Leaning over the wall behind her are two older men leering at her; her distress at this invasion is evident by her upward-cast eyes and an attempt to cover herself with her arms and her chemise.

[2] The rendering is more traditional than her 1610 Susannah, given both her artistic development as well as the influence of an etching of the same subject by Annibale Carracci.

[2] The work was painted in 1622, two years after Gentileschi returned to Rome after having started her career as an independent artist in Florence.

[2] The painting was loaned to the Gentileschi exhibition[3] that was held at the National Gallery in London in 2020, but had been postponed because of the COVID-19 pandemic.

[4] The work may have been commissioned by papal nephew Cardinal Ludovico Ludovisi, which may explain the Bolognese style of the depiction.