Tag: Caravaggio

Perseus and Medusa

Perseus and Medusa

Super Hero and #MeToo

After exploring prophets, sinners, and saints from the Biblical tradition, it’s time to turn back to the world of Greek mythology. Let’s start with two of its most iconic figures: Perseus and Medusa. Her story resonates today as a #MeToo narrative; his tale reads like the script of a modern superhero film. Greek myths may be older than the Bible, but the themes they carry, such as good versus evil, justice for the wronged, and the quest for hope, are timeless. So let’s dive in.

To give some context, I’ll introduce the two main characters, Perseus and Medusa, before following Perseus through his adventures, from his miraculous birth as the child of one of Zeus’ escapades to his dramatic wedding with Andromeda. The topics we’ll explore are:

The recurring theme: a busy life for our superhero and the eternal struggle between good and evil.

The Main Characters: Perseus and Medusa

Perseus is one of the prominent heroes in Greek mythology. Unlike some other Greek heroes, his strength did not rely solely on brute force but also on inner qualities like courage and determination. He was the son of Zeus, king of the gods, and Danaë, a mortal princess. Perseus is best remembered for slaying Medusa and for rescuing Andromeda from a sea monster.

Medusa, once a beautiful priestess in the temple of Athena, is one of the tragic figures in mythology. She was raped by Poseidon in Athena’s sacred temple. Because the act defiled a holy space, and possibly because Medusa had boasted of her beauty, Athena punished her by transforming her flowing hair into venomous snakes. And from that moment on, anyone who looked directly at Medusa would be turned to stone.

Poseidon, the rapist, went unpunished. It was the victim who bore the consequences. We do not know if Poseidon felt guilt or ever faced the weight of what he had done. What we do know is that Medusa became the embodiment of female suffering, even labeled a monster. Her transformation has come to symbolize the way women are punished or demonized. In today’s world, Medusa’s story is often reinterpreted through the lens of the #MeToo movement, challenging us to consider who the real monster truly was.

Perseus, Roman copy after a Greek original of the 5th century BCE, Marble, height 29cm, Centrale Montemartini, Musei Capitolini, Rome. Medusa (c.1646), Gian Lorenzo Bernini (Italian, 1598 – 1680), Marble, height 68cm, Musei Capitolini, Rome.

Danaë, Perseus’ mother; Zeus, his father

Perseus was born under remarkable and mysterious circumstances. His mother was Danaë, a mortal princess and daughter of Acrisius, the king of Argos. Acrisius, obsessed with control and fearful of fate, had received a chilling prophecy: one day, he would be killed by his own grandson. To stop this from happening, he locked Danaë in a bronze chamber, isolated high in a tower, where no man could reach her.

Danaë and the shower of gold (1527), Jan Gossaert (Flemish, c.1472 – 1532), Oli on panel, 114x95cm, Alte Pinakothek, München.

But the gods, as always in Greek myth, find a way. Zeus, king of the gods, saw Danaë and desired her. Taking the form of a shower of gold, he entered her prison and impregnated her. In time, Danaë gave birth to a son, whom she named Perseus.

Danaë and the shower of gold (c.1621), Orazio Gentileschi (Italian, 1563 – 1639), Oil on canvas, 162x227cm, Getty Center, Los Angeles.

When Acrisius discovered the child, he was furious and terrified. Yet he couldn’t bring himself to kill his own daughter and her infant directly. Instead, he sealed them in a wooden chest and cast them out to sea, leaving their survival to fate. But Zeus watched over them!

The sea carried Danaë and Perseus safely to the island of Seriphos, where a kind fisherman named Dictys took them in. Dictys raised Perseus as his own, and the boy grew into a brave and spirited young man.

Danaë and the little Perseus put in a chest by King Acrisius (c.470BCE), Stamnos (storage bowl), Attributed to the Deepdene Painter, produced in Attica (Greece), height 39cm, Metropolitan Museum of Art, New York.

(A note from the future: many years later, when Perseus had grown into a man, he took part in the Olympic Games. During a discus throw, his aim went astray and struck down a spectator. That man was none other than King Acrisius, his own grandfather. The prophecy Acrisius was so afraid of was fulfilled, by a tragic accident. But that lies far ahead in the story. For now, we return to the adventures of Perseus as a youth.)

King Acrisius sending off Danaë and Perseus in a chest (c.470BCE), Lekythos (oil vessel), Attributed to the Providence Painter, height 41cm, Toledo Museum of Art, Toledo, OH.
Danaë and the little Perseus put in a chest by King Acrisius (c.490BCE), Hydria (water bowl), Attributed to the Gallatin Painter, produced in Attica (Greece), height: 42cm, Museum of Fine Arts, Boston.

As Perseus matured, he became fiercely protective of his mother. Her beauty had not faded, and it attracted the unwanted attention of many men, including the island’s ruler, King Polydectes. Polydectes was aggressive and arrogant, and he was determined to marry Danaë, whether she agreed or not. Perseus saw through him immediately and did everything he could to protect his mother.

Danaë locked in the tower, Perseus with his mother Danaë drifting away, the fisherman Dictys who found Perseus and his mother, and King Polydectes who will soon start harassing Danë.
Illustration (c.1470) from Raoul Lefèvre (French, 15th Century) “Recoeil des Histoires de Troyes”, 9x12cm, Koninklijke Bibliotheek KB 78 D 48, National Library of the Netherlands, The Hague. For the full page of the manuscript, with text and illustration, click here.

An impossible task: killing Medusa

Frustrated, Polydectes devised a plan to get Perseus out of the way. He announced he was marrying someone else and demanded that all his subjects bring him wedding gifts. Perseus, relieved that his mother wasn’t the bride, promised to give Polydectes whatever he wanted. The king seized the opportunity and asked for something outrageous: the head of Medusa, whose gaze could turn anyone to stone.

Perseus agreed, though he had no idea how he would complete such an impossible task.

Help from Athena and Hermes

To carry out the impossible task of killing Medusa, Perseus received crucial help from two gods: Athena, goddess of wisdom, and Hermes, the swift messenger of the gods.

Perseus Armed by Athena and Hermes (1604), engraver Jan Harmensz. Muller (Dutch, 1571 – 1628) after design by Bartholomeus Spranger (Flemish, 1546 – 1611), Engraving, 57x40cm, Rijksmuseum, Amsterdam.

Athena gave Perseus a highly polished bronze shield. It would allow him to see Medusa’s reflection without looking directly at her. A pretty vital move, since anyone who met her gaze would instantly turn to stone. Hermes provided him with winged sandals, enabling him to fly, and a sharp curved sword.

Perseus Armed by Athena and Hermes (c.1550), Paris Bordone (Italian, 1500 – 1571), Oil on canvas, 104x153cm, Birmingham Museum of Art, Birmingham, AL.

With Athena’s guidance and Hermes’s gifts, Perseus was ready to face the deadly Medusa. He flew to her, used the mirror-like shield to watch her movements, and without ever meeting her eyes, struck with precision. In one swift motion, he cut off her head, snakes and all.

Perseus with the Head of Medusa (1554), Benvenuto Cellini (Italian, 1500 – 1571), Bronze, height 519cm, Loggia dei Lanzi, Piazza della Signoria, Florence.
Perseus about to kill Medusa with the the guidance of Athena (c.1636), engraver Cornelis Bloemaert (Dutch, c.1603 – 1692) after design by Abraham van Diepenbeeck (Dutch, 1596 – 1675), Illustration from Michel de Marolles “Temple des Muses” (Amsterdam, 1676), Engraving, 28x18cm, Heidelberg University Library, Heidelberg, Germany.
The Head of Medusa (1618), Peter Paul Rubens (Flemish, 1577 – 1640 Antwerpen), and the snakes by Frans Snyders (Flemish, 1579 – 1657), Oil on canvas, 69x118cm, Kunsthistorisches Museum, Vienna.
Perseus after cutting off Medusa’s head (c.460BCE), Hydria (water bowl), attributed to the Pan Painter, produced in Attica (Greece), excavated in Capua (Campania, Italy), height 34cm, British Museum, London.

Death of Medusa and the birth of Pegasus

As Perseus struck off Medusa’s head, something extraordinary happened. From the blood that poured from her neck, a winged horse sprang forth. This was Pegasus, who became Perseus’s loyal companion.

Perseus now carried two powerful tools. One was the head of Medusa, which still had the power to turn anyone who looked at it into stone. The other was Pegasus, the magical horse who could fly. With these, Perseus began his journey home. He planned to return to Seriphos, confront King Polydectes, and reunite with his mother Danaë.

Perseus on Pegasus, after slaying Medusa (1925), John Singer Sargent (American, 1856 – 1925), Oil on canvas, 348x318cm, Museum of Fine Arts, Boston.

But the way back would not be simple. Like many heroes, Perseus would face new challenges on the road. Each test would reveal more of his courage, his cleverness, and his sense of justice.

Atlas becomes a mountain

On his journey home, Perseus grew tired and stopped to rest in a distant land. This place was ruled by Atlas, a mighty giant who stood guard over a sacred garden. Perseus asked for shelter, explaining that he was the son of Zeus. But Atlas remembered a prophecy that warned him a son of Zeus would one day steal the golden apples from his garden. Fearing the prophecy, Atlas refused to let Perseus stay.

Atlas being transformed into a mountain range (1606), “Atlas ob inhospitalitatem in montem sui nominis” or “Atlas, because of his inhospitality, turned into a mountain of his own name” from Ovidius’ Metamorphoses, Antonio Tempesta (Italian, 1555 – 1630), Etching, 10x12cm, Rijksmuseum, Amsterdam.

Perseus did not argue. Instead, he reached into his bag and pulled out the head of Medusa. When Atlas looked upon it, he was instantly turned to stone. His great body became part of the earth. His beard and hair turned into forests. His shoulders and arms became ridges and cliffs. His head rose into the sky as a high mountain. This, according to legend, is how the Atlas Mountains in Morocco originated and came to be named after the giant Atlas.

Perseus and Andromeda

As Perseus traveled home, riding the winged horse Pegasus, he flew over the coastline of ancient Ethiopia. There, he saw a young woman chained to the rocks at the edge of the sea. Her name was Andromeda. She had been left as a sacrifice to a sea monster, sent to punish the land for her mother’s pride. Her mother, Queen Cassiopeia, had once claimed that Andromeda was more beautiful than the sea spirits. This angered Poseidon, god of the sea. In revenge, he sent a terrifying monster to attack the coast. The only way to stop the destruction, the people believed, was to offer Andromeda to the creature.

Perseus and Andromeda (c.1592), Giuseppe Cesari (Italian, 1568-1640), Oli on slate, 71x55cm, Rhose Island School of Design Museum, Providence, RI.

Perseus was struck by Andromeda’s beauty, and he made a promise to save her. As the sea monster rose from the waves, Perseus flew into action. Riding Pegasus, he waited for the perfect moment. Then, at just the right time, he pulled Medusa’s head from his bag. The monster looked…, and instantly turned to stone.

Perseus releases Andromeda (c.1622), Peter Paul Rubens (Flemish, 1577 – 1640), Oil on canvas, 100x139cm, Hermitage, St. Petersburg.

Andromeda’s parents, the king and queen, were filled with gratitude. Perseus asked for Andromeda’s hand in marriage, and she agreed. Together, they would set off for his homeland. But their story was not over yet.

Wedding of Perseus and Andromeda, and Phineas as unwanted guest

After rescuing Andromeda, Perseus was welcomed as a hero. The wedding was quickly arranged, and the royal palace filled with celebration. But not everyone was pleased. At the height of the feast, an angry voice echoed through the hall. It was Phineus, Andromeda’s former fiancé. He stormed in with a group of armed men, furious that the bride had been given to another. He shouted that Andromeda had been promised to him, and that Perseus had stolen her. Tension rose. The joyful feast turned into chaos. Phineus and his followers attacked. Perseus tried to fight them off, but he was badly outnumbered.

Perseus turning Phineas and his followers to stone (c.1640), Luca Giordano (Italian, 1634 – 1705), Oil on canvas, 285×366cm, National Gallery, London.

Then, as a last resort, Perseus reached for the most fearsome weapon he had: the severed head of Medusa. Holding it aloft, he turned his gaze away. The attackers, caught mid-charge, had no time to look away. One by one, their bodies froze in place. Faces twisted in rage, weapons raised, they turned to cold, silent stone. The room fell quiet. Phineus was no more. The threat was over. The marriage of Perseus and Andromeda could finally begin in peace.


Perseus turns Phineas and companions into stone by showing them Medusa’s head (c.1605), Annibale Carracci (Italian, 1560 – 1609) and Domenichino (Italian, 1581 – 1641), fresco, c.500x200cm, Galleria dei Carracci, Palazzo Farnese, Rome.

Saving his mother Danaë, and confronting Polydectes

After his adventures abroad, Perseus returned home to the island where he had grown up. But all was not well there. His mother, Danaë, was still being harassed by King Polydectes, who had never given up his attempts to force her into marriage. She had taken refuge in the temple of Athena, hiding from the king’s relentless advances.

King Polydectes petrified by Medusa’s head (1676), illustration from Isaac De Benserade’s “Metamorphoses d’Ovide en rondeaux”, engraved by Sébastien Leclerc (French, 1637 – 1714), 8x10cm, Bibliothèque municipale de Lyon, France.

Perseus went straight to the palace and confronted Polydectes. Without a word, Perseus pulled the head of Medusa from his bag. Polydectes and his supporters, unprepared and arrogant, looked straight at it and turned to stone. With justice served and his mother finally safe, Perseus restored peace to the island.

Medusa’s head on Athena’s shield

After the sea monster was killed, Andromeda and his mother Danaë saved, and justice delivered, Perseus fulfilled one last promise. He returned the head of Medusa to Athena, the goddess who had guided him on his quest.

Perseus, Athena with the head of Medusa, and Hermes (c.395BCE), Krater (mixing bowl) by the so-called Tarporley Painter, produced in Apulia (Italy), height 31cm, Museum of Fine Arts, Boston, MA.

Athena took the powerful object and placed it at the center of her shield. From then on, Medusa’s stony gaze would serve to protect. It would turn away evil, and remind all who saw it of the strength found in wisdom and courage.

Athena and her shield with Medusa’s Head (c.1585), engraver Jan Saenredam (Dutch, 1565 – 1607) after design by Hendrick Goltzius (Dutch, 1558 – 1617), Engraving, 21x14cm, Rijksmuseum, Amsterdam.
Medusa on a shield (1597), Caravaggio (Italian, 1571 – 1610), Oil on panel, 60x55cm, Le Gallerie degli Uffizi, Florence.

Closing Notes

So what do we make of Perseus? Like Daniel from the biblical tradition, he is not a hero of brute force but of cleverness, courage, and integrity. Both are young men who rise to great challenges with the help of higher powers, whether divine faith or Olympian favor. They confront arrogant rulers, monsters in both human and mythic form, and they stand up for those who cannot protect themselves.

The stories of Perseus are older than the Bible, mythological in form, but in essence they tell the same tale: that justice can prevail, and that even in dark times, there is hope for the oppressed. Daniel’s story, though biblical in origin, mirrors these ancient myths in spirit. Both narratives teach us that the powerful who act with pride and hubris will be humbled. Both reveal a world where integrity matters more than might. And both reassure us that in the end, with the help of God or the gods, peace can be restored.

Bonus: Versace!

Now from myth to Milan! The famous fashion house Versace uses the head of Medusa as its logo, a direct nod to Greek mythology. The choice wasn’t random. As children, the Versace siblings played among ancient ruins near Reggio Calabria in southern Italy. There, on an old mosaic floor, they encountered the image of Medusa.

Versace Medusa plate (1993), Rosenthal Porcelain, Ø30cm.

Gianni Versace chose Medusa as the brand’s emblem. In myth, those who looked at her were turned to stone. In fashion, he hoped those who looked at his designs would be equally spellbound and captivated. Unlike Perseus, who avoided her gaze, we are drawn to it willingly, mesmerized. Carefully of course, because style and beauty can petrify!

Basket of Fruit (c.1599), Caravaggio, Milan.

Basket of Fruit (c.1599), Caravaggio, Milan.

Caravaggio (Italian, 1571 – 1610)

Pinacoteca Ambrosiana, Milan

The Pinacoteca Ambrosiana was established in April 1618, when Cardinal Federico Borromeo donated his collection of paintings, drawings and statues to the Biblioteca Ambrosiana, which he had founded in 1607. The museum consists of 24 rooms, where visitors can admire some of the greatest masterpieces of all time, and one of those is the Basket of Fruit or Canestra di Frutta by Caravaggio.

Basket of Fruit, Canestra di Frutta (c.1599), Caravaggio (Italian, 1571 – 1610), 68x55cm, Pinacoteca of the Biblioteca Ambrosiana, Milan.

This Basket of Fruit is probably the most famous painting in the collection of Cardinal Federico Borromeo, which formed the original nucleus of the Pinacoteca Ambrosiana. It is considered to be a sort of prototype of the “still life” genre. It shows a wicker basket brimming with fruit and leaves, rendered with great realism and attention to detail. This almost conflicts with the abstract neutral background of the painting and with the line of colour the basket itself is resting on, and from which it juts out. The founder of the Ambrosiana mentions this extraordinary painting many times in his writings and says he has searched in vain for a work that can bear comparison to it. But, he writes “for its incomparable beauty and excellence, it remained alone”. The painting has been interpreted in many different ways, some of which are religious: the extreme realism with which the fresh fruits are placed alongside those that are worm-eaten, and the leaves that gradually dry out and shrivel, give tangible form to the inexorable passing of time.

And when you are visiting the Pinacoteca Ambrosiana, please do not forget to see Leonardo da Vinci’s only painting on panel to have remained in Milan, now called Portrait of a Musician.

Portrait of a Musician (c.1485), Leonardo da Vinci (Italian, 1452 – 1519), 45×32cm, Pinacoteca of the Biblioteca Ambrosiana, Milan.

Leonardo’s Portrait of a Musician was traditionally thought to depict Ludovico il Moro, Duke of Milan. In 1905, when restoration work removed the overpainting and uncovered the hand with a musical scroll in the lower part, it was suggested that this was the portrait of a Musician, at times identified as Franchino Gaffurio, chapel Master of the Duomo of Milan and at other times as the Franco Flemish singer and composer Josquin des Prez, both of whom worked in Milan at the time of Leonardo and Ludovico il Moro. Recently it has also been suggested that it is a portrait of Atalante Migliorotti, a Tuscan musician who was a friend of Leonardo and who came with him to the Duke’s court in Milan as a singer and talented lyrist. With other words, we don’t know who it is, but it’s a beautiful portrait for sure. And the queues are way less than for visiting Leonardo’s Last Supper!

The Conversion of Saint Paul on the Way to Damascus

The Conversion of Saint Paul on the Way to Damascus

“Saul becomes Paul”

The Feast of the Conversion of Saint Paul is celebrated on January 25th. This day commemorates the biblical account of the dramatic conversion of Saul, who then becomes the Apostle Paul. According to biblical accounts, Saul was traveling to Damascus with the intention of arresting and persecuting Christians when he experienced a dramatic encounter with a bright light and heard the voice of Christ. Saul fell from his horse as he heard Christ’s words “Saul, Saul, why are you persecuting me”? or in Latin ”Saule, Saule, quid me persequeris”? This dramatic encounter brought about Saul’s conversion.

The Conversion of St Paul on the Way to Damascus (c.1617), Guido Reni (Italian, 1575 – 1642), 238x179cm, Royal Monastery of San Lorenzo de El Escorial, Spain.

Saul was blinded by the strong light. He was then guided to Damascus where Ananias, a follower of Christ, baptised Saul and miraculously gave him back his eyesight. After his conversion, Saul’s name was changed to Paul, and he is often referred to as Saint Paul or the Apostle Paul.

Christ appears own a cloud, with three angels. The Conversion of Saint Paul (1506), Hans Baldung Grien (German, 1484 – 1545), woodcut, 24x16cm, Rijksmuseum, Amsterdam.

Alternative theories about what happened to Paul on the way to Damascus have been proposed, including sun stroke, struck by lightning and a seizure; or a combination of these. In an article in the Journal of Neurology, Neurosurgery, and Psychiatry (1987), it has been stated , that Paul’s conversion experience, with the bright light, loss of normal bodily posture, a message of strong religious content, and his subsequent blindness, suggested a Temporal Lobe Epilepsy (TLE) attack, and a post-ictal blindness. TLE seizures can affect emotions, behaviour, memory, and consciousness. Symptoms can vary widely and may include unusual sensations, altered sense of reality, déjà vu, hallucinations, or even loss of awareness. Post-ictal blindness refers to a temporary loss of vision that occurs after a seizure. Individuals may experience various neurological symptoms, and a temporary inability to see.

The Conversion of St Paul on the Way to Damascus (c.1680), Bartolomé Esteban Murillo (Spanish, 1617 – 1682), 125x169cm, Prado, Madrid.
The Conversion of St Paul on the Way to Damascus (c.1602), Adam Elsheimer (German, 1578 – 1610), Oil on Copper, 20x25cm, Städel Museum, Frankfurt am Main.
The Conversion of St Paul on the Way to Damascus (c.1527), Francesco Mazzola aka Parmigianino (Italian, 1503 – 1540), 178x129cm, Kunsthistorisches Museum, Vienna.
The Conversion of St Paul on the Way to Damascus (1601), Caravaggio (Italian, 1571 – 1610), 230x175cm, Cerasi Chapel, Santa Maria del Popolo, Rome.
The Conversion of Saint Paul (1509), engraver Lucas van Leyden (Netherlandish, 1498 – 1533) after his own design, engraving, 28x41cm, Rijksmuseum, Amsterdam.

According to the New Testament, after Saul had his encounter with the bright light on the road to Damascus and heard the voice of Christ, he was left blinded. The men traveling with Saul stood there speechless; they had heard the sound but did not see anyone. Paul got up from the ground, but when he opened his eyes he could see nothing. So they led him by the hand into Damascus. For three days he was blind. In Damascus he met with Ananias, who laid hands on him, and something like scales fell from Saul’s eyes, restoring his sight. Ananias then baptized Saul, who took on the name Paul.

The Conversion of Saint Paul, print 15/34 from the series Acts of the Apostles (1582), engraver Philip Galle (Netherlandish, 1537 – 1612) after design by Maerten van Heemskerck (Netherlandish, 1498 – 1574), engraving, 21x27cm, National Gallery of Art, Washington.
Ananias Restoring the Sight of Saul (1719), Jean Restout (French, 1692 – 1768), 99x80cm, Louvre, Paris.
The conversion of St Paul on the way to Damascus and the baptism of St Paul by Ananias (c.1190), Fol 24v from the Picture Bible from the Benedictine Abbey of St. Bertin, France, 11x15cm, Koninklijke Bibliotheek, National Library of the Netherlands, The Hague.
The Apostle Paul with in the background the story of his conversion, including the words: “Saule, quid me persequeris” or “Saul, why are you persecuting me”?.
Saint Paul, print 5/6 from the series Sinners of the Old and New Testament (c.1610), engraver Willem Isaacsz. van Swanenburg (Netherlandish, 1580 – 1612) after design by Abraham Bloemaert (Netherlandish, 1564 – 1651), Rijkmuseum, Amsterdam.

After his conversion, Paul dedicated himself to spreading the teachings of Christianity. He embarked on several missionary journeys, established Christian communities, and wrote numerous letters (epistles) that are an integral part of the New Testament. His writings and teachings have had a profound impact on the development of the early Christian Church.

Narcissus and Echo

Narcissus and Echo

Meet Narcissus and Echo! Although we know them already, as they are around us every day and everywhere. But originally they are two mythological characters from the “Metamorphoses”, an 1st century book in Latin, by the Roman poet Ovid.

John William Waterhouse (1849 – 1917), “Echo and Narcissus” (1903), 109x189cm, Oil on Canvas, Walker Art Gallery, Liverpool.

Let’s start with Narcissus. He was in those ancient mythological times a most beautiful young man. One sunny day, while walking in a wood and being thirsty, he wanted to drink from a well. But then another thirst grew in him. As Narcissus drank, he was enchanted by an attractive young boy he saw in the pond. Narcissus fell in love with that pretty guy in the water, mistaking that shadow of himself for a real body. Absolutely spellbound, he could not stop looking at that mirror image of himself. But poor Narcissus, whenever he wanted to kiss his lover, and when his lips touched the water, the reflection disappeared. Whenever he reached his hands to that guy in the pond, the image faded away. The boy he fell in love with did not exist and was nothing else than his own reflection.

Caravaggio (1571 – 1610), “Narcissus” (c. 1598), 110x92cm, Oil on Canvas, Palazzo Barberini, Rome.

Narcissus lay down next to the pond and being deeply in love kept on staring at his own image. No food anymore and no sleep. He started crying, but when his tears touched the water, the pool rippled and the object of his desire disappeared. Narcissus ultimately faded away and died. On that spot where he died, flowers started to grow; it’s the Narcissus flower, the daffodil, with its head hanging down, as if looking at the flower’s own refection in the water. See the painting by Waterford, some daffodils start to grow already next to Narcissus.

Anonymous, “Narcis” (c.1765), 30x19cm, Watercolor on Paper, Rijksmuseum, Amsterdam.

Would Narcissus have lived now and amongst us, he probably non-stop posted pictures of himslef on his social media. In that sense Narcissus invented the “selfie”, as ultimate passionate love for ones own image. We all know some of these guys and girls; check your InstaGram! We might even Narcissus ourselves?

Now about Echo, a young girl who fell in love with Narcissus. But first back to the beginning as described in Ovid’s Metamorphoses. Echo was one of those girls who cannot stop talking, a chatterbox first class. Whenever in that mythological world the god Jupiter was playing around with girls, Echo distracted his wife Juno with her endless babbling. Juno got pretty angry and punished Echo. From that moment on, Echo could only repeat the last few words mentioned by someone else.

Alexandre Cabanel (1823 – 1889) “Echo” (1874) 98x67cm, Oil on Canvas, The Metropolitan Museum of Art, New York.

When Echo noticed Narcissus walking in the woods, she immediately fell in love. Narcissus sensed that someone was around and said: “Who is there, come here!”. And Echo said: “Come here!”. Narcissus said: “Let’s meet” and Echo said “Let’s meet!”. But when Narcissus saw Echo, he did not like her at all. Echo, feeling ashamed and rejected, hide in a cave where she became old and wrinkled and then died. Only her voice remains and that voice can still be heard when you are hiking in the mountains. Poor Echo will forever continue to repeat your last few words. I guess we all know some of these girls, endless talking and basically saying nothing more than just a few echoed words.

Of course there are deeper psychological meanings behind being a Narcist or being like Echo. The Narcists around us are the self-centered persons and the Echoists are the ones always focusing on others and neglecting themselves. And that makes them attracting each other, but never really connecting. They both should learn to share a bit each other’s characteristics. For Narcissus to echo more and for Echo to become a bit more narcistic.

The Caravaggio painting became the iconic image of Narcissus. The painting is currently to be seen on the exhibition “Caravaggio & Bernini, the Discovery of Emotions” in the Kunsthistorisches Museum in Vienna, until January 19, 2020. This exhibition (and Caravaggio’s Narcissus) will then move to the Rijksmuseum Amsterdam as “Caravaggio-Bernini, Baroque in Rome” from February 14 until June 7, 2020.