Allegory of vanity * Pordenone (Giovanni Antonio de Sacchis) (1484-1539)

The composition presents a woman in opulent attire, positioned centrally within the frame. Her gaze is directed outward, conveying a sense of self-assurance and perhaps even detachment. The artist rendered her with meticulous detail; the skin exhibits a luminous quality achieved through subtle gradations of light and shadow, while the elaborate jewelry – a jeweled headband and a pearl necklace – underscores her elevated social status. She wears a gown patterned with vertical stripes, which contribute to a sense of formality and structure.
To her left stands a small boy, dressed in rich fabrics and holding a mirror. The mirror’s reflective surface is obscured, preventing the viewer from seeing what it portrays, adding an element of ambiguity. He appears to be observing the woman, yet his expression remains neutral, lacking overt admiration or judgment.
A tablet rests near the womans left side, inscribed with the words Omnia Vanitas – a Latin phrase signifying “all is vanity.” This inscription immediately introduces a thematic layer that contrasts sharply with the display of material wealth and beauty surrounding her. The presence of this text suggests a meditation on the fleeting nature of earthly pleasures and the ultimate insignificance of worldly possessions.
The woman holds an ornate vessel, its contents seemingly liquid, further reinforcing the association with transience and impermanence. It could be interpreted as symbolizing the passage of time or the ephemeral quality of beauty.
The dark background serves to isolate the figures, intensifying their presence and drawing attention to the symbolic elements within the scene. The overall effect is one of carefully orchestrated contrast – beauty versus decay, wealth versus emptiness, appearance versus reality – characteristic of a genre exploring themes of mortality and the futility of worldly pursuits.