The story of Paris and Helen in Italian renaissance domestic paintings from the Lanckoroński collection
2003, 46, Tom 46, Nr A
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Abstract
T h e extraordinarily vivid tale of the Trojan prince, Paris-Alexander, which has been recounted in many ways since Homer, is one of the most popular subjects of Italian marriage chests or cassoni2 . Karol Lanckoroński's collection contained two painted versions of this story, both dating back to the mid-1450s but executed in two different cities: one in Florence, the other in Verona. The first version comprises three pictures (Fig. 6, 10, 20); two of which are relatively well-known thanks to Shrubring's cassoni corpus3 , whereas the third one was published only after the Lanckoroński collection was donated to the Royal Castle in Kraków (known as the Wawel Castle) in 19944 . The second version of the tale of Paris decorates a cassone (Fig. 1) with paintings on the front as well as the side panels (laterali or fianchi), which has been preserved in its entirety.The side panels show in profile the busts of emperors or kings wearing crowns (Fig. 2)5 . There are two small scenes with Paris inside sixleaved-shaped compartments on the front panel. They are located on either side of the coat of arms of the original owners of the cassone, which is in the centre of the panel. Both narrative paintings show three nude goddesses standing and Paris, who is depicted once seated and once in a standing position. As is the case in many other 15th century mythological representations, these scenes are somewhat enigmatic since no-one has yet explained why two similar depictions appear on the same cassone. Unfortunately this cassone did not reach Kraków. After the Second World War, through the intermediary of Julius Boehler, the well-known Munich antiques dealer, it was sold to a private collection in Germany or Switzerland. The present owner, who wishes to remain anonymous, did make accessible the diapositives showing the item in question.
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