This article reconsiders Narcissus (1548–65), Benvenuto Cellini’s marble sculpture, as a sophisticated botanical-political statement rather than merely a mythological rendering. Shifting the focus from artistic patronage to vegetal symbolism, it argues that the statue participated in Cosimo I de’ Medici’s broader strategy of employing botanical imagery in service of his political legitimacy and cultural ambitions. Although long overlooked due to the uncertain circumstances of its commission and placement, Narcissus reveals its significance when interpreted through the lens of botany as power. Carved from a prized Greek marble belonging to Cosimo, the sculpture draws from Ovid’s Metamorphoses while diverging through added vegetal motifs and compositional emphasis on transformation – not only of the youth, but of nature itself. At the same time, Narcissus constitutes Cellini’s contribution to the paragone debate, serving both his artistic interests and Cosimo’s cultural-political programme. The paragone – and such conceptually layered creations as the Narcissus – were enabled by the climate of inquiry cultivated at the Medici court. By foregrounding plant imagery, both in the sculpture and in Cosimo’s broader embrace of botanical science as a mark of enlightened rule, the article reframes Narcissus as a symbol of dynastic renewal, scientific modernity and artistic flourishing under Medici rule.
