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« Connoisseurship on Trail. Book Review: John Brewer, The American Leonardo; a Twentieth-Century Tale of Obsession, Art and Money, 2009. | Main | A Tale of Two Pictures »



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Many thanks for the mention David! I did not think my review sensationalist enough to generate controversy, that perhaps started when Raphael's name was invoked!

I look forward to any new data supplied on the topic. It was a shame it wasn't presented in the first instance. I do *not* have an opinion on what the piece is, though I think Mr Cameron has his work cut out for this to sink in as a Raphael.

I now have the Joannides article mentioned, and hope to present a summary of it at some point. It's fascinating, even just as a case study of the intense bluster Joannides approaches his work!

The link between Raphael and Giorgione is perhaps most tangible around Fra Bartolomeo. I'm interested to see if any new archival evidence on this has surfaced. I do recall a Raphael self-portrait mentioned in both the Vendramin and Della Nave inventories - so he was highly esteemed in Venice. Whether he chose to paint in the Venetian style during the busiest time of his career, and did it in such an anatomically crude manner, ...that's the disparity the evidence must address.

Kind Regards

Francis DeStefano


If you look at the 1999 Giorgione catalog edited by Pedrocco and Pignatti, you will see that they call the first work they attribute to Giorgione the "Rustic Idyll." It is a 12x19cm panel that pictures a young man with a woman who holds an infant. The costume of the man is remarkably similar to the one worn by Paris in the Judgments you have been discussing.

I originally thought this picture was an early Giorgione depiction of the Rest on the flight into Egypt, but now I wonder if it is not Paris with Oenone and their infant son.

Also I have just been reading Margaret King's excellent study of 15th century humanists. She has a whole section on a " Concordance of the Poets, Philosophers, and Theologians" by Giovanni Caldiera (c. 1400-1470) where she notes his strange interpretation of the Judgment.

"In many other cases, moral and spiritual analogues of ancient myths jar strangely with the originals. Where Paris, asked to judge among three goddesses, awards the golden apple to Venus, Caldiera sees the apostle Paul presented with the three theological virtues, choosing love. (114)"


David Packwood

Hi Frank,

Thanks for that. I shall have to look at the Giorgione catalogues after Christmas. I have to respect Panofsky's identification, as he's seldom wrong. I'll try to include reference to costume similarities- and your points- in the third part of the series on the Malmesbury J.

Thanks again- David

défiscalisation oeuvre d art

There are three difficulties in authorship– to write anything worth the publishing – to find honest men to publish it – and to get sensible men to read it.


I like your post. You make some good points.

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