The painting we present depicts a biblical hunting scene, perhaps one of the many hunts conducted by the patriarch Nimrod, great-grandson of Noah, associated with the founding of cities such as Babylon and Nineveh and described in the Old Testament as a "mighty hunter before the Lord" (Genesis X, 9). The sacredness of the scene is confirmed by the presence of the putto, placed at the top left, bearing the cartouche with the inscription in Latin: "Dirigor in praedam". More than one element contributes to placing the work, not detached, at times, from the lesson of the bamboccianti for the simplistic and almost caricatured anatomy of the figures, in the Neapolitan context, allowing us to postulate a derivation from Rosian models, explicitly supposed in the landscape. Among the most significant parallels with Rosa, it is worth mentioning: "Landscape with Saint John the Baptist" (Glasgow, Art Gallery and Museum), "Landscape with Apollo and the Cumaean Sibyl" (London, Wallace Collection), "Mercury and the dishonest woodcutter" (London, National Gallery) and, above all, "Landscape with Tobias and the Angel" (London, National Gallery). Landscape painting experienced a fruitful season in Naples during the 17th century, due to the richness and multiplicity of accents that distinguish it: from the Flemish beginnings and in continuation with the current of Mannerist significance (Cavalier d'Arpino, Stories of the Old Testament in the Certosa di San Martino), it evolves towards a deepening of the characteristics of environmental suggestion, overcoming the scenography for a sentimental qualification of the composition, the great innovation of Salvator Rosa, which will allow him to develop explicit annotations of romantic meaning. The painting also bears traces of these romantic landscape tones, in which, as in Rosa's production after the 1640s, the search for natural truth gives way to a reinterpretation of the landscape in the name of evocative emotion, an indispensable starting point for all subsequent landscape painting. If, in fact, in the earliest phase of his production, Rosa, together with Marco Masturzo, Scipione Compagno, Viviano Codazzi and others, tries to renew the fortunes of landscape painting in direct contact with nature, in conjunction with the research of Claude Lorrain, thus overcoming the old positions of Paolo Brill and Agostino Tassi by directly inspiring himself to the real, starting from the Florentine and Roman sojourn the landscape conception of Rosa seems now marked by the cited romantic orientation of re-reading of the natural environment, a point, this last one, in common with our painting. Overall, we are in the presence of a work that well testifies to the ramified development of landscape painting in Naples, in the 17th century, constituting an emblematic example for the complex map of references that it bears, tracing, under various aspects, the general coordinates measurements: 146 x 108.