866:
981:
738:
847:
1029:
790:
769:
809:
38:
929:
162:
583:
1048:
550:
750:
715:
316:
530:
679:
694:
562:
910:
663:
623:
999:
828:
963:
889:
602:
1014:
644:
444:
944:
252:(c. 1505): "Giorgione shows the heroic instance, the triumph of victory by Judith stepping on Holofernes's severed, decaying head. But the emblem of Virtue is flawed, for the one bare leg appearing through a special slit in the dress evokes eroticism, indicates ambiguity and is thus a first allusion to Judith's future reversals from Mary to Eve, from warrior to
1648:
420:) "proclaim her rhetorical appropriation by the Catholic or Counter-Reformation Church against the 'heresies' of Protestantism. Judith saved her people by vanquishing an adversary she described as not just one heathen but 'all unbelievers' (Jdt 13:27); she thus stood as an ideal agent of anti-heretical propaganda."
152:
in the late first century (1 Clement 55), and thus images of Judith were as acceptable as those of other scriptural women. In early
Christianity, however, images of Judith were far from sexual or violent: she was usually depicted as "a type of the praying Virgin or the church or as a figure who
865:
494:
has "the deliverer of her people" standing naked and holding a sword besides the couch on which
Holofernes, half-covered by blue sheets—where the text portrays her as god-fearing and chaste, "Franz von Stuck's Judith becomes, in dazzling nudity, the epitome of depraved seduction."
395:
While many of the above paintings resulted from private patronage, important paintings and cycles were made also by church commission and were made to promote a new allegorical reading of the story—that Judith defeats
Protestant heresy. This is the period of the
234:, showed a more sexualized Judith, a "seducer-assassin": "the very clothes that had been introduced into the iconography to stress her chastity become sexually charged as she exposes the gory head to the shocked but fascinated viewer", in the words of art critic
1047:
483:(1909) is "less erotic and more frightening". The two "suggest 'a crisis of the male ego', fears and violent fantasies all entangled with an eroticized death, which women and sexuality aroused in at least some men around the turn of the century."
465:
made a series of five paintings tracing the narrative and giving it a conventional, nineteenth-century ending; the final painting shows her "in her honoured old age", and "we shall see her sitting in her house spinning".
980:
808:
92:
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.
846:
1028:
153:
tramples Satan and harrows Hell," that is, in a way that betrayed no sexual ambivalence: "the figure of Judith herself remained unmoved and unreal, separated from real sexual images and thus protected."
789:
1411:
714:
42:
737:
612:
214:
768:
502:
that "casts Stalin in the
Holofernes role, conquered by a young Russian girl who contemplates his severed head with a mixture of curiosity and satisfaction". In 1999, American artist
662:
338:
period, but around 1600, images of Judith began to take on a more violent character, "and Judith became a threatening character to artist and viewer." Italian painters including
582:
116:. For many artists and scholars, Judith's sexualized femininity sometimes contradictorily combined with her masculine aggression. Judith was one of the virtuous women whom
368:
529:
928:
749:
622:
549:
827:
200:. Early Renaissance images of Judith tend to depict her as fully dressed and desexualized; besides Donatello's sculpture, this is the Judith seen in
779:
383:
1517:
Judith, im apokryphen Text noch gottesfürchtig und keusch, wird bei Franz von Stuck in blendender
Nacktheit zum Inbegriff lasterhafter Verführung.
31:
1248:
678:
1628:
1569:
1466:
1450:
1394:
1352:
1319:
1307:
1290:
1205:
1148:
561:
888:
601:
693:
37:
1013:
461:
The allegorical and exciting nature of the Judith and
Holofernes scene continues to inspire artists. In the late nineteenth century,
1101:
987:
969:
572:
177:
161:
909:
275:" and heroines, to match the traditional male sets. Subjects combining sex and violence were also popular with collectors. Like
1652:
998:
1673:
1495:
934:
643:
962:
899:
879:
185:, bears the implied allegorical subtext that was inescapable in Early Renaissance Florence, that of the courage of the
669:
455:
235:
315:
96:
In
European art, Judith is very often accompanied by her maid at her shoulder, which helps to distinguish her from
424:
378:
327:
192:
In the late
Renaissance, Judith changed considerably, a change described as a "fall from grace"—from an image of
1256:
388:
of 1612; like
Caravaggio, she chooses to show the actual moment of the killing. A different composition in the
323:
89:
by Judith; his head is taken away in a basket (often depicted as being carried by an elderly female servant).
1038:
943:
536:
227:
105:
1055:
120:
mentioned in his published apology (1639) for the superiority of women to men, and a common example of the
1668:
1174:
193:
1471:
852:
814:
373:
108:(plate). However, a Northern tradition developed whereby Judith had both a maid and a charger, taken by
47:
1617:
Sarah Henrich, "Living on the Outside of Your Skin: Gustav Klimt and Tina Blondell Show Us Judith", in
372:: Holofernes' head is a portrait of the artist, Judith is his ex-mistress, and the maid her mother. In
292:
1416:
1344:
633:
125:
117:
1596:
1260:
397:
347:
1530:
1574:
704:
462:
359:
248:
1198:
Dressing Up for War: Transformations of Gender and Genre in the Discourse and Literature of War
423:
When Rubens began commissioning reproductive prints of his work, the first was an engraving by
1624:
1542:
1446:
1390:
1369:
1348:
1336:
1315:
1286:
1201:
1193:
1144:
1136:
1097:
795:
588:
363:
355:
201:
165:
1440:
1060:
366:(c. 1613 onwards), which exists in several versions, copied a conceit of Caravaggio's recent
1504:
296:
280:
186:
101:
59:
17:
1554:
1004:
871:
607:
487:
447:
443:
413:
300:
209:
149:
66:
486:
Modern paintings of the scene often cast Judith nude, as was signalled already by Klimt.
894:
833:
728:
432:
405:
343:
288:
265:
223:
137:
121:
109:
62:
1222:
1662:
915:
503:
417:
409:
284:
272:
1227:
755:
720:
684:
470:
389:
304:
219:
86:
1312:
The Artemisia Files: Artemisia Gentileschi for Feminists and Other Thinking People
1061:
Department of Image Collections, National Gallery of Art Library, Washington, DC
1019:
653:
473:. The story was quite popular with Klimt and his contemporaries, and he painted
113:
73:
periods. In the story, Judith, a beautiful widow, is able to enter the tent of
949:
774:
339:
257:
74:
699:
649:
567:
351:
243:
182:
1118:
Public and Private Spaces: Works of Art in Seventeenth-Century Dutch Houses
1094:
Studies in iconology : humanistic themes in the art of the Renaissance
256:." Other Italian painters of the Renaissance who painted the theme include
1647:
475:
276:
82:
1621:
Visual Theology: Forming and Transforming the Community Through the Arts
1194:"The Metamorphoses of Judith in Literature and Art: War by Other Means"
628:
498:
In 1983, Russian artists Vitaliy Komar and Alexander Melamed painted a
335:
145:
78:
70:
392:
in Florence shows a more traditional scene with the head in a basket.
1442:
Sacred Spring: God and the Birth of Modernism in Fin de Siècle Vienna
1223:"Judith with the Head of Holofernes, Lucas Cranach the Elder (c1530)"
668:
Judith with the Head of Holophernes, by Hans Baldung Grien, c. 1525,
540:
401:
261:
239:
141:
97:
1164:
Schneider, Laurie (1976). "Some Neoplatonic Elements in Donatello's
1337:"Judith Imagery as Catholic Orthodoxy in Counter-Reformation Italy"
442:
314:
160:
36:
1283:
The Art of Italy in the Royal Collection; Renaissance and Baroque
1073:
65:, and is the subject of many paintings and sculptures from the
287:
engraved three compositions of the subject, and other of the "
197:
479:
in 1901, as a dreamy and sensual woman with open shirt. His
81:
general who was about to destroy Judith's home, the city of
382:(Naples), she demonstrates her knowledge of the Caravaggio
1389:. Washington: National Gallery of Art/The Feminist Press.
1341:
The Sword of Judith: Judith Studies Across the Disciplines
1308:"Judging Artemisia: A Baroque Woman in Modern Art History"
279:, Judith was the subject of a disproportionate number of
431:(1606–1610). Other prints were made by such artists as
271:
Especially in Germany an interest developed in female "
819:
Judith and Her Maidservant with the Head of Holofernes
242:
to a more sexual and aggressive woman, is signaled in
112:
as an example of the knowledge needed in the study of
1496:"Salome fordert den Kopf. Kunstbuch: Joachims Nagels
218:(1495, with a detached head), and in the corner of
350:depicted Judith and Holofernes; and in the north,
77:because of his desire for her. Holofernes was an
1387:Eva/Ave; Women in Renaissance and Baroque Prints
238:. This transition, from a desexualized image of
226:(1508–1512). Later Renaissance artists, notably
362:used the story. The influential composition by
230:, who with his workshop painted at least eight
1619:Jensen, Robin M.; Kimberly J. Vrudny (2009).
469:Two notable paintings of Judith were made by
8:
1597:"I'll Make You Shorter by a Head (Judith I)"
1096:. New York: Harper and Row. pp. 12–14.
85:. Overcome with drink, he passes out and is
1535:Art Blart _ art and cultural memory archive
725:Judith carrying away the head of Holofernes
514:, and part of a series of paintings called
427:, done "somewhat clumsily", of his violent
1529:Bunyan, Author Dr Marcus (April 6, 2023).
1253:, about 1678, Eglon Hendrik van der Neer"
1281:Whitaker, Lucy; Clayton, Martin (2007).
1187:
1185:
1059:, 18th century, engraving with etching,
1531:"Franz Von Stuck Judith and Holofernes"
1494:Schumann-Bacia, Eva (8 December 2009).
1130:
1128:
1126:
1084:
876:Judith Presenting Herself to Holofernes
525:
1550:
1540:
1467:"Fortune in Pictures at Art Institute"
1200:. Amsterdam: Rodopi. pp. 111–26.
1141:The Jewish Novel in the Ancient World
1022:, Judith with the Head of Holophernes
555:Giorgo Vasari - Judith and Holofernes
7:
1623:. Liturgical Press. pp. 13–27.
1374:. C. Scribner & Co. p. 135.
1116:Loughman & J.M. Montias (1999),
506:rendered Judith in watercolour; her
1498:Femme fatale – Faszinierende Frauen
27:Biblical episode and artistic theme
1475:. 12 February 1928. pp. VII.2
1314:. U of Chicago P. pp. 33–62.
1053:Toinette Larcher after Giorgione,
1035:Judith with the Head of Holofernes
857:Judith with the Head of Holofernes
760:Judith with the Head of Holofernes
743:Stained glass window, c. 1510–1530
510:is explicitly inspired by Klimt's
170:Judith with the Head of Holofernes
25:
1570:"Works Invoking Christian Ritual"
1568:Harrison, Helen A. (1997-06-22).
1285:. Royal Collection. p. 270.
1135:Wills, Lawrence Mitchell (1995).
838:Judith and the head of Holofernes
800:Judith and the Head of Holofernes
307:also made prints of the subject.
181:, the famous bronze sculpture by
144:as canonical and accepted in the
56:beheading of Holofernes by Judith
1646:
1196:. In Andrew Monnickendam (ed.).
1046:
1027:
1012:
997:
979:
961:
942:
927:
908:
887:
864:
845:
826:
807:
788:
767:
748:
736:
713:
692:
677:
661:
642:
621:
600:
593:The Return of Judith to Bethulia
581:
560:
548:
528:
206:The Return of Judith to Bethulia
132:Background in early Christianity
508:I'll Make You Shorter by a Head
400:, and many images (including a
334:Judith remained popular in the
1599:. Minneapolis Institute of Art
1595:Minneapolis Institute of Art.
1439:Whalen, Robert Weldon (2007).
1221:Jones, Jonathan (2004-01-10).
369:David with the Head of Goliath
1:
1412:"Some Modern French Painters"
935:Julius Schnorr von Carolsfeld
140:in the Bible was accepted by
1410:Child, Theodore (May 1890).
880:Minneapolis Institute of Art
1368:Duplessis, Georges (1886).
1339:. In Kevin R. Brine (ed.).
780:Judith Beheading Holofernes
670:Germanisches Nationalmuseum
456:Staatliches Museum Schwerin
320:Judith beheading Holofernes
196:she turns into a figure of
18:Judith Beheading Holofernes
1690:
1385:Russell, H. Diane (1990).
535:12th-century French ivory
124:iconographic theme in the
29:
1306:Salomon, Nanette (2006).
429:Judith Slaying Holofernes
425:Cornelius Galle the Elder
385:Judith Slaying Holofernes
379:Judith Slaying Holofernes
328:Warsaw University Library
43:Judith slaying Holofernes
1445:. Eerdmans. p. 81.
1371:The Wonders of Engraving
1347:. Cambridge: Open Book.
1257:National Gallery, London
1092:Panofsky, Erwin (1939).
500:Judith on the Red Square
324:Cornelis Galle the Elder
283:, sometimes shown nude.
1335:Ciletti, Elena (2010).
1192:Peters, Renate (2001).
1039:Lucas Cranach the Elder
228:Lucas Cranach the Elder
148:and was referred to by
1310:. In Mieke Bal (ed.).
1175:Gazette des Beaux-Arts
1143:. Ithaca: Cornell UP.
458:
331:
173:
157:Renaissance depictions
51:
1674:Christian iconography
1653:Judith and Holofernes
1472:The Milwaukee Journal
1170:Judith and Holofernes
900:Judith and Holofernes
853:Antiveduto Grammatica
815:Artemisia Gentileschi
631:illustration for the
613:Judith and Holofernes
573:Judith and Holofernes
446:
374:Artemisia Gentileschi
318:
215:Judith and Holofernes
178:Judith and Holofernes
164:
48:Artemisia Gentileschi
40:
32:Judith and Holofernes
1655:at Wikimedia Commons
634:Nuremberg Chronicles
291:" did several more.
126:Northern Renaissance
30:For other uses, see
398:Counter-Reformation
348:Bartolomeo Manfredi
299:(after a design by
100:, who also carries
54:The account of the
1575:The New York Times
1553:has generic name (
1137:"The Judith Novel"
463:Jean-Charles Cazin
459:
360:Eglon van der Neer
332:
311:Baroque depictions
293:Jacopo de' Barberi
174:
52:
1651:Media related to
1630:978-0-8146-5399-9
1452:978-0-8028-3216-0
1420:. pp. 817–42
1417:Harper's Magazine
1396:978-0-89468-157-8
1354:978-1-906924-17-1
1345:Henrike Lähnemann
1343:. Elena Ciletti,
1321:978-0-226-03582-6
1292:978-1-902163-29-1
1207:978-90-420-1367-4
1150:978-0-8014-3075-6
796:Giovanni Baglione
687:engraving of 1547
589:Sandro Botticelli
439:Modern depictions
364:Cristofano Allori
356:Peter Paul Rubens
281:old master prints
202:Sandro Botticelli
189:against tyranny.
166:Cristofano Allori
104:head on a silver
16:(Redirected from
1681:
1650:
1635:
1634:
1615:
1609:
1608:
1606:
1604:
1592:
1586:
1585:
1583:
1582:
1565:
1559:
1558:
1552:
1548:
1546:
1538:
1526:
1520:
1519:
1514:
1512:
1505:Badische Zeitung
1491:
1485:
1484:
1482:
1480:
1463:
1457:
1456:
1436:
1430:
1428:
1426:
1425:
1407:
1401:
1400:
1382:
1376:
1375:
1365:
1359:
1358:
1332:
1326:
1325:
1303:
1297:
1296:
1278:
1272:
1271:
1269:
1268:
1259:. Archived from
1245:
1239:
1238:
1236:
1235:
1218:
1212:
1211:
1189:
1180:
1179:
1161:
1155:
1154:
1132:
1121:
1114:
1108:
1107:
1089:
1050:
1031:
1016:
1001:
983:
965:
946:
931:
912:
891:
868:
849:
830:
811:
792:
771:
752:
740:
717:
696:
681:
665:
646:
625:
604:
585:
564:
552:
532:
412:and designed by
408:commissioned by
297:Girolamo Mocetto
60:deuterocanonical
58:is given in the
21:
1689:
1688:
1684:
1683:
1682:
1680:
1679:
1678:
1659:
1658:
1643:
1638:
1631:
1618:
1616:
1612:
1602:
1600:
1594:
1593:
1589:
1580:
1578:
1567:
1566:
1562:
1549:
1539:
1528:
1527:
1523:
1510:
1508:
1493:
1492:
1488:
1478:
1476:
1465:
1464:
1460:
1453:
1438:
1437:
1433:
1423:
1421:
1409:
1408:
1404:
1397:
1384:
1383:
1379:
1367:
1366:
1362:
1355:
1334:
1333:
1329:
1322:
1305:
1304:
1300:
1293:
1280:
1279:
1275:
1266:
1264:
1247:
1246:
1242:
1233:
1231:
1220:
1219:
1215:
1208:
1191:
1190:
1183:
1163:
1162:
1158:
1151:
1134:
1133:
1124:
1115:
1111:
1104:
1091:
1090:
1086:
1082:
1070:
1063:
1051:
1042:
1032:
1023:
1017:
1008:
1005:Raja Ravi Varma
1002:
993:
984:
975:
966:
957:
947:
938:
932:
923:
913:
904:
892:
883:
872:Antonio Gionima
869:
860:
850:
841:
831:
822:
812:
803:
793:
784:
772:
763:
753:
744:
741:
732:
718:
709:
697:
688:
682:
673:
666:
657:
647:
638:
626:
617:
608:Andrea Mantegna
605:
596:
586:
577:
565:
556:
553:
544:
533:
524:
488:Franz von Stuck
448:Franz von Stuck
441:
414:Giovanni Guerra
313:
301:Andrea Mantegna
210:Andrea Mantegna
159:
150:Clement of Rome
134:
35:
28:
23:
22:
15:
12:
11:
5:
1687:
1685:
1677:
1676:
1671:
1661:
1660:
1657:
1656:
1642:
1641:External links
1639:
1637:
1636:
1629:
1610:
1587:
1560:
1521:
1486:
1458:
1451:
1431:
1402:
1395:
1377:
1360:
1353:
1327:
1320:
1298:
1291:
1273:
1240:
1213:
1206:
1181:
1156:
1149:
1122:
1109:
1102:
1083:
1081:
1078:
1077:
1076:
1069:
1066:
1065:
1064:
1052:
1045:
1043:
1033:
1026:
1024:
1018:
1011:
1009:
1007:, Judith, 1889
1003:
996:
994:
986:Gustav Klimt,
985:
978:
976:
968:Gustav Klimt,
967:
960:
958:
948:
941:
939:
933:
926:
924:
914:
907:
905:
895:Francisco Goya
893:
886:
884:
870:
863:
861:
851:
844:
842:
834:Carlo Saraceni
832:
825:
823:
813:
806:
804:
794:
787:
785:
783:(c. 1598–1599)
773:
766:
764:
754:
747:
745:
742:
735:
733:
729:Sistine Chapel
719:
712:
710:
698:
691:
689:
683:
676:
674:
667:
660:
658:
648:
641:
639:
627:
620:
618:
606:
599:
597:
587:
580:
578:
566:
559:
557:
554:
547:
545:
534:
527:
523:
520:
440:
437:
433:Jacques Callot
406:Lateran Palace
344:Leonello Spada
322:(c. 1610), by
312:
309:
289:Little Masters
266:Paolo Veronese
236:Jonathan Jones
224:Sistine Chapel
158:
155:
138:Book of Judith
133:
130:
122:Power of Women
118:Van Beverwijck
110:Erwin Panofsky
63:Book of Judith
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
1686:
1675:
1672:
1670:
1669:Judith in art
1667:
1666:
1664:
1654:
1649:
1645:
1644:
1640:
1632:
1626:
1622:
1614:
1611:
1598:
1591:
1588:
1577:
1576:
1571:
1564:
1561:
1556:
1544:
1536:
1532:
1525:
1522:
1518:
1507:
1506:
1501:
1499:
1490:
1487:
1474:
1473:
1468:
1462:
1459:
1454:
1448:
1444:
1443:
1435:
1432:
1419:
1418:
1413:
1406:
1403:
1398:
1392:
1388:
1381:
1378:
1373:
1372:
1364:
1361:
1356:
1350:
1346:
1342:
1338:
1331:
1328:
1323:
1317:
1313:
1309:
1302:
1299:
1294:
1288:
1284:
1277:
1274:
1263:on 2011-05-15
1262:
1258:
1254:
1252:
1244:
1241:
1230:
1229:
1224:
1217:
1214:
1209:
1203:
1199:
1195:
1188:
1186:
1182:
1177:
1176:
1171:
1167:
1160:
1157:
1152:
1146:
1142:
1138:
1131:
1129:
1127:
1123:
1119:
1113:
1110:
1105:
1103:9780064300254
1099:
1095:
1088:
1085:
1079:
1075:
1072:
1071:
1067:
1062:
1058:
1057:
1049:
1044:
1040:
1036:
1030:
1025:
1021:
1015:
1010:
1006:
1000:
995:
991:
990:
982:
977:
973:
972:
964:
959:
955:
951:
945:
940:
936:
930:
925:
921:
917:
916:August Riedel
911:
906:
902:
901:
896:
890:
885:
881:
877:
873:
867:
862:
858:
854:
848:
843:
839:
835:
829:
824:
820:
816:
810:
805:
801:
797:
791:
786:
782:
781:
776:
770:
765:
761:
757:
751:
746:
739:
734:
730:
726:
722:
716:
711:
707:
706:
701:
695:
690:
686:
680:
675:
671:
664:
659:
655:
651:
645:
640:
636:
635:
630:
624:
619:
615:
614:
609:
603:
598:
594:
590:
584:
579:
575:
574:
569:
563:
558:
551:
546:
542:
538:
531:
526:
521:
519:
517:
516:Fallen Angels
513:
509:
505:
504:Tina Blondell
501:
496:
493:
489:
484:
482:
478:
477:
472:
467:
464:
457:
453:
449:
445:
438:
436:
434:
430:
426:
421:
419:
418:Cesare Nebbia
415:
411:
410:Pope Sixtus V
407:
404:cycle in the
403:
399:
393:
391:
387:
386:
381:
380:
375:
371:
370:
365:
361:
357:
353:
349:
345:
341:
337:
329:
325:
321:
317:
310:
308:
306:
302:
298:
294:
290:
286:
285:Barthel Beham
282:
278:
274:
269:
267:
263:
259:
255:
251:
250:
245:
241:
237:
233:
229:
225:
221:
217:
216:
211:
208:(1470–1472),
207:
203:
199:
195:
190:
188:
184:
180:
179:
171:
167:
163:
156:
154:
151:
147:
143:
139:
131:
129:
127:
123:
119:
115:
111:
107:
103:
99:
94:
90:
88:
84:
80:
76:
72:
68:
64:
61:
57:
49:
45:
44:
39:
33:
19:
1620:
1613:
1601:. Retrieved
1590:
1579:. Retrieved
1573:
1563:
1551:|first=
1534:
1524:
1516:
1509:. Retrieved
1503:
1497:
1489:
1477:. Retrieved
1470:
1461:
1441:
1434:
1422:. Retrieved
1415:
1405:
1386:
1380:
1370:
1363:
1340:
1330:
1311:
1301:
1282:
1276:
1265:. Retrieved
1261:the original
1250:
1243:
1232:. Retrieved
1228:The Guardian
1226:
1216:
1197:
1173:
1169:
1165:
1159:
1140:
1117:
1112:
1093:
1087:
1054:
1034:
988:
970:
953:
919:
898:
875:
856:
837:
818:
799:
778:
759:
756:Fede Galizia
724:
721:Michelangelo
703:
685:Sebald Beham
632:
611:
592:
571:
537:gaming piece
515:
511:
507:
499:
497:
491:
485:
480:
474:
471:Gustav Klimt
468:
460:
451:
428:
422:
394:
390:Pitti Palace
384:
377:
376:'s painting
367:
333:
319:
305:Parmigianino
270:
254:femme fatale
253:
247:
231:
220:Michelangelo
213:
205:
191:
176:
175:
169:
135:
102:her victim's
95:
91:
55:
53:
41:
1166:Gattamelata
1020:Simon Vouet
859:(1620–1625)
731:(1508–1512)
654:Conrad Meit
539:, found in
114:iconography
87:decapitated
67:Renaissance
1663:Categories
1581:2009-09-09
1511:7 December
1479:7 December
1424:2009-09-09
1267:2009-09-09
1234:2009-09-09
1080:References
950:Paul Steck
775:Caravaggio
652:figure by
340:Caravaggio
258:Botticelli
75:Holofernes
1603:14 August
989:Judith II
956:(c. 1900)
903:(1819–23)
878:(1720s).
840:(c. 1615)
821:(c. 1625)
727:, in the
708:(c. 1505)
700:Giorgione
656:, c. 1525
650:Alabaster
576:, 1457–64
568:Donatello
481:Judith II
352:Rembrandt
244:Giorgione
183:Donatello
50:, 1614–18
1543:cite web
1178:: 41–48.
1120:, p. 81.
1068:See also
971:Judith I
512:Judith I
490:'s 1926
476:Judith I
454:(1926),
277:Lucretia
273:worthies
83:Bethulia
79:Assyrian
1429:p. 830.
629:Woodcut
616:, 1490s
543:in 1838
522:Gallery
336:Baroque
303:), and
232:Judiths
187:commune
146:Vulgate
106:charger
71:Baroque
1627:
1449:
1393:
1351:
1318:
1289:
1251:Judith
1204:
1147:
1100:
1056:Judith
1041:, 1530
992:(1909)
974:(1901)
954:Judith
937:(1860)
922:(1840)
920:Judith
802:(1608)
762:, 1596
705:Judith
637:, 1493
595:, 1470
541:Bayeux
492:Judith
452:Judith
402:fresco
358:, and
346:, and
264:, and
262:Titian
249:Judith
240:Virtue
172:(1613)
142:Jerome
98:Salome
1625:ISBN
1605:2015
1555:help
1513:2011
1481:2011
1447:ISBN
1391:ISBN
1349:ISBN
1316:ISBN
1287:ISBN
1202:ISBN
1168:and
1145:ISBN
1098:ISBN
1074:Yael
416:and
194:Mary
136:The
69:and
1172:".
1037:by
246:'s
222:'s
212:'s
204:'s
198:Eve
46:by
1665::
1572:.
1547::
1545:}}
1541:{{
1533:.
1515:.
1502:.
1469:.
1414:.
1255:.
1225:.
1184:^
1139:.
1125:^
952:,
918:,
897:,
874:,
855:,
836:,
817:,
798:,
777:,
758:,
723:,
702:,
610:,
591:,
570:,
518:.
450:,
435:.
354:,
342:,
295:,
268:.
260:,
168:,
128:.
1633:.
1607:.
1584:.
1557:)
1537:.
1500:"
1483:.
1455:.
1427:.
1399:.
1357:.
1324:.
1295:.
1270:.
1249:"
1237:.
1210:.
1153:.
1106:.
882:.
672:.
330:)
326:(
34:.
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
