A detailed sixteenth-century engraving by Theodor de Bry depicting Adam and Eve with the infant Cain, incorporating moralising symbols and Latin inscriptions.

This engraving by Theodor de Bry presents a complex allegorical scene featuring Adam and Eve in a post-lapsarian state. The composition is structured around the central figure of the infant Cain, who blows a bubble, a common memento mori motif representing the fragility and transience of human life. Adam, depicted with a laurel wreath and surrounded by various tools of labour, reflects the biblical injunction that man must toil for his sustenance. Eve sits opposite him, holding a flowering branch, while the surrounding environment includes baskets and implements that signify the beginning of human industry and domestic life.

The print incorporates Latin inscriptions drawn from the Book of Job and the Book of Genesis, which frame the narrative within a theological context. De Bry employs precise, controlled lines to define the musculature of the figures and the textures of the natural environment. The background features a distant, rolling topography that provides a sense of depth, contrasting with the foreground where the figures are positioned in a deliberate, staged arrangement. The inclusion of the 'Verbum Dei' on the stone near the child suggests the presence of divine instruction amidst the realities of earthly existence.

As a master engraver, de Bry demonstrates a high level of technical proficiency in this work. The cross-hatching and varied line weights create a distinct tonal range, typical of late sixteenth-century printmaking. The work functions as both a moralising narrative and a display of the engraver's ability to render human anatomy and symbolic objects with clarity. The scene avoids excessive ornamentation, focusing instead on the clarity of the figures and their symbolic attributes. This print is a characteristic example of the intellectual and religious themes that occupied artists in the Low Countries during this period.