Diana and her nymphs rest and bathe after the hunt, their catch guarded by a loyal hound in an idealized landscape furnished with classical ruins. As in his many other landscapes, Laurent de La Hyre rendered a romantic view of a river valley, a poetic setting for a nostalgic theme. Drawing from the work of Nicolas Poussin, La Hyre employed a peaceful classical composition, an orderly recession into space framed by trees. To Poussin's antiquarian interests, La Hyre added Claude Lorrain's limpid light effects.
Philippe de La Hyre, Laurent's eldest son, summed up his father's academic approach: "His subjects were placed in a landscape or architectural setting, which he treated with perfection according to all the rules of perspective, of which he had made a special study. Thus his works were in demand, and he himself was held in high esteem."
In the late 1600s, the Gobelins manufactory wove the design of this painting, along with Glaucus and Scylla and four other mythological designs by La Hyre, into a tapestry series on the loves of the gods.