© Soprintendenza Speciale PSAE Roma

Name of Object:

The Judgement of Solomon


Rome, Latium, Italy

Holding Museum:

Borghese Gallery

 About Borghese Gallery, Rome

Date of Object:

c. 1620–25

Artist(s) / Craftsperson(s):

Master of the Judgement of Solomon or Jusepe de Ribera (1591, Xàtiva-1652, Naples )

Museum Inventory Number:


Material(s) / Technique(s):

Oil on canvas


h: 153.5 cm; w: 201.5 cm

Workshop / Movement:

Followers of Caravaggio


Borghese Collection (first appears as part of the Borghese Collection in the 1693 inventory)

Type of object:


Period of activity:

Master of the Judgement of Solomon: active in Rome from 1615 to 1620


The Biblical episode tells the story of two prostitutes who give birth in the same house, but one of the newborns dies. Both claim to be the mother of the surviving baby and call on King Solomon to adjudicate. When he decides to split the newborn child in two with his sword, in tears the real mother renounces the child in order to save it, an astute strategy used by the wise king to identify her. This shows the capacity the Lord gave Solomon to distinguish Good from Evil, not as a gift, but as a readiness to listen through which the wisdom of God can be found. It is also a celebration of the wisdom of those who reign in the name of God.
Over the centuries in the absence of any documents to verify the actual artist, the work has been variously attributed. One of the most notable theories is that an unknown follower of Caravaggio known as the Master of the Judgement of Solomon, on account of his strong personality (Longhi, 1943) painted it.
The strong affinities to a non-Italian follower of Caravaggio have led some to attribute the painting to the Roman period of the young Jusepe de Ribera, when he had not fully assimilated the naturalism of his master although this is present in his later paintings (Papi, 2005).
The essence of the painting is its compositional structure. The source of light outside the painting makes the scene a truly theatrical event. The rhythm is marked by the gestures of the figures in the scene arranged in a rigidly orthogonal progression.
The king sits on a chair that rests on a step decorated with an ancient bas­‑relief, in front of a column acting as a perspective wing.
The exasperation of the drama is not only evoked by the light and style, but by the atmosphere, a real stage on which the main player, Solomon, stands; the dark tones adding to the dramatic effect. These elements are consistent, notwithstanding the peculiarities of each artist, in what is known as the baroque language.

View Short Description

The biblical subject matter of this work is expressed through the dramatic use of gesture and light. Believed to be by an unknown follower of Caravaggio called the Master of the Judgement of Solomon, it is in a style similar to van Baburen and Neapolitan artists. Some scholars have identified the painter as the young Jusepe de Ribera.

Original Owner:

Unknown provenance

Current Owner:

Italian State

How Object was obtained:

Borghese Collection (the painting’s presence in the Borghese Collection dates back to the inventory of 1693).

Selected bibliography:

Longhi, R., Proporzioni, Florence, 1943, I, p. 58.
Della Pergola, P., Galleria Borghese. I Dipinti, II, Rome, 1959, pp. 85–86.
Stefani, C., Galleria Borghese, Milan, 2000, p. 192.
Papi, G., Giudizio di Salomone, scheda III.11, in Caravaggio e l'Europa, exhibition catalogue, Milan, 2005, p. 270.

Additional Copyright Information:

Copyright image: Archivio fotografico Soprintendenza Speciale PSAE e Polo Museale della Città di Roma.

Citation of this web page:

Sofia Barchiesi, Maria Assunta  Sorrentino "The Judgement of Solomon" in "Discover Baroque Art", Museum With No Frontiers, 2022. https://baroqueart.museumwnf.org/database_item.php?id=object;BAR;it;Mus11;15;en

Prepared by: Sofia BarchiesiSofia Barchiesi

SURNAME: Barchiesi
NAME: Sofia

TITLE: Author and Researcher

Sofia Barchiesi, a graduate and specialist in Art History and recipient of a scholarship from the School of Mediaeval and Modern Art History at Lumsa University, has been working with the Superintendency for Historical Artistic Heritage and the Museums of Rome since the late 1980s. She was responsible for cataloguing the art of the region and museums of Rome, studying the period of the Counter-Reformation particularly closely. She works with journals and writes essays, alternating her research and teaching work.
, Maria Assunta SorrentinoMaria Assunta Sorrentino

SURNAME: Sorrentino
NAME: Maria Assunta

AFFILIATION: Borghese Gallery, Rome

TITLE: Conservation Department Co-ordinator

Maria Assunta Sorrentino, holder a of a Diploma in Painting and Fresco Restoration and a degree in the Science of Cultural Heritage (historical-artistic), has worked at the Borghese Gallery since 1993, where she manages the Conservation Department and is in charge of the technical and organisational co-ordination of temporary exhibitions. She is currently working on the Ten Great Exhibitions project underway at the Borghese Gallery. She has published several papers on conservation and history in relation to the exhibition, with particular reference to artists such as Bernini, Domenichino, Canova and Caravaggio.

Translation by: Laurence Nunny
Translation copyedited by: Mandi GomezMandi Gomez

Amanda Gomez is a freelance copy-editor and proofreader working in London. She studied Art History and Literature at Essex University (1986–89) and received her MA (Area Studies Africa: Art, Literature, African Thought) from SOAS in 1990. She worked as an editorial assistant for the independent publisher Bellew Publishing (1991–94) and studied at Bookhouse and the London College of Printing on day release. She was publications officer at the Museum of London until 2000 and then took a role at Art Books International, where she worked on projects for independent publishers and arts institutions that included MWNF’s English-language editions of the books series Islamic Art in the Mediterranean. She was part of the editorial team for further MWNF iterations: Discover Islamic Art in the Mediterranean Virtual Museum and the illustrated volume Discover Islamic Art in the Mediterranean.

True to its ethos of connecting people through the arts, MWNF has provided Amanda with valuable opportunities for discovery and learning, increased her editorial experience, and connected her with publishers and institutions all over the world. More recently, the projects she has worked on include MWNF’s Sharing History Virtual Museum and Exhibition series, Vitra Design Museum’s Victor Papanek and Objects of Desire, and Haus der Kulturen der Welt’s online publication 2 or 3 Tigers and its volume Race, Nation, Class.

MWNF Working Number: IT1 19


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