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.

Aesthetic philosophy and the arts offer an innovative and attractive approach to enhancing international law in support of peace.

The emblem book was invented by the humanist lawyer Andrea Alciato in 1531. The preponderance of juridical and normative themes, of images of rule and infraction, of obedience and error in the emblem books is critical to their purpose and interest. This book outlines the history of the emblem tradition as a juridical genre, along with the concept of, and training in, obiter depicta, in things seen along the way to judgment. It argues that these books depict norms and abuses in classically derived forms that become the visual standards of governance. Despite the plethora of vivid figures and virtual symbols that define and transmit law, contemporary lawyers are not trained in the critical apprehension of the visible. This book is the first to reconstruct the history of the emblem tradition, evidencing the extent to which a gallery of images of law already exists and structuring how the public realm is displayed, made present and viewed.

Models of Integrity examines the relationship between contemporary art and the law through the lens of integrity. In the 1960s, artists began to engage conspicuously with legal ideas, rituals, and documents. The law—a primary institution subject to intense moral and political scrutiny—was a widely recognized source of authority to audiences inside the art world and out. Artists frequently engaged with the law in ways that signaled a recuperation of the integrity that they believed had been compromised by the very institutions entrusted with establishing standards of just conduct. These artists sought to convey the social purpose of an artwork without overstating its political impact and without losing sight of how aesthetic decisions compel audiences to see their everyday world differently. Addressing the role that law plays in enabling artworks to function as social and political forces, this important book fills a gap in the field of law and the humanities, and will serve as a practical “how-to” for contemporary artists.

Written by an award-winning professor with over 25 years of experience, this book explains comprehensively the different facets of law teaching from the law teacher’s perspective. It uniquely covers numerous topics which have been ignored by the legal education literature so far, but which are of immense importance for the success of law students, law schools and—last but not least—the day-to-day work of law teachers themselves. These topics include the goals of law teaching, the factors that lead to successful law teaching, special characteristics of good law teachers, different ways of preparing for in-class success, face-to-face versus online teaching, the in-class teaching experience, assessments, teaching evaluations, the design of new courses and programmes, the teacher–student and the teacher–teacher relationship, the importance of teaching administration as well as the future of law teaching in the digital age. The author approaches various themes from the viewpoint of his own experience. He tells his very personal stories of classroom success and failure, of enthusiasm, fun and disappointments when dealing with law students, of accomplishments and frustrations when considering learning outcomes and of surprises when dealing with red tape. He thus allows the readership to grasp different aspects of law teaching in a very hands-own way and facilitates the understanding of the underlying often rather complex human-to-human relationships. This book should be in the bookshelf of any law teacher. As it covers a wide spectrum of so far unexplored legal education issues, it is also an invaluable source at the start of a law teaching career, but also for established law teachers who wish to reflect on their own teaching approaches. A rich body of cross-references to the existing literature makes the book a powerful tool for research on any aspect of legal education. Last but not least, the author’s ironic sense of himself and of the law teacher profession makes the book a very entertaining read for anybody who always wanted to know what law teaching really is (and is not) about.

Featuring 20 top pieces from the collection of the Groeninge Museum in Bruges, combined with more than 80 exquisite works from collections around the world, this book sheds new light on the depiction of justice from the 15th to the 17th century. This book provides an historical approach that will appeal to both the expert and the art lover. The inclusion of famous pieces, such as 'The Judgment of Cambyses' by Gerard David and 'The Last Judgment' by Pieter Pourbus and Jan Provoost, make this book an homage to art as well as to the practices of law in society. AUTHOR: Vanessa Paumen works at the Groeningemuseum in Bruges as the coordinator of the Flemish Research Center for the Arts in the Burgundian Netherlands. She earned a BA degree, cum laude and an MA degree in Art History, with a focus on European Art at the University of Texas in Austin (USA). In her Master's thesis, 'Judged, Beheaded, Burned: Dieric Bouts, The Justice of Emperor Otto III within the Context of Fifteenth-Century Punitive Practices', she looked at how justice paintings functioned in 15th century Flemish society. 120 colour