Adolf Theodor Friedrich. Ancient Marbles in Great Britain (Cambridge: University Press, 1882), p. 461, no. 78.

Smith, A. H., ed. A Catalogue of the Ancient Marbles at Lansdowne House, Based Upon the Work of Adolf Michaelis. With an Appendix Containing Original Documents Relating to the Collection. (London: n.p., 1889), p. 37, no. 78.

Arndt, Paul, and Walther Amelung. Photographische Einzelaufnahmen antiker Sculpturen (Munich: Verlagsanstalt für Kunst und Wissenschaft, 1893-1940), no. 4915.

Reinach, Salomon. Repertoire de la statuaire grecque et romaine. 6 vols. (Paris: E. Leroux, 1897-1930), vol. 1 (1897), p. 193.

Christie's, London. March 5, 1930, lot 36.

Picard, Charles. Manuel d'archeologie grecque: La sculpture (Paris: A. et J. Picard, 1935-63), vol. 3, part 1, pp. 365-71 fig. 143.

Getty, J. Paul, and Ethel Le Vane. Collector's Choice: The Chronicle of an Artistic Odyssey through Europe (London: W. H. Allen, 1955), pp. 132-34.

Getty, J. Paul. The Joys of Collecting (New York: Hawthorn Books, Inc., 1965), p. 18.

Schloerb, Barbara. Timotheos: Jahrbuch des Deutschen Archaeologischen Instituts. Supplement 22 (1965), p. 52, no. 15, as Lansdowne.

Stothart, Herbert. A Handbook of the Sculpture in the J. Paul Getty Museum. (Malibu: J. Paul Getty Museum, 1965), p. 24, no. I-64.

Vermeule, Cornelius, and Norman Neuerberg. Catalogue of the Ancient Art in the J. Paul Getty Museum (Malibu: J. Paul Getty Museum, 1973), p. 4, no. 4, ill.

Rieche, A., "Die Kopien der Leda des Timotheos." Antike Plastik 17 (1978), pp. 21-56, pp. 26-27, cat. no. 15 pp. 35-36 pls. 16, 30c, 31f.

Kahil, Lily, and Noelle Icard-Gianolio. "Leda." In Lexicon Iconographicum Mythologiae Classicae VI (1992), pp. 231-46, p. 239, no. 73b pl. 119.

Kockel, Valentin. Porträtreliefs stadtrömischer Grabbauten: Ein Beitrag zur Geschichte und zum Verständnis des spätrepublikanisch-frühkaiserzeitlichen Privatporträts (Mainz am Rhein: P. von Zabern, 1993), p. 37 n. 298.

The J. Paul Getty Museum Handbook of the Antiquities Collection (Los Angeles: 2002), pp. 152-53.

Grossman, Janet Burnett. Looking at Greek and Roman Sculpture in Stone (Los Angeles: J. Paul Getty Museum, 2003), pp. 16, ill.

Stewart, Andrew. "Timotheos." In Künstlerlexikon der Antike, vol. 2. (Munich and Leipzig: K. G. Saur, 2004), p. 478.

Sacks, David. Encyclopedia of the Ancient Greek World (New York: Facts on File, 2005), p. 189, ill.

Risser, Erik, and Jens Daehner. "A Pouring Satyr from Castel Gandolfo: History and Conservation." In The Object in Context: Crossing Conservation Boundaries. David Saunders, Joyce H. Townsend, and Sally Woodcock, eds. (London: IIC, 2006), pp. 190-96, pp. 190-96, fig. 2.

Kyle, Jack. Festival of Swans (Mississippi: Quil Ridge Press, 2007), p. 86, ill.

Pafumi, Stefania. "Per la ricostruzione degli arredi scultorei del Palazzo dei Cesari sul Palatino: Scavi e rinvenimenti dell'abate francese Paul Rancurel (1774-1777)." BABesch 82 (2007), pp. 207-25, pp. 213-14, figs.11-12.

Rieche, Anita. "Zur Leda des Timotheos." Antike Plastik 30 (2008), pp. 57-58, fig. 3, pls. 24-28.

Rieche, Anita. "Verweigerte Rezeption. Sur Wirkungsgeschichte der Leda des Timotheos." Das Originale der Kopie, Band 17 (2010), p.118, fig.2, p. 118.

The J. Paul Getty Museum Handbook of the Antiquities Collection. Rev. ed. (Los Angeles: J. Paul Getty Museum, 2010), p. 151.

Bignamini, Ilaria and Hornsby, Clare. Digging and Dealing in Eighteenth-Century Rome, 2 vols. (New Haven and London: Yale University Press, 2010), Vol. 1, pp. 141, 322 vol. 2, p. 91, no. 165, p. 103, no. 190, p. 120, no. 219.

Scott, David A. Art: authenticity, restoration, forgery. (Los Angeles: Cotsen Institute of Archaeology Press, 2016), pp. 200-202, 205-6, figs.5.14-.15.

Angelicoussis, Elizabeth. Reconstructing the Lansdowne Collection of Classical Marbles. 2 vols. (Munich: Hirmer Verlag GmbH, 2017), Vol. 1, pp. 9, 47-48, 67 (illus.), 76, 103, 110, 112 vol. 2, pp. 84-91, no. 9, figs. 9.1-9.9.



[1.1] THESTIOS & EURYTHEMIS (Apollodorus 1.7.10)
[1.2] THESTIOS & LAOPHONTE (Pherecydes Frag, Scholiast on Apollonius Rhodius 1.146)
[1.3] THESTIOS (Asius of Samos Frag, Theocritus Idylls 22.1, Pausanias 3.13.8, Clement Recognitions 10.22, Hyginus Fabulae 78 & 155)
[2.1] SISYPHOS & PANTEIDYIA (Eumelus Corinthiaca Frag, Scholiast on Apollonius Rhodius 1.146)
[3.1] GLAUKOS (Alcman Frag 4, Scholiast on Apollonius Rhodius 1.146)


[1.1] KASTOR & POLYDEUKES (by Zeus*) (Homer Odyssey 11.298, Homeric Hymns 17 & 33, Terpander Frag 4, Apollodorus 1.8.2, Apollonius Rhodius 1.146, Theocritus Idylls 22.1 & 214, Pausanias 3.16.1, Hyginus Fabulae 14 & 155, Ovid Fasti 1.705)
[1.3] KASTOR, POLYDEUKES, HELENE (by Zeus) (Homer Iliad 3.237 & 426, Clement Recognitions 10.22, Hyginus Fabulae 224, Fulgentius 2.13)
[1.3] KASTOR (by Tyndareus), KASTOR (by Zeus) (Pindar Nemean Ode 10.79)
[1.4] POLYDEUKES, HELENE (by Zeus), KASTOR, KLYTAIMNESTRA (by Tyndareus) (Apollodorus 3.10.7, Hyginus Fabulae 77, Valerius Flaccus 1.426)
[1.5] HELENE (Diodorus Siculus 4.63.2)
[1.6] HELENE (by Zeus) (Lucian Judgement of Paris, Hyginus Fabulae 240 & Astronomica 1.8, Ovid Heroides 16.1 & 17.43)
[1.7] HELENE (by Tyndareus) (Dictys Cretensis 1.9)
[1.8] HELENE, KLYTAIMNESTRA (by Tyndareus) (Hyginus Fabulae 77)
[1.9] KLYTAIMNESTRA (Aeschylus Agamemnon 914, Seneca Agamemnon 125)
[1.10] TIMANDRA, KLYTAIMNESTRA, PHYLONOE (by Tyndareus) (Apollodorus 3.10.6)

* Kastor and Polydeukes were called sons of Zeus but also, in the majority of these passages, Tyndaridai (i.e. sons of Tyndareus).

Access and Fees

After the original pull-off parking area was posted as no parking, volunteers created a short access trail that connects to a paved parking area to the northeast of the crag.

From downtown Chattanooga, go north on U.S. 27 toward Dayton. Take the Chickamauga Dam exit going left from the exit travel along Dayton Boulevard and then take a left on Montlake Road soon after crossing Chickamagua Creek. Keep following this winding road until the parking area can be found at the top of a sharp hairpin across from Terrace Falls Drive.

From the parking area, follow the access trail west passing beneath some power lines (see beta photo). The trail takes approximately 15-20 minutes to travel.