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INFORMATION to USERS This Manuscript Has Been Reproduced INFORMATION TO USERS This manuscript has been reproduced &om the microSlm master. UMI films the text directfy from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from aiy ^fpe of conq>uter printer. The qnali^ of this repiodQction is dqtendott open the quali^ of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedtfarough, substandard marginc, and inqtroper alignment can adverse^ affect reproduction. In the unlikely event that the author did not send UMI a complete manuscrqn and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing ffmn left to r i ^ in equal sections with small overkps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscrqn have been reproduced xerographically in this copy. Higher quali^ 6” x 9” black and white photc^r^hic prints are availablezny for photographs or illustrations ^ypearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Information Company 300 North Z eeb Road. AnnArbor. Ml 48106-1346USA 313/761-4700 800/521-0600 JUDITH IN FLORENTINE RENAISSANCE ART, 1425-1512 DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Robert Marvin Knotts, B.A., M.A., Ph.D. ***** The Ohio State University 1995 Dissertation Committee: Approved by Francis L. Richardson Anne M. Morganstem O U J Ui ^ L.-K: Adviser Christine Verzar Department of History of Art DHI Number: 9526046 UMI Microform 9526046 Copyright 1995, by DMI Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. UMI 300 North Zeeb Road Ann Arbor, MI 48103 In the spirit of Judith, to all those ■who resist tyranny and evil in all their forms 11 ACKNOWLEDOffiNTS I should like to acknowledge the contributions of my advisor. Dr. Francis L. Richardson, to this study, and also thank the other members of my committe for their contributions. Without Dr. Richardson's corrections and editorial hand this study would have been far less accurate, and a far more difficult read, than is currently the case. I should also like to acknowledge the contribution of Professor Mathew Herban of The Ohio State University in my formation as a scholar. I learned more from him than frcsn anyone else how to approach and understand a work of art, how a work of art means, and I am greatly in his debt for his support and influence on my development as an art historian. Whatever contributions I have made in this work, or might make in future, are in no small measure a result of his efforts. Finally, I should like to thank my family and friends for their support during this long project. Without them, it would not have been possible. Ill VITA January 9, 1953 ..................... B o m - Columbus, Ohio 1975 ............................... B.A., The Ohio State Iftiiversity, Columbus, Ohio 1977 ............................... M.A. (Theatre), The Ohio State Ifiiiversity, Columbus, Ohio 1982 ............................... Ph.D. (Theatre), The Ohio State IMiversity, Columbus, Ohio 1984-1989 ........................... Graduate Teaching Associate, Department of History of Art, The Ohio State Itoiversity 1990-1994 ........................... Occasional part-time instructor. History of Art, Columbus College of Art and Design; Ohio Weslyan IMiversity; Denison University; The Ohio State University; University of Cincinnati FIELDS OF STUDY ^fejor Field: History of Art Studies in: Ancient Art: Professor Mark Fullerton Professor Howard Crane Medieval Art: Professor Anne Morganstem Professor Christine Verzar Italian Renaissance Art: Professor Anthony Melnikas Professor Francis Richardson Northem Renaissance Art: Professor Anne Morganstem Professor Nina Serrebrennikov IV 17th and 18th Century Art: Professor Barbara Haeger Professor Arlene Meyer ffodem Art: Professor Miroslava Ciszkewycz Professor Mathew Herban American Art: Professor Barbara Groseclose Asian Art: Professor Julie Andrews Professor Howard Crane Professor Yu-min Lee TABLE OF CONTENTS DEDICATION.................................................. ii ACKNOWLEDGMENTS............................................ iii VITA ....................................................... iv LIST OF P L A T E S .............................................. vii ŒIAPTER PAGE I. INTRODUCTION......................................... 1 II. JUDITH IN EARLY CHRISTIAN AND MEDIEVAL LITERATURE AND ART 44 III. JUDITH IN FLORENTINE ART, 1425-1470: THE SCULPTURAL JUDITH .............................................. 136 IV. JUDITH IN FLORENTINE ART, 1470-1512: PAINTINGS OF JUDITH .............................................. 293 V. CONCLUSION ........................................... 391 APPENDIX................................................... 400 LIST OF REFERENCES.......................................... 408 PLATES ..................................................... 417 VI LIST OF PLATES PLATE PAGE I. Lorenzo Ghiberti, Gates of Paradise, East Doors, Florence Baptistry, c. 1425-52 417 II. Ghiberti, Judith, from Gates of Paradise .......... 418 III. Donatello, Judith Beheading Holofernes, c. 1455-60 . 419 IV. Donatello, Judith Beheading H o l o f e m e s ............. 420 V. Donatello, Judith Beheading H o l o f e m e s ............. 421 VI. Donatello, "Putti Harvesting Grapes," from Judith Beheading Holofemes ............................... 422 VII. Donatello, "Putti Making Wine," frcan Judith Beheading Holofemes ............................... 423 VIII. Donatello, "Bacchanale," from Judith Beheading Holofemes ................................... 424 IX. Antonio del Pollaiuolo (attrib.), Judith, c. 1470 . 425 X. Baccio Baldini, Judith, engraving, c. 1452-70 .... 426 XI. Giovanni della Robbia, Judith, c. 1526 427 XII. Cockerell Chronicle (after Ifesolino), n.d............ 428 XIII. Cockerell Chronicle (after Masolino), detail of J u d i t h ............................................ 429 XIV. Filippo Lippi, Coronation of the Virgin, c. 1467-9 . 430 XV. Andrea Ifentegna, Judith with the Head of Holofemes (Montreal), c. 1500-05 431 XVI. Mantegna, Judith with the Head of Holofemes (Dublin), c. 1495-1500 432 vii XVII. Mantegna, Judith with the Head of Holofemes (Washington), after 1490 433 XVIII. Mantegna, Judith with the Head of Holofemes, drawing (Uffizi), 1491 434 XIX. Giovanni Antonio da Brescia, Judith, engraving, c. 1506-7 ......................................... 435 XX. Premier Engraver, Judith, engraving, c. 1497-1500 . 436 XXI. Mantegna, Judith with the Head of Holofernes, drawing (Chatsworth), 1482 437 XXII. Mantegna, Judith with the Head of Holofemes, drawing (Washington), n.d............................ 438 XXIII. Mantegna, Judith with the Head of Holofemes, drawing (Chatsworth), 1472 439 XXIV. Sandro Botticelli, Judith Returning to Bethulia (Cincinnati), c. 1470 ............................. 440 XXV. Botticelli, Landscape (Cincinnati), c. 1470 ........ 441 XXVI. Botticelli, Judith Returning to Bethulia (Uffizi), c. 1470-2 ............................... 442 XXVII. Botticelli, The Discovery of the Body of Holofemes (Uffizi), c. 1470-2 ............................... 443 XXVIII. Botticelli, Judith at the Opening of Holofemes's Tent, c. 1495 ..................................... 444 XXIX. Giuliano or Antonio da Sangallo, Judith, drawing, n.d................................................. 445 XXX. Giuliano or Antonio da Sangallo, Judith, drawing, n.d................................................. 446 XXXI. Botticelli, The Calumny of Apelles, c. 1495 ........ 447 XXXII. Botticelli, The Calumny of Apelles (detail) ........ 448 XXXIII. Botticelli, The Story of Lucretia, c. 1500-05 .... 449 XXXIV. Botticelli, The Story of Lucretia (detail) ........ 450 XXXV. Davide Ghirlandaio, Judith Returning to Bethulia, 1489 451 viii XXXVT. Domenico Ghirlandaio, The Feast of Herod (detail) . 452 XXXVII. Domenico Ghirlandaio, The Birth of St. John ( d e t a i l ) ....................................... 453 XXXVIII. Davide Ghirlandaio, ?fadonna Enthroned, mosaic, 1496 . 454 XXXIX. Jacopo del Sellajo. The Story of Judith, cassone panel, n.d. .■................................... 455 XL. Michelangelo, Judith, Sistine Chapel, 1508-12 .... 456 XLI. San Paolo fuori le Mura Bible, Judith Illustration, c. 870 457 XLII. Vienna Genesis, Rebecca and Eliazar.............. 458 XLIII. Rossano Gospels, Christ Before Pilate .............. 459 XLIV. Winchester Bible, Judith Illustration, 12th century . 460 XLV. Arsenal Bible, Judith Illustration, c. 1250-75 . 461 XLVI. Gumpert Bible, Judith Illustration, 12th century . 462 XLVII. Histoire Oiiverselle, "Nebuchadnezzar Commissioning Holofemes" [Dijon, Bibl. Municipale 562 (323), fol. 150v], c. 1250-75 463 XLVIII. Histoire IMiverselle, "Judith's Audience with H o l o f e m e s " ..................................... 464 XLIX. Judith Illustration, Munich Staatsbibliothek Clrn. 13001, fol. 121, late 11th c e n t u r y .............. 465 L. Judith Illustration, Barbarini Codex, Rome, Vat. lat. 587, 1097 ............................... 466 LI. Judith Illustration,
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