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This paper focuses on Amico Aspertini's engraving Genesis Scene with Fall, Expulsion, Adam and Eve after the Fall, and Abel's Sacrifice, a complex allegory that places a self-mirroring man in the middle of the events. The aim of the article is to highlight the general importance of the mirror motif in representations of the biblical story of Eden. On the one hand, the seduction of Eve was understood as a visual event and as an act of artful illusion. On the other hand, envy (invidia) or, alternatively, pride (superbia) was considered to be the reason for the original sin. And either personification had a mirror as its main attribute. Aspertini's engraving takes up this understanding of the fall to show that his own art and more generally all figurative imitations thrive on the productive tension between diabolic allurement and divine vision. [ABSTRACT FROM AUTHOR]

The article explores the history of the 1595 engraving "Sine Baccho et Cerere Friget Venus" by artist Hendrick Goltzius. The author reflects on the engraving in a plate of silver and the art of printmaking with base and noble metals such as gold. Topics discussed include the work of artist Albrecht Dürer, portrait engraving, and related works such as "Paniere Farnese" by artist Francesco Villamena. Other topics include the art collecting of Emperor Rudolf II, the influence of sculptor Michelangelo Buonarotti, and the reconciliation of honor and wealth in art.

The article presents information about the interpretation of an engraving by Renaissance German artist Albrecht Dürer. Interpretive theories by various art historians such as Peter-Klaus Schuster are discussed, but the author notes that room remains for further studies of the meanings in Dürer's work "Melancolia I." An examination is given of the thematic element of justice in the engraving. References are made to Greek and Roman mythology, works by medieval scholar Boethius, and the story of Biblical figure Noah and the Flood.