48 The Seven Vices: Envy Giotto di Bondone (1266-1337)

The composition presents a solitary figure framed within a rectangular architectural niche, itself set against a backdrop of marbled texture. Above the figure, inscribed in capital letters, is a single word: INVIDIA. The central subject stands upright, clad in a long, flowing white garment that obscures any specific details of physique or social status. This simplicity contributes to an impression of universality; the individual represents not a particular person but rather a concept.
The most striking element is the serpentine form coiled around the figure’s head, obscuring vision and seemingly restricting movement. The snakes body emerges from behind the subject, suggesting it is both internal and external – a manifestation of the vice itself. The figure holds out one hand, pointing downwards with an expression that appears to be a mixture of resentment and self-pity.
Below the feet, flames erupt, consuming the lower portion of the garment and creating a visual boundary between the figure and the space beyond. The fire suggests punishment or torment, aligning the subject with a state of suffering. The limited color palette – predominantly white, black, and red – reinforces the somber mood. The stark contrast between the pale skin of the figure and the fiery base emphasizes the destructive nature of the depicted vice.
Subtly, the architectural framing suggests confinement and isolation. The niche acts as a visual cage, reinforcing the idea that envy traps its victim within their own negative emotions. The gesture of pointing downwards could be interpreted in multiple ways: it might signify an obsession with others possessions or achievements, or perhaps a self-directed condemnation. Ultimately, the painting conveys a sense of profound psychological distress and the isolating consequences of harboring envious feelings.