Jean Starobinski, who died last March in Geneva, his hometown, has been described as the greatest literary critic of the 20th century. But ‘literary critic’ does not do justice to this man who held degrees in classical studies and medicine (he worked as a hospital intern for five years). He showed great insight in his analysis of the history of ideas, literature and art, and practiced thematic reading and interpretation like no other. The history and representations of melancholy recurrently appear in his work, as mentioned by António Guerreiro, whose text recovers part of an interview given by ‘Staro’, as his friends called him, during a conference in Porto in July, 1990. Author of a brilliant study on Rousseau, he left a lasting mark on 18th-century studies. It was mainly from that era’s soil and subsoil that he took the mask motif, which radiates throughout his work and attaches itself to his own face. This is shown by Barbara Chitussi, who continues here the interpretation of Starobinski’s work initiated in an essay entitled Jean Starobinski e la conoscibilità della maschera.