Avarice

Image 1. An old alchemist sits before a fire, bellows in his lap, stirring a molten substance in a crucible, as steam escapes from a round alembic. The beneficial and destructive powers of fire are described in the verses below and depicted behind him: three blacksmiths pound on an anvil while miners rush from a burning mine, a house burns fiercely on the right, a forest fire threatens to engulf a castle on the hill, and a volcano erupts on the horizon. Strangely oblivious to the apocalyptic scene behind him, the alchemist feels an arm on his shoulder and, removing his spectacles, turns to see a beautiful young woman, who reaches down to grasp a sumptuous neckless from a pile of coins. This may be Prudentia, warning him against avarice and the 'fallacious art of alchemy', which deceives many.
 
This image is one of a series of prints depicting the four elements drawn by Maarten de Vos (1532-1602) and engraved and printed by Crispijn van de Passe (c.1564–1637). Although all four feature amorous couples, none of the others stresses the destructive power of the element involved or carries a similarly stern moral warning.
 
Image 2. The Wellcome Collection, London, includes a version of this image painted in oils. Here the destructive power of fire is even more apparent, especially in the volcano on the horizon and in the figures fleeing the mine as if from a hell's mouth. The posture and expression of the young woman also suggest a different interpretation. This seductress, draping herself across the alchemist’s shoulder with one breast exposed, points down to the gorgeous golden neckless with one hand, takes possession of it with the other, and braxenly locks eyes with the old man, studying his reaction. This is not Prudentia, warning the old man against avarice, but Luxuria, tempting him to abandon caution in his pursuit of gold and the pleasures it buys.

Commentary. Howard Hotson (April 2019)