Raphael and the Judgement of Paris.

I promised a follow-up post on the Graeme Cameron review, specifically with reference to the Judgement of Paris considered by that writer to be an autograph work by Raphael. What follows is a summary of the painting distilled from details in GC’s book, but set out in catalogue form. It’s followed by an essay on themes and ideas in the work. Thanks to Graeme Cameron for permission to use the images, and to his brother Norman for supplying information, and fielding my questions.

1. Raphael, The Judgement of Paris, 1512, Private Collection, U.K., 56 x 71 cm.

 

Raphael, The Judgement of Paris, oil on canvas, 56 x 71 cm, Private Collection, U.K.

Provenance.

First recorded in 1648 in the Casa Leoni, near Venice, by Carlo Ridolfi, in his Le Maraviglie dell Arte, as painted by Giorgione; bought by the Hon. James Harris MP, father of 1^st Earl of Malmesbury, in Venice in 1770. Subsequently housed in Malmesbury collection at Heron Court, near Salisbury, except when loaned out to exhibitions- see below. Mentioned by Gustave Waagen (fig 5) as a Giorgione in his Treasures of Art in Great Britain” (1854-7, Vol. 1, p.416) thus, “his Lordship possesses a number of (paintings) several of great value.” The Judgement of Paris”…slender yet powerful figures…warmest golden tones especially striking in this beautiful picture…delicately balanced masses of light in the different planes of distance…and in the background, of…the luminous light of the fine landscape.” A later endorsement of the painting was made by the renaissance scholar, Sir Martin Conway, who said in his monograph on Giorgione; “a very beautiful picture of Paris and the Three Goddesses.” He went on to say that “The Three Goddesses are a beautifully composed group of lovely figures.”

Exhibitions.

Manchester 1857 (“Art Treasures Exhibition”, Manchester, no. 251, “Giorgione”); Leeds, 1868 (“National Exhibition of Works of Art”, no. 214, “Giorgione”); London 1894 (New Gallery, “Exhibition of Venetian Art”, no. 29); London 1912 (R.A., Burlington House, accompanied by full page engraved plate, again as a “Giorgione” fig. 4); London 1929 (Burlington Fine Arts Club, “Early Venetian Exhibition”); Melbourne, 1984 (Special Exhibition.).

Related Works and Close Copies.

2.a-c. clockwise, Uffizi, Dresden and Stockholm copies.

3.Gubbio variant, almost certainly after Stockholm version.

4.1912, engraving, Burlington House exhibition.

Florence, Uffizi Gallery, cited as “Unknown 17thC artist’s copy after a lost Titian”, formerly in “Enrico Albuzio” Collection, Venice. Nearest to the original. (fig 2a)

Lost (destroyed during Allied bombing in WW2), formerly in Dresden Gallery. Revised copy; also recorded as by an Unknown 17thC artist, but content “much simplified” and “reduced.” Many original features missing including rear buildings and Mercury in the sky. (2b)

Stockholm, National Gallery of Sweden, formerly in the Larpent Collection, Oslo. Initially classified as by Unknown artist, but its previous owner, Sophus Larpent, was prepared to go into print to prove it as a Giorgione. (2c)

Gubbio, Gubbio Gallery. Almost identical variant to Stockholm version, attributed to “Dinesi”. Seems to be a later direct copy of the version owned by Larpent. (fig.3)

Engraving to 1912 RA. Exhibition. (fig. 4)

Technical Notes

5. Gustave Waagen

The painting is on canvas, a support that Raphael began to use about 1512- 13, probably in response to Sebastiano’s importation of Venetian methods. The canvas has been relined a long time ago; however, the weave of the original does not appear to exhibit the loose, rough facture evident, for example on the surface of Giorgione’s The Tempest. The canvas may be fine linen judging by the surface evidence. In his Treasures of Art in Great Britain, Gustave Waagen (fig. 5) included a reference to the condition of the painting as being in ...."an excellent state of preservation”, a condition it retains today, having been under glass in its frame. No substantial cleaning has been undertaken [unless many centuries ago] and it appears to retain its original glazes. Many of the photos do indicate craquelure (fig. 1), and it is both normal [and expected] for the period. How it appears in any particular photo depends on lighting angles etc.

6. Page from GC’s book showing hidden modello study and its location.

 

7. Magnified Vega scans of modello from GC’s book.

There are substantial sub-surface pentimenti suggesting that Raphael had used the canvas “like a drawing board” (G.C., 72). The basis of the composition was a rustic figure in a monk-like garment, seated next to a tree. At some point during the evolution of the composition, Raphael characteristically re-thought his design and decided to include his own features rather than an anonymous shepherd. The facial change was followed by new garments, in a renaissance style. Thus Raphael steered the composition away from a rustic pastoral into something more individual and personal. The changes also confirm that originally the painting was not intended as a specific mythology- no apple was originally in the man’s lower right hand- but some evocation of an Arcadian setting, with little narrative content. On the subsurface there is a Madonna and Child modello (figs 6-7), which might be an abandoned project from Raphael’s late 1512 period in Rome; it would be helpful to compare it with underdrawings in other Raphael Madonnas from that time slot. The Judgement of Paris is signed and dated “Rv 1512” on the golden apple that Paris holds; the date “1512” can also be seen on the headband of the central figure, Venus.

Subject and Themes.

8. Detail of Judgement of Paris, Paris.	9.Detail of Judgement of Paris, Minerva, Venus and Juno.

The Judgement of Paris was a favourite subject of many renaissance and early modern painters, as it offered the chance to depict nudes within pleasant surroundings. Although there are variations on the theme, the basic composition of three beautiful women regarded by a male was never changed. Charged with the task of choosing which of the three goddesses, Hera, Aphrodite and Athena (Juno, Venus and Minerva) was the most beautiful, the shepherd Paris chose Aphrodite/Venus, with dire consequences- the Trojan War. Raphael’s Judgment of Paris eschews the grand narrative theme in favour of a more intimate situation. It is a painting conceived to please the eye, with its glistening palette and warm colours. Paris lounges on the grass, dressed in attractive burgundy and white renaissance costume (fig.8); the three goddesses, painted in golden brown and moulded together into a unified form, charm the viewer (fig.9). In tone it is both sensual and courtly; in style, it’s both relaxed and ordered.

It’s no wonder that leading 19^th century connoisseurs like Waagen and Eastlake saw the lyricism of Giorgione in this painting, though by the 1950s, their modern successors were re-considering the attribution; although it was- unsurprisingly- still thought to be a product of the Venetian School. A scholar who has analysed the stylistic links between Roman and Venetian art, Paul Joannides, believed that it was a copy after a lost original of Titian, although he didn’t mention it in his book on early Titian, but did so in a presentation at a Giorgione exhibition held in the U.S.A., and later in an article.[1] To my eye, though the canvas undoubtedly evokes the Venetian Arcadian groves of Giorgione and Titian, there is something Roman about the nudes. In his discussion of it, Graeme Cameron- who’s worked on the painting since 1984- connects it with Sebastiano dell Piombo, a Venetian artist who came to Rome at about this time, to aid Michelangelo.[2] Sebastiano’s artistic relationship with Raphael has mainly been analysed in the context of the competition engineered by the Medici, out of which emerged Raphael’s Transfiguration (Vatican, 1518-20) and Sebastiano’s equally impressive Raising of Lazarus (London, National Gallery, 1518-20).[3] When competition in the earlier Roman period is considered, attention is usually directed towards Raphael’s Galatea and Sebastiano’s Polyphemous- both in the Villa Farnesina (figs 16,17). In the case of the Malmesbury Judgement, it may be more judicious to select another Sebastiano from the same period for comparison.

10. Raphael, The Judgement of Paris, 1512.

11. Sebastiano del Piombo, The Death of Adonis, 1512, Florence, Uffizi, oil on canvas.

It’s an interesting exercise to compare this Judgement of Paris with Sebastiano’s Death of Adonis (Florence, Uffizi), especially as both seem to have been painted in  1512 (figs 10-11). Studying the two paintings, one can discern similarities in mannerisms: the hook like configuration of forefinger and thumb that appears in the Sebastiano is repeated in the hand of the reclining figure of Paris, in the Raphael; there also seems to be echoes of the sharp, chisel like noses in the Raphael nudes. However, there are distinct differences, too. Unlike Sebastiano who’s content to conspicuously display his knowledge of classical sculpture, the Spinario, Crouching Venus et al, possibly as a concession to Roman taste, Raphael has naturalised his female antique sources, a process that can be traced back to the Three Graces (Chantilly, Musée Condé, 1507. As Cameron points out, the Judgement could be seen as a stylistic mid-point between the earlier Chantilly Three Graces and the Graces in a spandrel in the Loggia of Agostino Chigi, ( p. 74,) (figs 12-14).

12.Raphael, The Three Graces, Musée Condé Chantilly, 1507, oil on panel.	13.Detail of Judgement of Paris.	14.Detail from Loggia of Villa, Farnesina, Rome, The Three Graces, fresco, c. 1518.

As one might expect, Raphael’s figures do resemble real women while Sebastiano’s nymphs recall Michelangelo’s unhappy results when representing the female form, in the words of Sydney J. Freedberg, “an almost bulking massiveness, ponderous and sensuously splendid: idealizations, but of sensuous existence.”[4]

15.Hera? (La Fornarina) from Judgement and details of La Donna Velata, Florence, Pitti Palace, c. 1514, and Sistine Madonna, Vatican, c. 1512-14.

If Raphael borrowed, to use Freedberg’s word, a Giorgionismo style from Sebastiano, then what was the purpose? Assuming, as Graeme Cameron states, Raphael created the Judgment of Paris for private reasons, as “a pictorial message of love, set in a context of a mythical classical beauty contest” (p.64); if the painting has some connection with Raphael's own love affairs, which the presence of a woman resembling his lover “La Fornarina” definitely suggests (fig15), then Raphael might have seen in Sebastiano’s Death of Adonis, or similar works, a blend of Roman grandeur and Venetian sensuality appropriate for his aesthetic of love.  According to Joannides, Sebastiano may have painted the Death of Adonis immediately after his arrival in Rome; it may have hung in the Chigi Villa of the Farnesina since Peruzzi cited aspects of it in his Sala delle Prospettive of 1516, an illusionistic set of paintings based on Ovid’s Metamorphoses, on the piano nobile of the Villa Farnesina..[5] If that were the case then Raphael would surely have seen the Death of Adonis and filtered its Giorgionismo through his antique, Roman style that he was using. Raphael started working for Chigi in 1510, and he was working on the Galatea in 1512, a possible pendant to Sebastiano’s Polyphemous (figs 16-17), who resembles the satyr at the rear of the nymphs in the Death of Adonis..For those who remain wary of admitting the Malmesbury Judgement of Paris to the Raphael canon, they will have to detect another Venetian painter practicing in Rome in 1512. Apart from an influx of Tuscan, Sienese and Umbrian painters, Venice is not really represented in the Eternal City until Sebastiano arrives, and his Giorgionismo is then assimilated into the Roman antique style in that crucial time slot of 1511-12.However, it seems highly unlikely that Sebastiano, or even Titian painted the Malmesbury Judgement of Paris. It should also be pointed out that the Judgement of Paris wasn’t really a Venetian subject.

16. Loggia di Galatea, Villa Farnesina, Rome, 1510-12.	17. Sebastiano del Piombo, Polyphemous and Raphael, Galatea, 1511-12, Villa Farnesina, Rome, Rome, fresco.

18 Marcantonio Raimondi, The Judgement of Paris (after Raphael), 1514-18. Detail: “piu grassa Minerva.”

In the “censored” version, known for centuries through the famous Marcantonio Raimondi engraving (fig.18), the aesthetic of love was played down, and the mythological overtones increased. Although little connection has been made by past scholarship between the Raimondi engraving and the Malmesbury Judgement of Paris, there are obvious compositional similarities, as pointed out by Graeme Cameron, (64-5). He notes the close juxtaposition of the heads of Venus and Juno, which repeats the configuration of the heads in the painting. The pose of the reclining river god in Raimondi’s engraving also closely matches Paris in the Malmesbury Judgement There is still the problem of Athena/Minerva, who was separated from the group and turned away from the spectator, unlike in the painting. In the engraving, Minerva has the proportions of Sebastiano’s oversize nudes; but according to Hubert Damisch, by placing Minerva on the “compositional central axis”, Raphael referenced Alberti’s distinction between painting and mathematics, “whereas geometry has need only of points without extension, of lines without thickness, of surfaces without texture, art requires a “fatter Minerva”, piu grassa Minerva.[6] Lines here refer to drawing, and the “fatter Minerva” to the needs of painting rather than graphic delineation. As Damisch observed, Raphael “cast his demonstration in black and white, without recourse to colour”.[7] This is simply a hypothesis, but I wonder if Raphael chose black and white in the engraving because he wanted to convey an altered idea of beauty, different to the vivid, warm colours of the painted Judgement of Paris?

19 Malmesbury Judgment of Paris.

20 Raimondi, Judgment of Paris.

21 Details of Judgement and Sistine Madonna

Damisch’s long study of the theme of the Judgment of the Paris concerns itself just as much with beauty as iconography; and we should consider beauty when we view the Malmesbury Judgement of Paris, especially when seen alongside Raimondi’s engraving, (figs 19-20). We should also take seriously Graeme Cameron’s claim that the Judgment of Paris is a personal statement of Raphael. Why else would the painter compare himself to Paris, and the goddesses to the women in his life? For those who doubt the attribution to Raphael, they will need to explain why Paris resembles Raphael’s self-portraits (fig.22); why the woman on the left of the goddess group resembles portraits of La Fornarina, and women like the Virgin in the Sistine Madonna, or La Donna Velata (figs. 15,21), who are thought to be modelled on Raphael’s lover. However, another problem emerges here. If the woman on the left is Athena/Minerva- the robes covering her suggest modesty- then why did Raphael neglect to give Aphrodite/Venus the features of his inamorata? As Damisch argued, though both Athena and Hera incarnated different notions of beauty, it was Aphrodite who was associated with a canonical idea of beauty, derived from the Greeks, (Damisch, 132). Out of the three goddesses in the painting, it is Aphrodite/Venus who seems to based conspicuously on an antique source. Despite Aphrodite according with classical canons of antique beauty, Graeme Cameron might be right to say the La Fornarina figure is likely to be Hera, as she was said to have the greatest beauty, (66). His identification may be confirmed by the fact that in one of the later related copies, attributes have been included to identify each goddess. In the Larpent version and its associated variant (figs 2c and 3) Athena’s arms appear on the grass behind the right hand woman; a cupid accompanies the central female, thus proving that she is Aphrodite/Venus, which means the remaining goddess must be Hera. Yet, there is a further complication since deep scans have detected Raphael’s monogramme “Rv” on the genitals of the middle woman. Such explorations into the technical and sexual boggle the mind, but they do underline the confusion over who is the most attractive woman, if Hera is modelled on “La Fornarina”, and Aphrodite is “branded” as an inamorata of the painter. We could account for this confusion over pulchritude by turning to Raphael’s own words on beauty and women. As he said in a famous letter to his friend Baldassare Castiglione, possibly depicted with Raphael in a later self-portrait (fig. 23).

“..in order to paint a beautiful woman, I would have to see several beautiful women …but because there are so few … I make use of a certain idea which comes into my mind. Whether it carries any excellence of art I do not know, but I work hard to achieve it.’[8]

22 illustrations from GC’s book: Paris figure (with varnish removed) compared with Raphael Self-Portrait. from School of Athens, 1510-12.	23 Raphael, Self-Portrait with a Friend, possibly Castiglione, Paris, Louvre, c. 1518, oil on canvas, 99 x 83 cm.

Was that “idea” to be associated with Aphrodite, Athena, Hera, or all of the goddesses? It’s difficult to say, but Raphael’s treatment of the goddesses in the Malmesbury Judgement of Paris suggests that he had a more complex notion of how feminine beauty could be calibrated. More work needs to be done on the relationship between the re-discovered Judgment of Paris and the engraving in relation to beauty. Damisch is the obvious reference point here. Questions remain of course. It needs to be determined where this painting was before the 17th century; was it in Raphael’s private collection, or maybe Chigi’s who was aware of the cross-over between Raphael’s love life and his painting. We also need to discover exactly what Raphael learnt about the Venetian school via Sebastiano’s paintings; this applies especially to his use of materials and supports. Though it may not be possible, it would help to compare the under drawing and pentimenti in the Judgment with other examples in Raphael’s oeuvre.

However, it seems fair to say for the present that the Malmesbury Judgement of Paris might be a visual counterpart to Raphael’s written meditations on seeking the ideal in women, especially given its personal associations. Raphael cast his aesthetic of love in terms of a subject which was perfectly appropriate, because it brought themes of selection, beauty and love together in close interaction, the Judgement of Paris.

Sources

Albert, Della Pittura.

Constant Barbieri, “Raphael, Michelangelo and Sebastiano” in The Cambridge Guide to Raphael, ed. Marcia Hall, (Cambridge, 2005), 141-164.

Graeme Cameron, The Secrets of Leonardo da Vinci, Vol 1, Vega Scan, 2011.

Hubert Damisch, Le Jugement de Paris: Iconologie analytique 1, (Paris, 1992); translated as The Judgement of Paris (trans John Goodman), (Chicago, 1996).

Sydney J. Freedberg, Painting in Italy 1500-1600, (New Haven and London, 1993).

Rona Goffen, Renaissance Rivals: Michelangelo, Leonardo, Raphael, Titian (New Haven and London, 2002).

Paul Joannides, Titian to 1518: The Assumption of Genius (New Haven and London, 2002).

Edward Williamson, “The Concept of Grace in the Work of Raphael and Castiglione”, Italica, Vol. 24, No. 4 (Dec., 1947), pp. 316-324.

---

[1] Joannides was one of several academics who gave public seminar lectures at the National Gallery, Washington exhibition, “Rediscovering Venetian Renaissance Painting", on 17/9/2006. His was entitled "Titian, Giorgione and the Mysteries of Paris.” In later correspondence, he advised that he had publicly stated [presumably in this lecture], that the Malmesbury Judgement of Paris subject was by Titian. He later published an article in Artibus 2010 with the same title, and he published the 1912 engraving in this article. The article is available here [in abstract]. http://artibusethistoriae.org/chapter649.html. Thanks to Norman Cameron for the information in this footnote. I haven’t read the Joannides article yet, as my institution’s run ends before the date of publication, so if anybody’s got a copy….

[2] Graeme Cameron, The Secrets of Leonardo da Vinci, Vol 1, Vega Scan, 2011, 58-75, 62.

[3] Constant Barbieri, “Raphael, Michelangelo and Sebastiano” in The Cambridge Guide to Raphael, ed. Marcia Hall, (Cambridge, 2005), 141-164; Rona Goffen, Renaissance Rivals: Michelangelo, Leonardo, Raphael, Titian (New Haven and London, 2002).

[4] Sydney J. Freedberg, Painting in Italy 1500-1600, (New Haven and London, 1993), 111. Friedberg’s short analysis remains the best on this fascinating painting.

[5] Paul Joannides, Titian to 1518: The Assumption of Genius (New Haven and London, 2002), 136.

[6] Hubert Damisch, Le Jugement de Paris: Iconologie analytique 1, (Paris, 1992); translated as The Judgement of Paris (trans John Goodman), (Chicago, 1996), 235. For Alberti’s quote, see Della Pittura, “Noi, perché vogliamo le cose essere poste da vedere, per questo useremo quanto dicono più grassa Minerva”.

[7] Damisch, The Judgement of Paris, 235.

[8] See the discussion in Edward Williamson, “The Concept of Grace in the Work of Raphael and Castiglione”, Italica, Vol. 24, No. 4 (Dec., 1947), pp. 316-324, who notes that “the work of Raphael is equally a commentary on this text.”, 323.

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Hi K, Yes, I recall the quantitative analysis you've done on this. I'll wait a few days or so and tie that into this analysis- just a short post to draw attention to your blog and its relevance to this subject.

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