Chapter 19 Closer Look 1: The Judgment of Paris

Morford 11e Chapter 19 Image 19.2

The Judgment of Paris

The Judgment of Paris. Mosaic from Antioch, early second century A.D.; 73 ¼ 3 73 ¼ in. This mosaic was the central panel of an elaborate mosaic floor in a dining room of the Atrium House in Antioch. The three goddesses—Hera enthroned in the center, Athena to the viewer’s left, and Aphrodite to the right—appear on a rocky hill, each holding a long scepter. On the left and below, Paris, in Phrygian dress, turns to talk with Hermes. He is guarding a mixed flock of oxen, sheep, and goats, one each of which is shown, the goat drinking from a pool of water. In the center are a tree and a column, on top of which is a golden vase. On the left Psyche (identified by her butterfly wings) stands on a rock, and matching her on the right a winged Cupid stands on a column, anticipating the victory of Aphrodite in the contest. Framing the panel is an elaborate vine, populated with birds, reptiles, and insects, with masks of a man and a woman.

Source: Réunion des Musées Nationaux/Art Resource, NY

Questions to Consider

1. Some ancient representations of mythological scenes—especially those on pottery and in mosaics, like this one—include the names of the major gods and heroes being depicted. This mosaic does not identify anyone by name, leaving the work of recognizing the figures and the event itself entirely up to the viewer. This task is often made easier by certain iconographic features that allow the viewer to identify a figure by what he or she is wearing, or carrying, and so on. If Psyche can be identified by her butterfly wings, what visual attributes help the viewer to identify the remaining five divinities (Hermes, Athena, Hera, Aphrodite, and Cupid)?

2. When looking at this work in a museum, where it is likely to be roped off and kept at an optimal temperature, it is easy to forget that in its original context it was one of several durable (and expensive!) mosaics that formed the floor of a dining room. It was walked on by hosts and guests, and no doubt had food and wine spilled on it. But as the largest of the mosaics, its subject matter (as well as the skill with which that subject and its frame were rendered) was also meant to make a statement about the taste and sophistication of the owners of the house. Given the massive variety of mythological episodes to choose from, why choose the Judgment of Paris as the big centerpiece? What ideas, emotions, themes, or concepts are at play in that myth that might reflect the way the owners of the house want to portray themselves? Any such choice is inevitably a matter of self-display, so let’s think of it another way: if you were free to decorate a main room in your house with a large depiction of any scene from classical mythology, which one would you choose? Would you go with a famous one, like the Judgment of Paris, or with something far more obscure? What would that choice say about you? Or perhaps the question really is: what would you be trying to represent (or even show off?) about yourself to any guests who saw your choice?