The account of the beheading of Holofernes by Judith is given in the deuterocanonical Book of Judith, and is the subject of many paintings and sculptures from the Renaissance and Baroque periods. In the story, Judith, a beautiful widow, is able to enter the tent of Holofernes because of his desire for her. Holofernes was an Assyrian general who was about to destroy Judith's home, the city of Bethulia. Overcome with drink, he passes out and is decapitated by Judith; his head is taken away in a basket (often depicted as being carried by an elderly female servant).
Artists have mainly chosen one of two possible scenes (with or without the servant): the decapitation, with Holofernes supine on the bed, or the heroine holding or carrying the head, often assisted by her maid.
In European art, Judith is very often accompanied by her maid at her shoulder, which helps to distinguish her from Salome, who also carries her victim's head on a silver charger (plate). However, a Northern tradition developed whereby Judith had both a maid and a charger, taken by Erwin Panofsky as an example of the knowledge needed in the study of iconography.[1] For many artists and scholars, Judith's sexualized femininity sometimes contradictorily combined with her masculine aggression. Judith was one of the virtuous women whom Van Beverwijck mentioned in his published apology (1639) for the superiority of women to men,[2] and a common example of the Power of Women iconographic theme in the Northern Renaissance.
- ^ Panofsky, Erwin (1939). Studies in iconology : humanistic themes in the art of the Renaissance. New York: Harper and Row. pp. 12–14. ISBN 9780064300254.
- ^ Loughman & J.M. Montias (1999), Public and Private Spaces: Works of Art in Seventeenth-Century Dutch Houses, p. 81.