The Seven Deadly Sins and the Four Last Things – Envy (workshop or follower) Hieronymus Bosch (1450-1516)

This panel, labeled Invidia (Envy), depicts a scene with several figures and symbolic elements.
In the foreground, two dogs are shown, one howling at some scattered bones. This imagery of dogs fighting over bones is a common medieval allegory for envy and greed, as they are fighting over something insignificant while ignoring each other.
To the left, a monk in a red robe is handing a small white object, possibly a flower or a token, to a woman visible through a barred window. Behind her, another woman is also looking out. This interaction could represent temptation or a forbidden exchange.
In the center, a man in a white robe, holding a falcon on his hand, stands facing the viewer with a stern expression. His gaze seems to be directed towards the building on the left. Beside him, leaning out of a doorway, are an older man and woman, the man pointing outwards with a stick or staff. The woman behind him looks concerned or perhaps disapproving. Their positioning might suggest that the man in white is an object of envy or he is observing others with envy.
In the background, a white walled building with a tiled roof is visible, with a few birds flying in the sky. To the far right, a figure with a large sack on their back walks away to the right, dressed in a tunic and red hose. This figure carrying a burden may represent the weight of sin or someone burdened by their possessions or actions.
The overall subtext of the painting is an exploration of the sin of envy. The dogs fighting over bones, the tantalizing exchange at the window, and the watchful, potentially covetous gazes of the figures in the doorway all contribute to this theme. The painting uses contemporary settings and figures to illustrate a moral warning against envy, a sin that consumes individuals and leads to discord and unhappiness. The contrast between the figures inside the building and the man with the falcon, as well as the person walking away with a burden, all likely carry symbolic weight within the context of the larger work, which likely depicts the Seven Deadly Sins and the Four Last Things.