A tiny engraving shows a nude Judith seated on Holofernes's body, holding his head and an upright sword.
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A tiny engraving shows a nude Judith seated on Holofernes's body, holding his head and an upright sword.

Barthel Beham, Judith Seated on the Body of Holofernes, 1525

German Renaissance printmaking · Display of the head

Judith Seated on the Body of Holofernes

Barthel Beham 1502–1540

1525

Gallery label

Barely five centimetres high, Beham's Judith becomes a portable, eroticized Power of Women emblem seated directly on the defeated body.

Look closely

The corpse makes a diagonal base for Judith's upright sword and compact body. Dense engraved lines turn flesh, hair, and ground into a miniature field meant for close handling.

Why this Judith matters

The small print moves Judith from narrative action into a collectible moral-erotic emblem. Its scale and reproducibility belong to the meaning, not merely to the method of manufacture.

Sources for this record:National Gallery of Art object record ↗

“Barely five centimetres high, Beham's Judith becomes a portable, eroticized Power of Women emblem seated directly on the defeated body.”

Narrative index

Primary catalogue placement: display of the head, Judith 13:14–16. The index organizes comparison; it does not claim that every visual detail comes from those verses or that the work touches only one episode.

Text and evidence

The passage behind the image

See the verses in parallel public-domain translations, then return to ask what the artist has omitted, moved, or invented.

Read Judith 13:14–16 →

Image information

CC0 open-access reproduction

National Gallery of Art, Washington

Image reuse: CC0 1.0