This chapter focuses on a cross-channel transvestitio of the fabula of Diana. It discusses glosses from an archaeological and visual perspective evolved in Nonsuch Palace and adapted to suit Elizabeth of Shrewsbury's house, Hardwick Hall. The chapter draws on the specific repertory of images linked to the encounter of Diana and Actaeon, the myth used in Nonsuch and Hardwick Hall in an aesthetic programme that reflects the overarching ideology of Elizabethan culture. At best, the cultural transmission of the French Ovidian iconography is filtered through Netherlandish print, as it is the case for the 'Europa and the Bull' cushion. Oakley-Brown's approach considers the example of the Hardwick Hall embroideries in a ground-breaking manner as regards female intervention in Ovidian translations and reappropriation. Centering her study on the Actaeon cushion she suggests that 'given her biographical background, George Talbot's weave may offer a political allegory which implicitly criticizes the monarch's absolute rule'.