Afgunst 1552

Heinrich Aldegrever etched this small plate, titled "Envy", in the 16th century. Envy, here, is depicted as a woman seated atop a monstrous, goat-like creature. Snakes writhe upon the banner she holds. A bat, symbol of ignorance, flies above. This allegorical representation taps into a deep well of historical associations. The serpent, a symbol of chaos, has slithered through countless cultural narratives, from the Garden of Eden to the Nordic Jörmungandr. The monstrous mount echoes the steeds of nightmares and the chimeras of classical myth, embodying base instincts. Consider the gesture of the figure: a seated woman riding a beast. This motif has appeared in various guises, from triumphant goddesses in antiquity to more sinister figures in medieval art. It resurfaces again and again, each time subtly altered, reflecting evolving cultural anxieties and psychological states. The continued appearance of these symbols is not linear, but a cyclical progression, each iteration shaped by the shifting sands of collective memory. This complex interplay of symbols engages us on a subconscious level.