An allegorical engraving by Carel van Mallery, depicting the virtue of humility through a pastoral scene and classical symbolism.

This engraving, titled Humilis animus, is a work by the Flemish printmaker Carel van Mallery, after a design by Maarten de Vos. The composition functions as an allegory of humility, a virtue represented by the central female figure seated in a landscape. She holds a heart, a traditional symbol of sincerity and inner disposition, while a small child, possibly representing innocence or a putto, kneels beside her holding an olive branch, the universal sign of peace.

The background features a sprawling rural scene, typical of the period, with rolling hills, a distant town, and pastoral elements such as sheep and a windmill. The inclusion of these details provides a sense of place and order, contrasting with the allegorical nature of the foreground figures. The Latin inscription at the base, 'Demissusq, humilisq animus Pacem edit, et atras Inuidiae extinguit dissidijque faces', translates to the idea that a modest and humble spirit produces peace and extinguishes the dark torches of envy and discord. This moralising message was common in late sixteenth-century Flemish prints, which often drew upon classical and Christian iconography to instruct the viewer.

Technically, the work demonstrates the precision of the burin, with fine hatching used to create volume in the drapery and texture in the landscape. The figures are rendered with the elongated proportions characteristic of Northern Mannerism, yet they retain a grounded quality through their interaction with the pastoral environment. The print was published by Philips Galle, a significant figure in the Antwerp print trade, whose workshop was responsible for disseminating the designs of prominent artists across Europe. This piece offers a glimpse into the intellectual and artistic climate of the Low Countries, where the synthesis of moral philosophy and visual art remained a primary concern for printmakers and their patrons.