Abstract
The symbolism in the sense of late nineteenth century art movement found in Ovid's Narcissus an optimal pattern for expressing its philosophical fundamentals because this mythic figure symbolizes by his doubling into Narcissus observing and Narcissus observed, the imprinting of the invisible in the visible. If this emblematic form of the sensibility fin-de-siècle expresses a fascination of the perfect Beauty into itself, it can be extended and as a "philosophem" express different dualities of epistemologic type.