Judith and Holofernes (1457–1464) is a bronze sculpture by the Italian Renaissance sculptor Donatello at the end of his career. It is located in the Hall of Lilies (Sala dei Gigli), in the Palazzo Vecchio, Florence, Italy. A copy stands in one of the sculpture's original positions on the Piazza della Signoria, in front of the Palazzo Vecchio. It depicts the assassination of the Assyrian general Holofernes by Judith and is remarkable for being one of the first Renaissance sculptures to be conceived in the round, with its four distinct faces. The subject of Judith beheading Holofernes, depicting the climax of the story in the deuterocanonical Book of Judith, was a common subject in art and is associated with the Power of Women topos. Background and description The statue was commissioned by Cosimo de' Medici as a decoration for the fountain in the garden of the Palazzo Medici-Riccardi. Together with Donatello's David, it was positioned in front of the palace around 1457, when Cosimo de' Medici's extended family decided to move into it. Although the exact place where these two were displayed is unknown, both of these statues became a symbol for the power Florence possessed. Judith and Holofernes depicts Judith standing powerfully with a raised sword, holding the head of Holofernes by his hair. The statue was originally gilded; some gilding remains on the sword. To facilitate the gilding the bronze was cast in 11 parts. The base of the sculpture resembles a cushion, a naturalistic device first used by Donatello for his St. Mark in the Orsanmichele. Intended to function as a fountain, this statue sits on a triangular pedestal with holes for water to flow through. Symbolism of Judith Both Judith and David are underdogs from Old Testament stories, and are also seen placed in close proximity in the fresco of Santa Maria Antiqua as well as on Lorenzo Ghiberti's East Baptistry Doors. Judith is considered the symbol of liberty, virtue and victory of the weak over the strong in a just cause. Christian symbolism of Judith reveals her actions over Holofernes to be a victory of virtue, particularly concerning self-control, chastity and humility, as opposed to promiscuity and pride. Her story in the Power of Women topos depicts the weak overcoming the assumed victor in an effort to protect her home. This is symbolic of the city of Florence, who fought to protect their Republic of