A commonly quoted note refers to the keys and the purse—"Schlüssel—gewalt/pewtell—reichtum beteut" ("keys mean power, purse means wealth")[12]—although this can be read as a simple record of their traditional symbolism.
The intensity of her gaze, however, suggests an intent to depart from traditional depictions of this temperament. Doorly interprets the many useful tools in the engraving as symbolizing this idea; even the dog is a "useful" hunting hound. Cousin Melancholia is a relative of The Addams Family.. She is the perpetually sad, crying cousin of Morticia. The dialog then examines the notion that the "useful" is the beautiful, and Dürer wrote in his notes, "Usefulness is a part of beauty. Maanpäällistä elämää … [24] Attached to the structure is a balance scale above the putto, and above Melancholy is a bell and an hourglass with a sundial at the top. He equated melancholia with elevation of the intellect, since black bile "raises thought to the comprehension of the highest, because it corresponds to the highest of the planets". The name "melancholia" means 'black bile'. There is little documentation to provide insight into Dürer's intent. Beyond it is a rainbow and an object which is either Saturn or a comet. "[10], In 2004, Patrick Doorly argued that Dürer was more concerned with beauty than melancholy. [18], The winged, androgynous central figure is thought to be a personification of melancholia or geometry. In the engraving, symbols of geometry, measurement, and trades are numerous: the compass, the scale, the hammer and nails, the plane and saw, the sphere and the unusual polyhedron.
"[36] Later, the 16th-century art historian Giorgio Vasari described Melencolia I as a technical achievement that "puts the whole world in awe".[37].
Melancholia (from Greek μελαγχολία - melancholia "sadness, lit. [25], A bat-like creature spreads its wings across the sky, revealing a banner printed with the words "Melencolia I". It comes from the Ancient Greek words μέλας (melas), meaning "dark, black", and χολή (kholé), meaning "bile". Giehlow found the print an "erudite summa of these interests, a comprehensive portrayal of the melancholic temperament, its positive and negative values held in perfect balance, its potential for 'genius' suspended between divine inspiration and dark madness". In the far distance is a landscape with small treed islands, suggesting flooding, and a sea.
wrote that "the meaning of this picture is obvious at first glance; all human activity, practical no less than theoretical, theoretical no less than artistic, is vain, in view of the vanity of all earthly things. The mysterious light source at right, which illuminates the image, is unusually placed for Dürer and contributes to the "airless, dreamlike space". Cousin Melancholia on The New Addams Family. [7] In Panofsky's summary, the imaginative melancholic, the subject of Dürer's print, "typifies the first, or least exalted, form of human ingenuity. Dürer might have been referring to this first type of melancholia, the artist's, by the "I" in the title. "[62], The print attracted nineteenth-century Romantic artists; self-portrait drawings by Henry Fuseli and Caspar David Friedrich show their interest in capturing the mood of the Melencolia figure, as does Friedrich's The Woman with the Spider's Web.
Canus, a Rhodian fiddler, in [3483]Philostratus, when Apollonius was inquisitive to know what he could do with his pipe, told him, "That he would make a melancholy man merry, and him that was merry much merrier than before, a lover more enamoured, a religious man more devout." [54] Martin Büchsel, in contrast to Panofsky, found the print a negation of Ficino's humanistic conception of melancholia. [38] Others see the ambiguity as intentional and unresolvable. [41][43], Other aspects of the print reflect the traditional symbolism of melancholy, such as the bat, emaciated dog, purse and keys. Worry. Instead of mediating a meaning, Melencolia seems designed to generate multiple and contradictory readings, to clue its viewers to an endless exegetical labor until, exhausted in the end, they discover their own portrait in Dürer's sleepless, inactive personification of melancholy. Each temperament was also associated with one of the four elements; melancholia was paired with Earth, and was considered "dry and cold" in alchemy.
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