Inventory number
Rubens, Peter Paul
The Judgement of Paris
Ca. 1606
89 cm x 114,5 cm
On display
Colección Real (Real Alcázar, Madrid, Galería del cierzo, 1666, nº 414; Real Alcázar, Galería del cierzo, 1686, s.n.; Real Alcázar, Galería del Cierzo, 1701-1703, nº 181; Real Alcázar, Pinturas que se hallaron en las "Bobedas" de Palacio, 1734, nº516; Palacio Nuevo, Madrid, primera sala de la Furriera, 1747, nº 134; Palacio Nuevo, Estudio de Andrés de la Calleja, 1772, nº 134; Casa de Rebeque, Madrid, 1794, nº 134; Pinturas que posee la Real Academia de Bellas Artes de San Fernando, 1976-1805, nº60; Real Academia de Bellas Artes de San Fernando, Sala Reservada, 1827, nº 60; Museo Real de pinturas a la muerte de Fernando VII, Madrid, Sala Reservada, 1834, nº57)

As Homer tells it in The Iliad, Paris the shepherd, son of Priam, had to decide with of the three goddesses —Juno, Venus or Minerva— was the most beautiful, and give her the golden apple Mercury he had received from Mercury. On the left, Paris appears to be meditating, with the apple still in his hands. His attention is focused on Venus, in the middle of the composition. Minerva's weapons are visible in the foreground.

The setting and elegance of this work bear a clear relation to southern painting as a result of the artist's stay in Italy. The figures are based on classical sculptures and the influence of mannerist painting is visible in the sinuous rhythm of their anatomies.

This work was first documented at Madrid's Alcázar Palace in 1666.

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