An engraving shows Judith and her maid at a tent opening with the severed head of Holofernes.
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An engraving shows Judith and her maid at a tent opening with the severed head of Holofernes.

Girolamo Mocetto, after Andrea Mantegna, Judith with the Head of Holofernes, c. 1500–1505

Renaissance printmaking · The head in the bag

Judith with the Head of Holofernes

Girolamo Mocetto, after Andrea Mantegna active c. 1458–1531

c. 1500–1505

Gallery label

Engraving made Judith portable, translating a coveted Mantegnesque invention into a repeatable image that could travel without its panel.

Look closely

Dense parallel lines harden textile, stone, and flesh into one metallic atmosphere. The carefully staged handoff can now recur wherever a sheet is carried.

Why this Judith matters

Prints created networks of looking and borrowing—the infrastructure through which an iconography became durable.

Sources for this record:National Gallery of Art record ↗

“Engraving made Judith portable, translating a coveted Mantegnesque invention into a repeatable image that could travel without its panel.”

Narrative index

Primary catalogue placement: the head in the bag, Judith 13:9–10. 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 13:9–10 →

Image information

CC0 open-access reproduction

National Gallery of Art, Washington

Image reuse: CC0 1.0