“The Return of Judith to Bethulia” and “The Discovery of Holofernes' Corpse” by Sandro Botticelli at the Uffizi Gallery

Around 1469, Botticelli painted at the same time two small paintings to illustrate a famous episode from the Old Testament in which Judith, a pretty widow from Bethulia, decided to go into the camp of the Assyrians who were besieging her town to kill their general Holofernes.

Sandro Botticelli, The Discovery of Holofernes' Corpse, Ufizzi Gallery, Florence, Italy

Discovery of Holofernes Holopherne had planned to spend the night with Judith after inviting her to a feast in his tent; but he had become so drunk that he had collapsed on his bed, and Judith had taken the opportunity to seize his weapon and behead him before fleeing, taking his head with her.

She had hurried back to Bethulia to convince her people to attack at dawn.

Instead of showing Judith in Holofernes's tent performing her heroic deed, Botticelli chose to depict the aftermath.

One painting shows the horrified Assyrians discovering the beheaded body of their leader, while the other shows Judith's triumphant return to Bethulia, who brings the head of Holofernes as proof.

Sandro Botticelli (1445-1510) “The Discovery of the Corpse of Holofernes”

Painting - Tempera on wood (28,5 x 20,9 cm) 1470-1475

Discovery of Holofernes' Corpse The scene takes place at dawn, when the Assyrian officers alerted by the attack of the Bethulian fighters come to wake Holofernes and discover his decapitated corpse.

A armoured officer leans over the bed and lifts the sheet that covered Holofernes' naked body and cognises with amazement and dismay that he has been decapitated, while the other witnesses to the horrific scene wail as they close their eyes.

The three men dressed in Oriental fashion standing behind the armoured officer seem the most affected by their master's death.

Discovery of Holofernes' Corpse The first shows his indignation at the misdeed by stepping back, scandalised by the crime, pushes the scene away by putting his hands forward.

The next is shaken by sobs and the last expresses his distress and helplessness by wringing his hands.

The beautiful white horse that steps forward at the entrance to the tent appears to share the distress and sadness of the men around him, unlike the officer dressed in a long blue coat who frowns and shows his vengeful anger by stabbing his sword into the ground.

Judith's Return

Sandro Botticelli (1445-1510)“Judith's return to Bethulia”

Painting - Tempera on wood (28,5 x 20,9 cm) 1470-1475

Judith, elegantly dressed in blue and white, walks towards Bethulia holding in her right hand the scimitar of Holofernes and an olive branch in her other hand.

Her beautiful melancholy face is turned towards Abra, her faithful servant who follows her carrying on her head the basket containing Holofernes's severed head wrapped in a long white cloth lifted by the wind.

Judith's Return Judith brings peace to the people of Bethulia after killing with her own weapon the man who wanted to destroy her.

The elegance of the two women is apparent in the waviness of their dresses, the flutter of the veil and the amplitude and lightness of Abra's step as he hurries to Judith.

They walk along a path overlooking a magnificent hilly landscape, where troops can be seen fighting at the foot of the ramparts of Bethulia, which stand parallel to Judith's olive frame.

Judith's Return The difference in status and character between Judith and Abra is expressed by their difference in height and by the contrasting colours of their dresses.

Abra is smaller, the features of her face are coarser, and her brightly coloured dress lifted by her energetic step despite her burden shows that she is used to hard work.

The tiara placed on the beautiful blonde hair as well as the pendant around Judith's neck.

Judith's Return She is dressed in a dress that covers her right down to her pretty foot in gold sandals, showcasing her seductive beauty, tempered by the seriousness of her sweet face.

Abra has her hair covered with a white veil connected to the basket containing the head of old Holofernes with a face marked by drunkenness, confirmed by the empty canisters she brings back.

Holofernes embodies the harmful excesses of lust and tyranny.

Judith embodies the virtues of chastity and courage of a heroine who defends the freedom of her people.

Judith's Return The faith and moral strength of this weak woman made her the armed arm of God who punishes those who embody the evil that spreads suffering and despair to the weak and innocent.

Just as David defeated Goliath, Judith defeated Holofernes because humility and temperance are stronger than pride and injustice.

David trampling underfoot the head of the giant Goliath and Judith bringing back the head of Holofernes, these heroes of religious faith and justice who embodied strength and courage, had become favourite themes of Florentine patrons of the Renaissance.

These two heroes liberators of their people were strong symbols in the eyes of Florentines anxious to defend their republic threatened by neighbouring towns subject to the tyrannical rule of their lords.

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