This painting is certainly one of his late works as it is the only one bearing a date added in De Momper’s own hand. During the course of his career, he worked on several subjects for his pictures, including grottoes and bizarre rock formations with waterfalls. These motifs, used like trade marks, underline the decorative effect of such monumental landscapes. De Momper’s paintings were frequently intended as furnishings for representative rooms, as documented by a six-part cycle once in the ownership of the Marquis of Leganés, the Spanish ambassador in Brussels.