Exhibits

A clear-sighted Justice is at the center of the frontispiece to a 1788 German edition of Cesare Beccaria’s On Crimes and Punishment, first published in 1764. Beccaria...
The engraved title page of Bernard van Zutphen’s Practycke der nederlansche rechten van de daghelijcksche soo civile als criminele (Dutch Law and Practice in Civil and...
By the sixteenth century, the blindfold had come to be seen as a potentially positive constraint on earthly Justice, seen to be at risk of corruption or of misplaced passion...
A rare and intriguing portrayal of a two-faced Justice, titled “A Portrait of Worldly Justice,” comes from a popular sixteenth-century guide to civil procedure by the Flemish...
Alciati, Andrea. Opera omnia (4 vols.; Basel: Thomas Guarinus, 1582), vol. 4. Lillian Goldman Law Library. Where might Ripa have gotten the blindfold? One possible source is...
Two codifiers of Renaissance iconography, Cesare Ripa and Andrea Alciati, generated compendia of icons and emblems, replayed by didactic invocations in art and literature, in...
“The Fool Blindfolding Justice” was not the only image of that era deploying a blindfold as a warning against judicial error, as can be seen from the 1508 and 1580 editions...
The first image, known as “The Fool Blindfolding Justice” from Sebastian Brant’s Ship of Fools, comes from the 1497 Basel edition and is sometimes attributed to...
The image of Justice, a remnant of the Renaissance, has had a remarkable run as a political icon. We can all “read” Justice because we have been taught to do so by political...
  How is it that the figure of a woman, draped, holding scales and sword, has been so widely recognized as a symbol of the law for more than 500 years? ...

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