The present work, depicting an idealized account of the first crusade ending in the capture of Jerusalem in 1099 and the establishment of a Christian kingdom, shows the witch, Armida, in the Christian camp where she had been sent to sow discord. Instead, on meeting with Goffredo, the leader of the crusading army, and his brother, Eustachio, she was converted to the Christian faith. It has been suggested that the figure of Goffredo is intended as a portrait of King Henry IV of France.
Though the authorship of this painting remains unknown, its placement in the circle of Caron can be affirmed on comparison with two paintings by this artist, the Massacre of Triumvirate of 1566 in the Marquis de Jaucourt collection, Inv. no. 1939-28, and a Scene from the life of Queen Artemesia in the Musée Départmental de L'Oise, Beauvais, Inv. no. 65-6, dated to after 1572 but before 1580. Furthermore, the influence of Niccolo del'Abbate, also active in the first school of Fontainbleau, can be seen in the ethereal landscape interpreted as a backdrop to the frieze-like story taking place in the foreground; see, for example, del'Abbate's Eurydice & Aristaeus, of circa 1558-60, in the National Gallery, London; and the Rape of Proserpine of the same date in the Musée du Louvre, Paris.