This is Theodor de Bry's portrait of Georg Laub, a copper engraving now held in the Rijksmuseum. Laub, a doctor, is framed by potent symbols of life and death: note the entwined foliage on the columns flanking him, signs of vitality, against the stark memento mori of the skull at his hand. The skull, of course, is not unique to this time. Think back to ancient Roman triumphs, where a slave whispered "memento mori" – remember you must die – to the conquering hero. Similarly, the vanitas paintings of the Dutch Golden Age placed skulls amidst worldly possessions to remind viewers of life's fleeting nature. But consider this: the skull is not merely a symbol of death. Psychoanalytically, it touches the subconscious, reminding us of our mortality and prompting reflection on life's purpose. This juxtaposition in de Bry's portrait speaks to a deep human preoccupation: the dance between existence and nothingness, a cycle that repeats throughout art history, echoing through our collective cultural memory.