A detailed engraving by Jacob Matham depicting the classical deities Venus, Bacchus, and Ceres, illustrating the proverb regarding their interconnected roles.

This engraving by Jacob Matham depicts the classical triad of Venus, Bacchus, and Ceres, a subject rooted in the Latin proverb 'Sine Cerere et Baccho friget Venus' (without Ceres and Bacchus, Venus freezes). The composition reflects the influence of Hendrick Goltzius, Matham's stepfather and teacher, whose stylistic approach to the human form defined much of the Haarlem school during the late sixteenth century.

Matham employs a sophisticated system of hatching and cross-hatching to model the musculature of the figures, creating a sense of volume and physical presence. The figures are arranged in a dense, sculptural grouping. Bacchus, seated on the left, holds a chalice aloft, while Ceres occupies the foreground, her back turned to the viewer. Venus is positioned centrally, accompanied by a winged Cupid who holds a bundle of wheat and grapes, symbols of the abundance associated with the deities. The background features a stylised tree and rocky outcrops, typical of the period's approach to integrating figures within a mythological setting.

As a prominent member of the Haarlem Mannerists, Matham demonstrates a technical mastery of the burin. The lines are precise, following the contours of the anatomy to suggest tension and movement. The work is an example of the printmaking culture in the Netherlands, where reproductive engravings allowed for the dissemination of complex allegorical themes to a wider audience. The composition balances the individual attributes of each deity with the collective narrative of the proverb, presenting a scene that is both decorative and didactic in its classical references.