Narcissus at the Fountain c. 1510 - 1511

Altobello Meloni painted Narcissus at the Fountain at an unknown date in oil on panel, and it now resides in the Städel Museum. The panel presents a figure gazing downward, framed by a verdant wreath and long blonde hair, set against a detailed landscape. The composition is immediately striking, a study in contrasts between the dark, dense foliage on the left and the delicate, airy vista to the right, creating a semiotic division between introspection and the external world. The figure's gaze, directed downward, invites reflection on the nature of self-regard. Meloni's use of light, which selectively illuminates the figure while leaving the surroundings partially obscured, emphasizes the dichotomy between self and other. In this context, we can consider structuralist interpretations of myth, where Narcissus's tale is not merely about vanity, but about the perils of a self-contained system, blind to external reality. The subtle formal elements - the gentle curve of the figure's neck, the soft gradations of colour in the landscape - all contribute to a sense of quiet melancholy. It functions aesthetically and provides a cultural insight into Renaissance concerns about identity and perception. This reflects the way interpretations in art are ongoing and evolving.