At the left, a satyr in a red garment hoists a jug, while beside him a grey donkey stands placidly, its head lowered near a bearded man who cradles a drum. The central group is tightly packed: nude and draped figures, some crowned with leaves, hold ornate bowls and vessels, their gestures animated as they share food and drink. To the right, three women in flowing dresses, one balancing a large terracotta jar on her shoulder, stand in a row, their pale skin and golden hair catching the light.

Scattered on the ground are bowls of fruit, a tipped-over cup, and a wooden tub with a paper attached, all rendered with careful attention to texture and detail. The background is dominated by a rocky hill and dense trees, their foliage painted in deep greens and browns, contrasting with the brilliant blue sky and drifting white clouds above. On the far right, a pheasant perches high in the branches, its small form delicately painted against the leafy canopy.

The composition is horizontal and frieze-like, with the figures forming a continuous band across the foreground, unified by the dappled light and harmonious color palette. Brushwork is smooth and precise, especially in the rendering of flesh and fabric, while the landscape shows a looser, more atmospheric handling of paint. Near the lower left corner, a child in a blue tunic and white shirt sits on the ground with a wreath of leaves on their head, looking downward.

At the bottom right, a reclining figure in a white drapery leans against a tree trunk, their body stretched out along the edge of the scene. Sunlight falls unevenly across the group, highlighting some faces and garments while casting others in partial shadow, especially beneath the trees. Along the right edge, a man in a white and green garment bends forward, holding a large vessel as he looks toward the reclining figure.

The trees on the far right are painted with slender, vertical trunks, creating a screen of pale lines against the blue sky and giving depth to the forested background. The painting is signed and dated by Bellini on the fictive paper attached to the tub at the lower right, confirming its completion in 1514.