An engraving shows Judith leaning over Holofernes and cutting his neck while her maid waits at the tent.
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An engraving shows Judith leaning over Holofernes and cutting his neck while her maid waits at the tent.

Dirck Volckertsz Coornhert, after Maarten van Heemskerck, Judith Slaying Holofernes, from The Power of Women, plate 5, 1551

Northern Renaissance printmaking · The act

Judith Slaying Holofernes, from The Power of Women, plate 5

Dirck Volckertsz Coornhert, after Maarten van Heemskerck 1522–1590; after 1498–1574

1551

Gallery label

Plate five explicitly places Judith inside a Power of Women series, so serial order—not only the isolated scene—controls how victory is read.

Look closely

Judith bends across Holofernes's sprawling body while the maid waits at the tent opening. Weapons and vessels crowd the foreground; classicizing bodies turn the camp into a densely staged moral theatre.

Why this Judith matters

The sheet makes transmission visible: Heemskerck invents, Coornhert engraves, and a numbered series frames Judith through other gendered contests. Reproduction distributes authorship as well as imagery.

Sources for this record:Metropolitan Museum of Art object record ↗

“Plate five explicitly places Judith inside a Power of Women series, so serial order—not only the isolated scene—controls how victory is read.”

Narrative index

Primary catalogue placement: the act, Judith 13:6–8. 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 13:6–8 →

Image information

Public domain; Met Open Access

The Metropolitan Museum of Art

Image reuse: CC0 1.0