Judith “... ideal of the Christian woman”

World Renowned

Judith of Bethulia

 

Part Four:

“... ideal of the Christian woman”

 

 

 

 

“Barbara Welzel has pointed out that Judith was first considered as

the ideal of the Christian woman … but became as well an important figure of

identification for princesses, serving as a political exemplum”.

 

Maryan Ainsworth and Abbie Vandivere

 

 

 

 

The two authors write, with relation to Jan Cornelisz Vermeyen’s, famous painting of c. 1530 AD (conventional dating), “Judith with the Head of Holofernes”:

https://jhna.org/wp-content/uploads/2017/08/JHNA_6.2_Ainsworth_Vandivere.pdf

 

….

 

1. When considering for whom this painting of Judith, expressing female power, wisdom, and fortitude, may have been painted, a likely candidate comes to mind -- Margaret of Austria, regent of the Netherlands. It may well have been through Jan Gossart or perhaps Bernard Van Orley (ca. 1491/92–1542) that Vermeyen was introduced to Margaret, who held her court in Mechelen. He must have entered the service of Margaret in 1525, for a document of 1530 petitions the regent for back pay for a period of about five years, indicating that Vermeyen had already been working for her.37 During this time, Vermeyen seems to have been mostly engaged in making portraits of the royal family and other nobles, such as the Portrait of Cardinal Érard de la Marck that with the Holy Family formed a diptych which belonged to Margaret.
2. The importance of the widow Judith as a model of strength and feminine virtue for Margaret of Austria and the iconography of the Burgundian-Habsburg court cannot be underestimated. The reminders of Judith’s importance as a just, vigorous, and brave ruler took many forms. Some of these were ephemeral, such as the tableaux vivants devoted to Judith that were performed at the official entries of princesses, such as Margaret of York, Mary of Burgundy, and Juana of Castile, into Netherlandish cities.38 Margaret of Austria owned a Judith tapestry (no longer extant) that was originally part of her trousseau for her marriage to Juan of Castile, and when she returned to Flanders after Juan’s death, the tapestry accompanied her.39 Possibly commissioned by Margaret from Bernard van Orley (her court painter), although not mentioned in the inventory of her possessions, was a tapestry of the Triumph of Virtuous Women that survives only as a petit patron (Vienna, Albertina Museum, inv. no. 15463).40 Featured in the foreground before the triumphal all’antica chariot are Jael killing Sisera, Lucretia committing suicide, and Judith with the head of Holofernes on the tip of her sword. Margaret’s court sculptor, Conrad Meit, produced one of the masterpieces of Renaissance sculpture, a Judith with the Head of Holofernes (Munich, Bayerische Nationalmuseum), circa 1525–28. Although it is not listed among Margaret’s belongings, it certainly reflects courtly taste and was most likely commissioned by a woman for whom Judith was a noble exemplar.41
3. Margaret’s library contained books on virtuous women, among them Giovanni Bocaccio’s De femmes nobles et renomées (Paris, Bibliothèque nationale de France, ms. Fr. 12420). Judith has a featured role in one of the most influential texts of the late fifteenth and early sixteenth centuries, the Parement et triumphe des dames, written in 1493–94 by Olivier de la Marche. Here the author gives lessons to a noble lady of the virtues of humility, wisdom, loyalty, fidelity, and so forth in prose stories of famous virtuous women. Margaret of Austria owned an early version of the text, published between 1495 and 1500 (Brussels, Bibliothèque royale de Belgique, ms. 10961-70).42
   In 1509, Agrippa of Nettesheim dedicated to Margaret his treatise De nobilitate et praecellentia foemini sexus, where he notes that Judith “depicted herself as an example of virtue, which should be imitated not only by women but also by men,”43
4. Barbara Welzel has pointed out that Judith was first considered as the ideal of the Christian woman44 but became as well an important figure of identification for princesses, serving as a political exemplum.45 Just as Judith saved her people from the Assyrians, so, too, did Margaret defend her people in a politically active role. Her success in this endeavor was acknowledged in a monumental woodcut by Robert Péril (Berlin, Staatliche Museen zu Berlin, Kupferstichkabinett, inv. no. 849-21), showing the genealogy of the Habsburgs, which praised Margaret as: “the Regent and sovereign of the Low countries, which she wisely ruled for Emperor Charles, her nephew; she opposed the enemy with the force of weapons and transferred the lands of Friesland, Utrecht and Overissel into the following of his majesty [Charles V].”46
5. In terms of Margaret’s remarkable political acumen, a singular event comes to mind that may have a specific connection to Vermeyen’s Judith with the Head of Holofernes. In August of 1529, around the time of the painting’s presumed date, Jan Vermeyen accompanied Margaret to the signing of the so-called Paix des Dames or Ladies’ Peace, otherwise known as the Peace of Cam- brai: the most extraordinary diplomatic achievement of the regent’s career. Meeting her sister-in- law Louise of Savoy (mother of Francis I) almost in secret in Cambrai, Margaret -- representing her nephew Charles V -- negotiated a peace between the French and the Habsburgs. This treaty, which included the arranged marriage of Eleanor of Austria (sister to Charles V) to Francis I, ended, at least for a time, the fighting between the forces of King Frances I and Emperor Charles
   V. An obvious parallel exists between Margaret and Judith: two virtuous and powerful women, who managed to find a solution to the lust for battle of men and nations and create peace. Whether this painting commemorates a specific event or generally celebrates the heroic achievement of one woman, it is certainly a product of the milieu of Margaret of Austria’s court. ….