The classical myth of Narcissus knows numerous representations since ancient times, but the version that Caravaggio gives is distinguished by the unusual compositional scheme conceived almost like a playing card: the lower part mirrors the upper one as if the painter had overturned 180 degrees the upper half of the canvas to obtain the reflected figure. A layout congenial to the story of the young hunter, who falls in love with his own image reflected in the water. The stunt of the naked knee acts as the center of visual attraction and the wide puffed sleeve accompanies the gaze towards the hand immersed in the water in an attempt to embrace that deceptive form of the image of oneself, as narrated in the third book of Ovid's Metamorphoses. . The mouth is open: it is the apex of Narcissus' longing who, realizing the paradoxical nature of his sentiment, lets himself die on the shore of that same source.