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« Poussin Leicester Holy Family | Main | Public Histories of the Renaissance »



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I apologize for the incursion. :)

There would be many things to discuss about this new attribution to Raphael of the Malmesbury "Judgement of Paris". For example, I never seen such a landscape into the signed and dated paintings by Raphael. Moreover, the comparison with the details of the "Madonna Sistina" and "Fornarina" shows me a manner, a formal construction, which is venetian, "tizianesca", not "raffaellesca". Unfortunately, I do not have time now to explain why the invention of the painting must still be assigned to Giorgione or one of its two "creati" (pupil), Titian and Sebastiano del Piombo.

For now, I would just note that the detail of the painting of "Three Saints" here published is an undoubted derivation from the famous altarpiece by Giovanni Antonio Pordenone in the church of San Giovanni Elemosinario in Venice (http://goo.gl/HROoc).
The detail here published shows St. Rocco, not St. James. And, of course, it must be dated after the Venetian altarpiece, which was painted between 1535 and 1539. I'd like to have a full image of this painting. Thank you very much I did not know it.

With best regards,

Francis DeStefano


Thanks for the mention of my work but I only raised the issue of the Malmesbury JOP at Giorgione et al because the costume of Paris resembles that of the man in the "Rustic Idyll" usually attributed to Giorgione or a follower.

I wonder if Cameron has commented on this similarity especially since he puts so much stock in the leggings of St. James (St. Roch). The subject of the JOP is obvious, and if the men are the same the subject of he Rustic Idyll must have to do with Paris. This does not solve the attribution issues around both paintings but either the same man painted both, or different painters were using the same color template for Paris.

Finally, my eyesight is not the best but it is impossible for me to see a RV monogram in the pubic area of one of the nudes.


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