A startled young hunter bursts into a secluded bathing scene, his left arm raised in surprise as he parts a dramatic sweep of red fabric. The central group of five women, all nude, react with alarm and urgency, some turning away, others attempting to cover themselves with cloths or gestures. A stone fountain, carved with reliefs and spouting water, anchors the middle of the composition, its basin reflecting the figures above.

To the right, a pale woman with a crescent moon crown sits on a red drapery, her arm raised to shield herself, while a dark-skinned attendant rushes to cover her with a cloth. Behind the figures, arched stone ruins frame a view of blue sky and distant landscape, while dense trees rise on the right, their trunks painted with energetic, textured brushstrokes. The light falls from the left, illuminating the pale bodies and highlighting the rich, varied colors: warm flesh tones, vibrant reds, cool blues, and the earthy browns of the forest setting.

Titian arranges the composition in a sweeping arc, with Actaeon’s movement balanced by the recoiling figures, leading the viewer’s gaze from left to right across the drama. The paint surface shows Titian’s characteristic loose, expressive handling, especially in the foliage and drapery, where brushstrokes remain visible and lively. Diana, second from the right, is marked by her crown and the protective gesture of her attendant, while the nymphs’ varied poses and expressions convey shock, modesty, and confusion. The woodland setting is transformed by Titian into the arched ruins of a forest temple, an inventive twist on the traditional mythological backdrop. The painting was completed between 1556 and 1559 and is counted among Titian’s greatest achievements.

In 2008–2009, the National Gallery, London and National Galleries of Scotland acquired the painting jointly, ensuring it remains on public display in the UK.