Cain holding a mirror watching his sacrifice engulfed in flames, Adam and Eve seated nearby; in the upper right an angel expelling them from Paradise

Art Historical Context

This striking engraving, titled *Cain Holding a Mirror Watching His Sacrificeulfed in Flames, Adam and Eve Seated Nearby in the Upper Right an Expelling Them from Paradise captures a dramatic fusion of biblical episodes from Genesis. In the foreground, Cain gazes into a mirror as his offering burns—a symbol of divine rejection—while Adam and Eve sit mournfully nearby. Above, an angel drives them from Eden, evoking humanity's fall and the origins of sin. Created around 1530–50, it reflects Renaissance fascination with moral tales from scripture, blending tragedy and introspection. Attributed to engravers Antonio Veneziano, Giulio Bonasone, and Amico Aspertini—likely a collaborative effort led by Bonasone, a master of the burin—this print exemplifies the medium's power during the 16th century. Engraving allowed intricate details, like the flickering flames and expressive faces, to be reproduced affordably, spreading complex narratives to a wider audience beyond elite patrons. Measuring 9 3/8 x 12 5/8 inches, its compact scale made it ideal for collectors' albums. Housed in the Metropolitan Museum of Art's Drawings and Prints department (Bequest of Phyllis Massar, 2011), this work highlights engraving's role in visual storytelling, inviting viewers to ponder themes of jealousy, exile, and redemption that resonated in Counter-Reformation Europe. A poignant reminder of art's ability to condense epic human struggles into a single, haunting image.

About the Artist

Antonio Veneziano|Giulio Bonasone|Amico Aspertini (Italian|Italian|Italian) · 1509 |1510 |1474 –1536 |1576 |1552

Italian, active 1509–1536|Italian, active Rome and Bologna, 1531–after 1576|Italian, Bologna ca. 1474–1552 Bologna