ART AND IMAGES IN PSYCHIATRY

SECTION EDITOR: JAMES C. HARRIS, MD Caravaggio’s Narcissus He looks in speechless wonder at himself and hangs there motionless in the same expression, like a statue carved from Parian marble....hegazes at his eyes, twin stars, and his locks... onhis smooth cheeks, his ivory neck, the glorious beauty of his face....Unwittingly he desires him- self...andburns with love....Howoften did he offer vain kisses on the elusive pool? Ovid, Metamorphoses, book III, lines 418-4291

HEN JOVE, KING OF terflies and long-tongued bees— his reflection. Narcissus leans forward, the gods, playfully having evolved narrow floral tubes to bracing himself with his right arm as he suggests to Juno, his better accommodate them.2 peers into the pool; his look is intense and queen, that women Ovid’s Narcissus assumed new im- his golden locks fall onto his forehead. experienceW the greater pleasure in sex, portance in the 15th century for Leon Light falls obliquely from the left, casting Juno demurs. They consult Tiresias, a Battista Alberti in his Renaissance clas- a shadow on his neck and highlighting his mortal who has been a man and a woman sic book, On Painting.3 Choosing the knee and garment sleeve; the sleeve casts and knows both sides of love. When he Narcissus story as an apt metaphor, he a silvery reflection into the pool.3 agrees with Jove, the outraged Juno blinds attributed the invention of painting to Caravaggio, confident, uncompromis- him. To compensate his loss, Jove gives ing, arrogant, and demanding, was one of Tiresias foresight into the future. Thus, the best-known artists in Rome. He had Liriope, mother of Narcissus, seeks him a difficult temperament and often engaged out and asks whether her most beautiful in brawls, requiring help from his high- son will have a long life. Tiresias ruefully placed patrons to extricate him. One replies that Narcissus will live long if he altercation was pivotal in his life. In a dis- never comes to know himself.1(p149) pute in 1606, he stabbed Ranuccio Tomas- Echo, a nymph condemned by Juno soni in the groin. When Tomassoni later to repeat back what she hears but not died, Caravaggio was charged with mur- initiate speech, fell in love with Narcis- der and he fled Rome. For the next sev- sus. When he, separated from his com- eral years, he sought a pardon from the panions, calls out “Here let us meet!” she pope. Hoping for the success of his appeal, responds in kind, “Let us meet” and then he painted David With the Head of Goliath rushes forth to embrace him. He cries as a gift, it is believed, for the pope’s out, “Embrace me not!”1(p151) Mortified nephew, a patron, in 1609-1610.4 In it, by his rejection, Echo pines away, her David looks down with concern and pity body dissolving in her grief until only at the severed head of Goliath (Figure), her voice remains.1(p153) a grotesque self-portrait of Caravaggio. Because Narcissus arrogantly rejects all Some have proposed that showing him- suitors, both female and male, he is cursed self as Goliath was narcissistic, and oth- to suffer the same rejection others feel. Figure. David With the Head of Goliath. ers suggest the choice reflects Caravaggio’s Thus, Narcissus is drawn to the clear pool masochism5;however,itseemsmorelikely where Tiresias’ prophecy will be ful- Narcissus, for, Alberti wrote, the painter that this painting was an effort at self pro- filled. Narcissus stares down into the sil- embraced reflected surface light from pitiation, revealing him to be a sinner like very pool in speechless wonder (epi- people and things and transformed it into Goliath. On the sword appears the Latin graph) and falls in love with his reflected beautiful images. Realism in art as- abbreviation for the motto humility con- self-image. He tried to kiss and embrace sumed new importance following a de- quers pride. Thus apparently did Caravag- it and is despondent when the image fades cision by the Roman Catholic Church gio confront his narcissism and seek to away. In time, he realizes it is his own re- after the Council of Trent (1545-1563), make amends. flection. Bereaved, he pines away, as Echo which re-emphasized that paintings and had, but, being mortal, dies. sculpturesinchurchsettingsshouldspeak James C. Harris, MD When Narcissus’ sisters seek out his to the illiterate. physical body for cremation, it is gone. Michelangelo Merisi da Caravaggio REFERENCES In his place is a beautiful yellow- (1571-1610) personified the new empha- centered white flower, the narcissus, all sis on realism. Caravaggio’s striking use 1. Ovid. Metamorphoses. Miller FJ, trans. Cam- that remained of his former beauty. We ofchiaroscuro(contrastinglightanddark) bridge, MA: Harvard University Press; 1963. know today it was a wise metamorpho- heightened the emotional impact of his 2. Barrett SCH, Harder LD. The evolution of polymor- sis. Ovid (43 BC to AD 18), who told the works. He was the key figure in develop- phic sexual systems in daffodils (Narcissus). New story of Narcissus in his Metamorpho- ing tenebrism (contrasting dark and Phytol. 2005;165(1):45-53. ses1 and also wrote erotic poetry and shadow). Moreover, Caravaggio used live 3. Bann S. The True Vine: On Visual Representation and Western Tradition. Cambridge, UK: Cam- books on sexual seduction, might be models and drew directly with oils on the bridge University Press; 1989. pleased to learn that the narcissus flower canvas. Unlike the typical rendering of the 4. Langdon H. Caravaggio: A Life. London, UK: Chatto exhibits an unusual diversity in its sexual legend that includes Echo or the flower- & Windus; 1998. system. Unlike its namesake, it is most ing narcissus, his is an arresting circular 5. Buckley PJ. Caravaggio (1571-1610). Am J welcoming—to cross-pollinating but- composition showing only Narcissus and Psychiatry. 2008;165(2):201-202.

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