A fundamental aspect of De Rosa's work, which resolves some of the main spaces of the composition through a still naturalistic anchoring, is the attempt to capture the scene in the foreground directly, frozen like a snapshot that focuses on the nudes and the ritual slaughter of the lamb, in addition to the contrast between David with the harp and the female figure playing the cymbal. In the background, a clear reference to the façade of the Royal Palace of Naples, which testifies to the painter's presence in the capital of the Viceroyalty, which can be dated to 1643. The presence of the nudes on both sides that introduce the sacred scene reveals a Caravaggio-esque matrix, revisited through the Battistelli filter, in which the dancing figure of King David participates above all, with his flesh stained dark in the parts opposite to the luministic action.