judith slaying holofernes story
Judith and Holofernes, the famous bronze sculpture by Donatello, bears the implied allegorical subtext that was inescapable in Early Renaissance Florence, that of the courage of the commune against tyranny. 
While many of the above paintings resulted from private patronage, important paintings and cycles were made also by church commission and were made to promote a new allegorical reading of the story—that Judith defeats Protestant heresy. This is the period of the Counter-Reformation, and many images (including a fresco cycle in the Lateran Palace commissioned by Pope Sixtus V and designed by Giovanni Guerra and Cesare Nebbia) “proclaim her rhetorical appropriation by the Catholic or Counter-Reformation Church against the ‘heresies’ of Protestantism. Judith saved her people by vanquishing an adversary she described as not just one heathen but ‘all unbelievers’ (Jdt 13:27); she thus stood as an ideal agent of anti-heretical propaganda.” 
with the beauty of her countenance undid him.
and put on a linen gown to beguile him.
Judith Beheading Holofernes tells the story Biblical story of Judith, who saved her people by seducing and beheading the Assyrian general Holofernes, which was a common theme in the 16th century. The same story has also been painted by artists such as Sandro Botticelli, Donatello, Artemesia Gentileshi, Giorgione, and Andrea Mantegna. Caravaggio was certainly aware of Judith’s traditional identity as a symbol of triumph over tyranny; but he presented the subject primarily as a melodrama, choosing the relatively rarely represented climactic moment of the actual beheading of Holofernes. Judith, young, beautiful, and physically weak, draws back distastefully as she seizes Holofernes’s hair and cleaves through his neck with his own sword. Holofernes, on his bed, powerful but drunk, nude, and bellowing helplessly, has frozen in the futile struggle of his last instant of consciousness. The bloodthirsty old servant, popeyed as she strains forward, clutches the bag in readiness for the disembodied head. It is a ghastly image, with primary interest in the protagonists’ states of mind: the old woman’s grim satisfaction, Holofernes’s shock, and Judith’s sense of determination. Caravaggio intensifies the body language not only in the poses, gestures, and facial expressions but also in the clenched hands. Drama has displaced the charm of his earlier epicurean paintings, as if the world had ceased to be his oyster and become a battlefield.
If the figures have become static, they continue to be made of convincingly solid flesh, displacing space. But the voids around them are at least as black and two-dimensional as they are empty and three-dimensional. The picture resembles a photograph taken with a wide-angle lens, unfolding panoramically rather than penetrating depth within a single frame of vision. The starting point, strangely enough, is the least important figure, the servant, whose precisely profiled head- in relief rather than fully rounded – implies a viewpoint from in front of the right edge of the painting rather than from the center. This peculiarity was probably the result of Caravaggio’s having not yet fully developed the technique of rendering on a two-dimensional surface the effect of vigorous action within fully convincing three-dimensional space. Or conceivably the painting was designed to be seen from the right, and he was already experimenting with anamorphic composition. The influence of Da Vinci is apparent in Caravaggio’s Judith Beheading Holofernes. Here, the grotesquely intense face of the old crone holding the bag for Holofernes’s head is undeniably evocative of da Vinci’s caricatures.
There appears to be some scholarly disagreement about this, but many believe that Judith Slaying Holofernes, first painted around the time of the trial, was a self portrait, with Gentileschi painting herself as Judith and Tassi as Holofernes. More recently, some critics & historians have tried to draw emphasis away from her assault in the interpretation of this and other paintings, focusing on her growing proficiency and not her victimhood. Whatever her intent at the time, the painting stands as a powerful statement and the young artist was able to continue painting, eventually becoming one of the most famous and sought-after artists in Europe.
By the time Gentileschi made Self-Portrait as the Allegory of Painting, she’d received perhaps the greatest honor bestowed upon the era’s painters: induction into the Accademia del Disegno. She was the first woman to receive the distinction and, according to the 2007 catalogue for the exhibition “Italian Women Artists: From Renaissance to Baroque,” it changed the course of her life.