Judith with the Head of Holofernes, Carlo Saraceni 1579-1620 | @Sheffield Museums
You may struggle to find the story of Judith in your Bibles. That is because it is in the apocrypha - those texts that do not have the standing of Holy Scripture but according to Martin Luther ‘are still both useful and good to read”. The central character of Judith is described as having many qualities; she maintains fields and livestock, she is wise, no one has a bad word to say about her and she fears God. Judith is also described as ‘beautiful in appearance and lovely to behold’.
Judith’s home city of Bethulia is besieged by the Assyrians and the city elders have promised to hand it over to them in five days unless God comes to their aid. Judith rails against them - believing that they should not put God to the test. She urges them to hold firm, protect God’s sanctuary and the people. However, they say that they have made an oath and need to stick to it. Her prayer to God makes stunning reading - it a prayer for the women who are victims of war and echoes down the centuries.
She changes out of the widow’s sackcloth and dresses in her ‘festive attire’. She gives her maid wine and figs to carry, and they head out of the city gates. They are soon arrested by an Assyrian patrol, and she asks to see the General Holofernes. Judith claims to have a plan whereby they can take the city without the loss of a single life. Interestingly the text from this point on mentions her beauty again and again and again. When she has an audience with Holofernes, she tells him what he wants to hear. Judith stays in the camp some days - making a point each day to go out to pray. Holofernes finally decides to have Judith all to himself. He drinks a massive amount of wine and while he lays in a stupor Judith beheads him with his own sword.
The story has been a favourite of artists since the Renaissance. Before the Renaissance Judith was depicted in a similar vein to the virgin Mary - the focus was on her being a virtuous, chaste widow. However, Renaissance artists like Caravaggio couldn’t resist the juxtaposition of beauty and violence. The glamourising of violence is nothing new. In this painting we could be mistaken for thinking that the light is coming from a lamp that Judith is holding up, but it is not. The light comes from a candle carried by the maid (is that shock or awe on her face?) and Judith is holding up the head of the Assyrian General. Judith looks out at us - challenging us. Is she asking what would you do in a man’s world? Do you think my virtue was compromised? Do you only see my beauty? Think again? Does the saving of many justify the killing of one?
I keep coming back to the candle that is hidden amongst all the folds but is at the absolute centre. Conflict is dark and murky. Games are played out and people suffer. It can be hard to locate hope and light and love, but it is there. God is still there - often when humanity is missing.
Pray for the victims of war and the dreadful decisions people make in times of conflict. Decisions we can only imagine.
Suzanne Nockels
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