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West Building Audio Tour: Italian Renaissance Paintings, 13th–16th Centuries

Use your smartphone to explore a wide range of works through the voices of National Gallery of Art curators. Set your own pace by listening to as many stops as you like in the order you choose.


To listen to information about a work of art, enter the stop number in the box below, select go, and press the play button when the stop appears. Please be mindful of other visitors and use headphones while listening to the audio tour.

  • Stop 380

    El Greco (Domenikos Theotokopoulos), Laocoön, c. 1610/1614

    Suspecting trickery, Laocoön, a mythical priest of Troy, had warned his countrymen not to accept the wooden horse left outside the city by the Greeks and had hurled his spear at it to prove that it was hollow. He thus incurred the wrath of the gods for desecrating an object dedicated to the goddess Athena. El Greco depicted serpents, sent by the angry gods, engaging Laocoön and one son in a mortal struggle, while a second son lies dead at his father’s side. The identity of the unfinished figures on the right is unclear. Using writhing line, lurid color, and illogically conceived space, the artist projected an unrelieved sense of doom. 

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  • Stop 360

    Titian, Ranuccio Farnese, 1541-1542
    Ranuccio Farnese

    Ranuccio Farnese was about 11 or 12 years old when Titian painted his portrait. As a member of the powerful and aristocratic Farnese family, Ranuccio went on to an illustrious career in the Catholic Church. He was made archbishop of Naples at the age of 14, and he later served as archbishop of Milan and Ravenna, among other positions, before dying when he was only 35 years old. Adult responsibility came to Ranuccio when still a child, as Titian so brilliantly conveyed through the cloak of office, too large and heavy, sliding off the youth’s small shoulders. The characterization of a boy in the role of the man gives this image great poignancy.

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  • Stop 349

    Raphael, Saint George and the Dragon, c. 1506
    Saint George and the Dragon

    A Roman soldier of Christian faith, Saint George saved the daughter of a pagan king by subduing a dragon with his lance; the princess then led the dragon to the city, where the saint killed it with his sword, prompting the king and his subjects to convert to Christianity. One unusual feature of the painting is the saint’s blue garter on his armor-covered leg. Its inscription, HONI, begins the phrase Honi soit qui mal y pense (Disgraced be he who thinks ill of it), the motto of the chivalric Order of the Garter, of which George is the patron saint.

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  • Stop 315

    Giovanni Bellini and Titian, The Feast of the Gods, 1514/1529
    The Feast of the Gods

    In this illustration of a scene from the Roman poet Ovid’s Fasti, the gods, with Jupiter, Neptune, and Apollo among them, revel in a forest setting, eating and drinking, attended by nymphs and satyrs. The lustful Priapus, god of fertility, stealthily lifts the gown of the sleeping nymph Lotis, as seen on the right. According to the tale, he will be foiled by the braying of Silenus’s ass a moment later.

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  • Stop 313

    Leonardo da Vinci, Ginevra de' Benci [obverse], c. 1474/1478
    Ginevra de' Benci [obverse]

    Ginevra de’ Benci was the daughter of a wealthy banker in Florence, and her portrait—the only painting by Leonardo da Vinci in the Americas—was probably commissioned about the time of her marriage at age 16. It is one of the artist’s earliest experiments with the new medium of oil paint. He placed her in an open setting at a time when women were still shown sheltered within the walls of their family homes, with landscapes glimpsed only through open windows. The three-quarter pose, neither facing fully forward nor in profile, is among the first in Italian portraiture. The juniper leaves framing her refer to her chastity, the greatest virtue of a Renaissance woman, and pun on her name; the Italian for juniper is ginepro

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  • Stop 307

    Andrea del Castagno, David with the Head of Goliath, c. 1450/1455
    David with the Head of Goliath

    This shield was intended for display in ceremonial parades, rather than for protection in battle. The subject was especially appropriate for an audience in 15th-century Florence. As the smallest major political power on the Italian peninsula, the city saw itself as a young David contending with such mighty Goliaths as the Pope, the duke of Milan, the king of Naples, and the doge of Venice. Here, David is depicted preparing to attack Goliath, having already chosen a smooth stone for his sling. The conclusion appears at the bottom of the shield; the terrible giant’s severed head, with the stone embedded in its forehead, lies at David’s feet as a warning to the city’s enemies. 

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  • Stop 310

    Fra Angelico and Fra Filippo Lippi, The Adoration of the Magi, c. 1440/1460
    The Adoration of the Magi

    The Adoration of the Magi appears to be the product of two artists—Fra Angelico may have started the altarpiece, but the greatest part of the work was taken up by Fra Filippo Lippi. Fra Angelico was a Dominican known for his great monastic devotion; his saintly deportment is mirrored in the quiet piety of his paintings. The representation of the Virgin Mary here expresses his style in the pure, simple form of her head and the gentle refinement of her features. The wise men and their attendants, as well as the broad-faced Joseph, are usually attributed to Fra Filippo and his more earthy style. 

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  • Stop 301

    Duccio di Buoninsegna, The Nativity with the Prophets Isaiah and Ezekiel, 1308-1311
    The Nativity with the Prophets Isaiah and Ezekiel

    This panel is one of two owned by the Gallery from one of the most important monuments of Western painting: the towering, two-sided altarpiece known as the Maestà by Duccio di Buoninsegna. The Maestà dominated the main altar in Siena’s cathedral for nearly two centuries. In the 1770s the altarpiece was sawn apart, and individual panels were subsequently dispersed. Standing on either side of this Nativity are two Hebrew prophets, whose writings—quoted on the scrolls they hold—are thought by Christians to foretell Jesus’s birth. The Virgin Mary was Siena’s patron saint, and devotion to her had a strong civic as well as religious dimension. 

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