Main: Kruse & Nuernberg feat. Nathalie Claude - Leaves Falling (Mario Basanov Remix)
The work has been the subject of more modern interpretation than almost any other print, including a two-volume book by Peter-Klaus Schuster, and a very influential discussion in his Dürer monograph by Erwin Panofsky. Reproduction usually makes the image seem darker than it is in an original impression (copy) of the engraving, and in particular affects the facial expression of the female figure, which is rather more cheerful than in most reproductions. The title comes from the (archaically spelled) title, Melencolia I, appearing within the engraving itself. It is the only one of Dürer's engravings to have a title in the plate. The date of 1514 appears in the bottom row of the magic square, as well as above Dürer's monogram at bottom right. Suggestions that a series of engravings on the subject was planned are not generally accepted. Instead it seems more likely that the "I" refers to the first of the three types of melancholia defined by the German humanist writer Cornelius Agrippa. In this type, Melencholia Imaginativa, which he held artists to be subject to, 'imagination' predominates over 'mind' or 'reason'.
- The tools of geometry and architecture surround the figure, unused
- The 4 × 4 magic square, with the two middle cells of the bottom row giving the date of the engraving: 1514. This 4x4 magic square, as well as having traditional magic square rules, its four quadrants, corners and centers equal the same number, 34, which happens to belong to the Fibonacci sequence. His age in 1514 was 43, reverse of 34.
- The truncated rhombohedron with a faint human skull on it. This shape is now known as Dürer's solid; over the years, there have been numerous articles disputing the precise shape of this polyhedron)
- The hourglass showing time running out
- The empty scale (balance)
- The despondent winged figure of genius
- The purse and keys
- The beacon and rainbow in the sky
- Mathematical knowledge is referenced by the use of the symbols: compass, geometrical solid, magic square, scale, hourglass.
An autobiographical interpretation of Melencolia I has been suggested by several historians. Iván Fenyő considers the print a representation of the artist beset by a loss of confidence, saying: "shortly before [Dürer] drew Melancholy, he wrote: 'what is beautiful I do not know' ... Melancholy is a lyric confession, the self-conscious introspection of the Renaissance artist, unprecedented in northern art. Erwin Panofsky is right in considering this admirable plate the spiritual self-portrait of Dürer."