The subject of ‘Leda and the Swan’ has been addressed by many artists before, including the great Leonardo da Vinci and Michelangelo. W.B Yeat’s 1923 poem ‘Leda and the Swan’ is another example of how this mythological story captured the imagination. The intriguing myth of Zeus transforming into a swan and raping the human Leda, which produces the fatal beauty Helen of Troy is both violent, sensual and captivating. Whereas Leonardo and Michelangelo treated the subject with tenderness, with an emphasis on the ethereal and fecund beauty of Leda and the virility of Zeus as the swan; the imagery acts as a metaphor for the origins and manifestations of life, with subtle religious connotations of the Holy Spirit. In contrast, Santini’s imagery is lascivious, fantastical, contemporary and secular. The figures appear against a theatrical black background, highlighting the lustful, entangled figures. The shocking exploit of Leda is dramatically enhanced by the use of the Lenticular medium, where the image moves before the viewer’s eyes. Santini’s Leda appears equally dominated and dominating, possessing the female eroticism often seen in the work of Helmut Newton or Guy Bourdin. Santini’s stylistic treatment directly communicates the violence and seduction of the story, with the brutality and beauty literally coming to life.