(Source: Springer)
Springer published a new book on legal iconography.
About
the book
The contributions to this volume were written by
historians, legal historians and art historians, each using his or her own
methods and sources, but all concentrating on topics from the broad subject of
historical legal iconography. How have the concepts of law and justice been
represented in (public) art from the Late Middle Ages onwards? Justices and
rulers had their courtrooms, but also churches, decorated with inspiring
images. At first, the religious influence was enormous, but starting with the
Early Modern Era, new symbols and allegories began appearing. Throughout
history, art has been used to legitimise the act of judging, but artists have
also satirised the law and the lawyers; architects and artisans have engaged in
juridical and judicial projects and, in some criminal cases, convicts have even
been sentenced to produce works of art. The book illustrates and contextualises
the various interactions between law and justice on the one hand, and their
artistic representations in paintings, statues, drawings, tapestries, prints
and books on the other.
- Features over one hundred colour photographs
of well-known and less well-known works of art
- Includes contributions on western iconology,
from Scandinavia to Italy, and even India
- Written by top scholars in the interdisciplinary
field of ‘law and art’
- Allows jurists to broaden their horizons, and
art historians to gain new perspectives on law and justice
About
the editors
Stefan Huygebaert is a Research Foundation Flanders (FWO) PhD Fellow at
the Ghent Legal History Institute and Department of Art History, Musicology and
Theatre Studies (Ghent University). His dissertation, entitled Visual Ideals of
Law and Justice, is an iconological study of legal imagery in
nineteenth-century Belgium. In 2014-2015, and again in 2016-2017, Stefan was a
PhD fellow (Stipendiat) within the Minerva Research Group ‘The Nomos of Images:
Manifestation and Iconology of Law’ at the Kunsthistorisches Insitut in Florenz
(Max-Planck-Institut). He publishes and teaches on legal iconography and
nineteenth-century art, and recently co-edited the catalogue for the exhibition
The Art of Law: Three Centuries of Justice Depicted (Groeningemuseum, Bruges).
Georges Martyn studied Law (1984-89) and Medieval Studies (1989-91)
in Leuven (Belgium) and obtained a PhD degree in Law at the Catholic University
of Leuven in 1996, with a dissertation on private law legislation in the early
modern Netherlands. He has been an ‘advocaat’ (barrister/lawyer) between 1992
and 2008 at the bar of Kortrijk, is now honorary member of the Ghent bar, and
is a substitute justice of the peace. He is full professor at the Law Faculty
of Ghent University, teaching ‘History of Politics and Public Law’, ‘General
Introduction to Belgian Law’ and ‘Law & the Humanities’. His publications
deal with legal history in the Netherlands in the Early Modern Era, the
reception of Roman law, the legal professions, the evolution of the sources of
the law in the nineteenth and twentieth centuries and legal iconography and
iconology. He is a member of the Belgian Royal Commission for the Edition of
the Old Law, the Flemish editor-in-chief of the Belgian-Dutch legal history
review Pro Memorie and co-editor of the series Studies in the History of Law
and Justice.
Vanessa Paumen is an art historian focused on Northern Renaissance
art. Since 2010, she has been the coordinator of The Flemish research centre
for the arts in the Burgundian Netherlands at the Groeningemuseum in Bruges
(Belgium). Its mission is to initiate, facilitate, stimulate and disseminate
research related to Flemish art of the 15th-16th centuries. She was curator of
the exhibition "The art of law. Three centuries of justice depicted"
at the Groeningemuseum (27 October 2016 – 5 February 2017) and author/editor of
the accompanying catalogue, published by Lannoo Publishers, 2016.
Eric Bousmar is full professeur at the Université Saint-Louis in
Brussels, where he is co-director of the Centre de Recherches en Histoire du
Droit et des Institutions. He has got a doctoral degree in history from the
Université catholique de Louvain, and a degree in medieval studies from the
Katholieke Universiteit Leuven. He mainly publishes on power, society and
mentality in the Southern Low Countries, particularly in the Burgundian era
(XV-XVI c.), as well as on the art of history writing throughout the ages,
stressing the interaction of literature and history, especially in relation to
the Burgundian State, Belgium and Brabant.
Xavier Rousseaux is research director at the National Fund for
Scientific Research (FRS-FNRS) and professor at the Université catholique de
Louvain, Louvain-la-Neuve, Centre for Law & Justice History. Working
extensively on of the history of crime and justice, in 2007-2012, he
coordinated the BELSPO Network Justice and Society, and Justice and
Populations. The Belgian experience in international Perspective, 1795-1950.
Table
of contents
Part I Law, Justice and Art in Historical Perspective
Twenty New Contributions
to the Upcoming Research Field of Historical Legal Iconology (pp. 3-24)
Georges Martyn and Stefan Huygebaert
The Exhibition The Art of Law. Three Centuries of
Justice Depicted (pp. 25-41)
Vanessa
Paumen
The Mirror Axiom: Legal Iconology
and The Lure of Reflection (pp. 43-60)
Part II
Moralising Law and Justice Representations in the Late Middle Ages and Early
Modern Era
Changes in Late-Medieval Artistic Representations of
Hell in the Last Judgment in North-Central Italy, ca. 1300–1400: A Visual
Trick? (pp. 63-87)
Medieval Iconography of
Justice in a European Periphery: The Case of Sweden, ca. 1250–1550 (pp. 89-110)
Mia Korpiola
Justitia, Examples and
Allegories of Justice, and Courts in Flemish Tapestry, 1450–1550 (pp. 111-123)
Guy Delmarcel
The Judgment of
Cambyses: A Rich Iconographical Topic with Multiple Sources and a Long
Tradition (pp. 125-147)
Multi-layered Functions of Early
Modern Courtroom Equipment: Lüneburg for Example (pp. 149-164)
Part III
Lawyers and Justices: Their Books, Their Work, Their Symbols
Civic Bodies and their
Identification with Justice and Law in Early Modern Flemish Portraiture (pp.
167-179)
Lawyers and Litigants:
The Corrupting Appeal and Effects of Civil Litigation in Hendrick Goltzius’
(pp. 181-199)
Alain Wijffels
The Paradoxes of Lady
Justice’s Blindfold (pp. 201-221)
The Mechanical Art of Rhetoric in an
Ordinary Sixteenth Century German Formulary (pp. 245-272)
Liberté, égalité, fraternité ou la mort
(pp. 273-295)
Part IV Criminal Justice: Art, Object and Locus
Works of Art as a Form
of Criminal Punishment in the Low Countries (14th–17th C.) (pp. 299-317)
“ut experiri et
scire posset”: Pictorial Evidence and Judicial Inquiry in Hans Fries’ Kleiner
Johannes Altar (pp. 319-336)
Tamara
Golan
A Ghostly Corpse in the City?
Spatial Configurations and Iconographic Representations of Capital Punishment
in the ‘Belgian’ Space (16th–20th C.) (pp. 337-368)
Part V
Justice Architecture and Decorations in the Long Nineteenth Century
Joseph-Jonas Dumont’s Prison Gatehouses: Architecture
Parlante in Neo-Tudor Style (pp. 371-383)
Experiencing Justice in the Cour d’assises of Brabant
(1893–1913): A Place of Education and Entertainment (pp. 385-405)
The Judge, the Artist and the (Legal) Historian:
Théophile Smekens, Pieter Van der Ouderaa, Pieter Génard and the Antwerp cour
d’assises (pp. 407-432)
Depictions of Justice in the
Colonial Courts of British India: The Judicial Iconography of the Bombay High
Court (pp. 433-449)
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