Rock crystal, probably by Valerio Belli (1468-1546), made in Italy, 1500-1545.

Oval plaque. On the left, leaning against a tree trunk is Paris - nude, his shield, sword and helmet on the ground - he bends forward to pass an apple to Venus, who is depicted on the far right of the composition - also nude, with a cloak wrapped around her neck hanging down her back. At her feet is a little Cupid, winged, and reaching up to her. In the centre is Minerva, and behind her Juno.

Given by Dr W. L. Hildburgh FSA

Given by Dr. W.L. Hildburgh, FSA

Historical significance: At various times since its acquisition the age of this object and the acceptance of Valerio Belli as its maker have been questioned. At the time of acquisition it was hoped that it would be possible to identify it as a 'lost' engraving given by Belli to Girolamo Gualdi of Vicenza, but the association has not until now been accepted. Among other things militating against an attribution to Belli have been the argument that the style of carving is too vigorous. In addition the lack of signature has been thought to be significant, as many of the plaquettes of the same design are signed. The confused appearance of the exergue which takes the form of a pillar rather than the usual blank space with or without an inscription has also been commented on, and it has been proposed that the material is not rock crystal, but glass. The latter suggestion has been categorically discounted following examinations in 1983 and again in 1992 at the Natural History Museum and in the V&A's Science section. It has generally been thought that the plaquettes by Belli of the Judgement of Paris derive from the lost crystal known to be in the Gualdo collection in Vicenza in the mid sixteenth century, however Davide Gasparotto points out that a detailed description of this written by Girolamo il Giovane in 1643 does not accord with the design of these plaquettes or the Museum's rock crystal. An attribution of the present engraving to Belli based on stylistic comparisons to other autograph works, and on technical grounds is cogently argued by Gasparotto in Burns et al, 2000.

Together with the group of plaquettes with the same subject and imagery, the intaglio shows how images known from engraved gems and hardstones persisted and often appeared again, in the form of bronze plaquettes and small relief.

The art of engraving gemstones has been admired since the early days of the Roman empire. It was revived in Europe during the Renaissance, and again in the 18th and 19th centuries. Cameos and intaglios were prized and collected, sometimes as symbols of power and mounted in jewelled settings, sometimes as small objects for private devotion or enjoyment. The Italian artist Valerio Belli, who worked in the sixteenth century, was one of the great masters of rock crystal engraving, and many bronze plaquettes modelled on his works are also ascribed to him. A bronze plaquette in the Museum's collections (inv.no. 7494-1861) and a number of others like it are thought to have been cast from an intaglio by Belli and it is possible that this one is the source for the group.

A.23-1942