![]() The second, wearing a helmet on her head, turns to the young man with a supplicating gesture, entreating him to give her the golden apple, which Paris in fact gives to the third goddess, whom he deems worthier than the others. Next to the first goddess is a peacock she is raising a garment over her head to cover herself. It shows a seated Paris in shepherd’s clothing next to a dog, while three goddesses – Juno, Minerva and Venus – stand in front of him. The Judgment of Paris is indeed the subject of this painting, which in 1700 Domenico Montelatici duly described in these words: ‘Next, after the window, is a nice, well-executed work on a wooden panel by an unknown artist which represents the Judgment of Paris. ![]() In the opinion of Marco Pupillo (2009), Crescenzi painted this work during the early phase of his career and gave it personally to Scipione Borghese in the years when the two attended the studium in Perugia together. According to the compiler of the inventory, the work was by Francesco Crescenzi, a Roman nobleman who together with his brothers was trained in painting by Cristoforo Roncalli (see Spezzaferro 1984). Venturi 1893 Quadrini 1940), to a Mannerist artist active around the first years of the 17th century, close to Paolo Guidotti (Longhi 1928), and to Bartholomaeus Spranger (Della Pergola 1959). 1790), to Cavalier d'Arpino (Piancastelli 1891 A. The attribution of the work to Francesco Crescenzi resolved – perhaps definitively – the question of the origin of the painting (Herrmann Fiore 2006), which had been variously ascribed to Domenichino (Inv. ![]() This work is mentioned for the first time in the Borghese Collection in an inventory dating to roughly 1633 (Corradini 1998 Pierguidi 2014), in which it is described as ‘a painting of the Judgment of Paris with a black frame, 5 high by 3 2/3 wide. di Nicoletta Naldoni, Gerlinde Tautsching (pulitura, rimozione ridipinture, stuccatura, reintegrazioni pittoriche, verniciatura).
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