Judith Seated on the Body of Holofernes

Beham employed fine, parallel lines in a cross‑hatching technique to achieve deep, velvety shadows and a sense of three‑dimensionality. The sharp, dark incisions contrast with lighter areas, giving the figures a sculptural quality that heightens the drama of the encounter.

Created in the early sixteenth century, the print belongs to a period when Northern European artists frequently explored biblical themes through intricate engravings. While specific ownership records are scarce, the work has been documented in several major print collections and remains a representative example of Beham’s output.

Barthel Beham, a member of the so‑called “Little Masters,” worked within the German Renaissance tradition that valued meticulous detail and expressive line work. His treatment of Judith reflects contemporary interest in heroic female figures and the moral lessons they embodied.

The engraving has been cited in scholarly discussions of Renaissance printmaking for its precise line work and its contribution to the visual canon of Judith and Holofern. It continues to serve as a reference point for studies of narrative composition and the technical possibilities of early engraving.