Judith enters politics

In the popularity contest of Judith‘s, this work of art by Donatello should be top of the list.  I reserved it for this point in the discussion because:  (a) I am not using popularity as a guide, (b) it depicts the midpoint of the story, and (c) it is a statue.

Yes. I will confess.  I have a prejudice against statues and drawings and a preference for paintings.  The prejudice is driven in part by the medium I am using – a computer screen that is two dimensional and thrives on color.  Statues are difficult to ascertain in this dimension and drawings are just … blah.

But this statue of Judith is too important to ignore.   Plus i have actually seen it.

Donatello, 1460, bronze sculpture, Sala dei Gigli, Palazzo Vecchio, Florence, Italy

The significance of the artwork is that it is among the earliest freestanding Italian Renaissance statues –  and the only surviving signed work by Donatello (OPVS . DONATELLI . FLOR).   It was commissioned by Cosimo de’ Medici together with Donatello’s David, to stand in the courtyard of the Palazzo Medici-Riccardo.  Both David and Judith were selected to depict tyrant slayers – symbols of liberty, virtue and victory of the weak over the strong in a just cause.  Ironically, these were themes that the Medici considered to be their role in the politics of Florence — in contrast to the criticism that they were the actual tyrants (1).

This particular piece depicts Judith at the moment she has raised her sword and plans to decapitate her prey.

According to art historians, it is believed that an inscription on the granite pedestal originally read, “Kingdoms fall through luxury [sin], cities rise through virtues. Behold the neck of pride severed by the hand of humility.”

There is mention in historical accounts of a second inscription on the pedestal which read, “The salvation of the state. Piero de’ Medici son of Cosimo dedicated this statue of a woman both to liberty and to fortitude, whereby the citizens with unvanquished and constant heart might return to the republic.”    Leaving little doubt that the statue was intended as a metaphor of the Medici rule, who saw themselves as defenders of Florentine liberty and defender of the people (2).

Around the base are scenes of a wild, drunken bacchanal – suggesting the party that Holofernes invited Judith to attend to seduce her but which instead led to his execution.   Boo-yah.

(1) Sarah Blake McHam, “Donatello’s Bronze David and Judith as Metaphors of Medici Rule in Florence,” The Art Bulletin (Vol. 83, No. 1), March 2001.
(2) Pope-Hennessy, John, Italian Renaissance Sculpture. London: Phaidon, 1996.