Allegory of the Faith' by Jan Vermeer, c1670. Vermeer's source derives from a standard handbook of iconography, Cesare Ripa's Iconologia. Vermeer interpreted Ripa's description of Faith with "the world at her feet" literally, showing a Dutch globe published in 1618. The divine world is rendered as a glass sphere reflecting the room. The painting of the Crucifixion on the wall copies a work by Jacob Jordaens. Among the many Christological symbols, the most prominent are the apple, emblem of the first sin, and the serpent (Satan) crushed by a stone (Christ, the "cornerstone" of the Church). Dating about 1670, the work strikes a balance between abstraction and haunting similitude. From the collection of The Metropolitan Museum of Art, New York, U.S.A.

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Allegory of the Faith' by Jan Vermeer, c1670. Vermeer's source derives from a standard handbook of iconography, Cesare Ripa's Iconologia. Vermeer interpreted Ripa's description of Faith with "the world at her feet" literally, showing a Dutch globe published in 1618. The divine world is rendered as a glass sphere reflecting the room. The painting of the Crucifixion on the wall copies a work by Jacob Jordaens. Among the many Christological symbols, the most prominent are the apple, emblem of the first sin, and the serpent (Satan) crushed by a stone (Christ, the "cornerstone" of the Church). Dating about 1670, the work strikes a balance between abstraction and haunting similitude. From the collection of The Metropolitan Museum of Art, New York, U.S.A.

SuperStock offers millions of photos, videos, and stock assets to creatives around the world. This image of Allegory of the Faith' by Jan Vermeer, c1670. Vermeer's source derives from a standard handbook of iconography, Cesare Ripa's Iconologia. Vermeer interpreted Ripa's description of Faith with "the world at her feet" literally, showing a Dutch globe published in 1618. The divine world is rendered as a glass sphere reflecting the room. The painting of the Crucifixion on the wall copies a work by Jacob Jordaens. Among the many Christological symbols, the most prominent are the apple, emblem of the first sin, and the serpent (Satan) crushed by a stone (Christ, the "cornerstone" of the Church). Dating about 1670, the work strikes a balance between abstraction and haunting similitude. From the collection of The Metropolitan Museum of Art, New York, U.S.A. by World History Archive/Image Asset Management is available for licensing today.