Judith with the Head of Holofernes, by Allori, engraved by Cantini, directed by Morghen, 1802

GIOVACCHINO CANTINI JUDITH WITH THE HEAD OF HOLOFERNES GIOVACCHINO CANTINI Florence 1780–1844 Florence CRISTOFANO ALLORI Florence 1577–1621 Florence after a painting by Cristofano Allori, known as Il Bronzino Etching and burin on paper, signed "Cristofano Allori d. il Bronzino dip. Giovacchino Cantini dis. e inc. 1802", "Raffaello Morghen diresse", dedicated to HIS MAJESTY LODOVICO I, King of Etruria, Infant of Spain, Hereditary Prince of Parma, Piacenza, and Guastalla &c. &c. &c. 37 × 26 cm / 14.6 × 10.2 inches, with modern frame 52 × 43 cm / 20.5 × 16.9 inches PROVENANCE Private collection, Vienna A print is rarely the work of a single hand. It is often the result of a carefully orchestrated collaboration between multiple artists, each contributing specific skills to the creation of the artwork. The elaborate inscription beneath this engraving depicting Judith with the Head of Holofernes is a perfect testament to this. The original composition was painted by Cristofano Allori (1577–1621), one of the most refined painters of the Florentine 17th century, as indicated in the inscription Cristofano Allori d. il Bronzino dip.. His Judith with the Head of Holofernes, now housed in the Palatine Gallery of Palazzo Pitti in Florence, became one of the most celebrated treasures of the Medici collection. More than two centuries later, the image was translated with meticulous precision into print by Giovacchino Cantini (1780–1844), who designed and engraved the plate, as reported in the inscription “Giovacchino Cantini dis. e inc. 1802.” The work was carried out under the direction of the celebrated engraver Raffaello Morghen, whose name appears as “Raffaello Morghen diresse”, attesting to his role of supervision and artistic guidance. In Allori's interpretation of the biblical tale, the heroine Judith appears as an aristocratic beauty of extraordinary elegance, holding the severed head of the Assyrian general Holofernes by the hair. Beside her stands the maid Abra, equally composed. The scene is devoid of explicit violence; on the contrary, it exudes cold detachment, dignity, and composure — qualities that reflect the refined taste of early 17th-century Florence. It has often been observed that Judith's features are inspired by the painter's former lover, while Holofernes' head is said to be a self-portrait of Allori himself. This deeply personal and psychologically charged reading has contributed to the enduring appeal of the composition, finding particular resonance in the pre-Romantic era. The final engraving is not a mere reproduction, but a refined interpretation of a masterpiece, filtered through the neoclassical sensibility of early 19th-century Florence. The official dedication to King Ludovico I of Etruria further roots the work in the political and cultural fabric of its time.