A detailed 16th-century engraving by Zacharias Dolendo, depicting the allegorical figure of Pride through the lens of Northern Mannerist style.

This engraving by Zacharias Dolendo, after a design by Jacques de Gheyn II, depicts the personification of Pride (Superbia). It belongs to a series of prints exploring the Seven Deadly Sins, a common subject in late sixteenth-century Dutch art. The figure is shown as a woman of high status, dressed in the elaborate fashion of the period, complete with a ruff and a heavily patterned gown. She gazes into a hand mirror, a traditional attribute associated with vanity and self-absorption.

Dolendo employs the precise line work characteristic of Northern Mannerist printmaking. The composition balances the central figure against a background that includes an obelisk and an architectural arch, elements that provide a sense of scale and distance. The Latin inscription at the base, 'Sic fit opes miserorum animos intrare paranti Superbiae et parent iter', reinforces the moralising theme of the work, warning against the dangers of excessive wealth and arrogance. The artist uses cross-hatching and varied line weights to define the textures of the fabric, the metallic sheen of the mirror, and the atmospheric quality of the distant horizon.

This print reflects the period's interest in moral allegory, where human vices are given physical form through costume and gesture. The exaggerated posture of the woman, with her elongated torso and tilted head, is typical of the Mannerist style, which prioritised artificial elegance and complex spatial arrangements over naturalistic representation. The work remains a fine example of the technical skill required in late Renaissance engraving, where the artist had to translate a painterly design into a series of controlled, rhythmic marks on a copper plate. It offers a glimpse into the cultural preoccupations of the Netherlands during a time of significant social and religious change.