Judgment of Paris: Paris extends his hand toward Venus, who stands between Juno and Minerva, surrounded by reclining and seated figures; above are a winged figure carrying a laurel wreath, a charioteer driving four horses, Castor and Pollux, and Jupiter accompanied by Ganymede, an eagle, Diana, and two other female figures

Judgment of Paris: Paris extends his hand toward Venus, who stands between Juno and Minerva, surrounded by reclining and seated figures; above are a winged figure carrying a laurel wreath, a charioteer driving four horses, Castor and Pollux, and Jupiter accompanied by Ganymede, an eagle, Diana, and two other female figures by Marcantonio Raimondi|Raphael (Raffaello Sanzio or Santi)|Antonio Salamanca

Medium

Engraving

Dimensions

Sheet: 11 1/2 x 17 3/16 in. (29.2 x 43.7 cm)

Classification

Prints

Department

Drawings and Prints

Museum

Metropolitan Museum of Art, New York, NY

Credit

Bequest of Phyllis Massar, 2011

Accession Number

2012.136.861

Tags

JunoMinervaVenusHorses

Art Historical Context

This enchanting engraving, titled *Judgment of Paris*, captures a pivotal moment from classical mythology: the Trojan prince Paris awarding the golden apple to Venus (Aphrodite) as thest goddess, flanked by the spurned Juno (Hera) and Minerva (ena). Surrounding them are reclining and seated figures, while above soar a winged figure bearing a laurel wreath, charioteer guiding four horses, the twins Castor and Poll, and Jupiter (Zeus) with Ganymede, an, Diana, and other deities. Created around 1520–50, it measures 11½ x 17⅛ inches and exemplifies the Renaissance revival of ancient myths. Design...

About the Artist

Marcantonio Raimondi|Raphael (Raffaello Sanzio or Santi)|Antonio Salamanca · 14751534

Marcantonio Raimondi (c. 1480–1534), born near Bologna, Italy, emerged as one of the Renaissance's premier engravers, revolutionizing printmaking through his mastery of reproductive techniques. He trained in the workshop of the goldsmith, painter, and niellist Francesco Francia, whose influence is evident in his early engravings, such as the goldsmith-like shading in *Pyramus and Thisbe* (1505), h...

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