title: <a href="https://en.wikipedia.org/wiki/Lady_Justice" class="extiw" title="w:Lady Justice">Justice</a>

artist: <bdi><a href="https://en.wikipedia.org/wiki/en:Antonio_Canova" class="extiw" title="w:en:Antonio Canova">Antonio Canova</a> </bdi>

date: 1792<div style="display: none;">date QS:P571,+1792-00-00T00:00:00Z/9</div>

medium: technique gypsum

dimensions: Size unit=cm height=129 width=129

current location: Institution:Gallerie di Piazza Scala it|Sezione I

source: [http://www.artgate-cariplo.it Artgate Fondazione Cariplo]

credit: <a rel="nofollow" class="external text" href="http://www.artgate-cariplo.it">Artgate Fondazione Cariplo</a>

description: <div class="description"> <p>The <a href="https://en.wikipedia.org/wiki/Relief#Bas-relief_or_low_relief" class="extiw" title="w:Relief">bas-relief</a> <u style="background-color:yellow;" class="">of</u> the Goddess <u style="background-color:yellow;" class="">of</u> <u style="background-color:yellow;" class="">justice</u> is part <u style="background-color:yellow;" class="">of</u> a group <u style="background-color:yellow;" class="">of</u> thirteen plaster casts – representing allegorical figures, scenes inspired by the Iliad, the Odyssey and Phaedo, and depicting two works <u style="background-color:yellow;" class="">of</u> mercy – in the Foundation’s Congress Centre. The reliefs were executed by Canova as a gift for Abbondio Rezzonico, a member <u style="background-color:yellow;" class="">of</u> the Roman Senate, between 1793 and 1795. Rezzonico had already commissioned from the sculptor the commemorative monument to his uncle <a rel="nofollow" class="external text" href="http://www.clementexiii.it/zoom/zoom_mostra.html">Pope Clement XIII</a>, which was erected in St. Peter’s but not unveiled until 1792, twenty-three years after the Pope’s death. In 1781, the Veneto artist had executed for the Senator the statuette <a rel="nofollow" class="external text" href="http://www.getty.edu/art/gettyguide/artObjectDetails?artobj=1521">Apollo Crowning Himself</a> now held by the Getty Museum in Los Angeles. Evidently the two men were on very friendly terms, probably also because they were both from the Veneto region. A frequenter <u style="background-color:yellow;" class="">of</u> Rome artistic circles, Rezzonico also commissioned works from Piranesi and Pompeo Batoni – who immortalised him in a portrait now in the Museo di Bassano del Grappa. The bas-reliefs were hung in Villa Rezzonico at Bassano to create a “Canovian room”, as attested by 19th-century sources, similar to those in other aristocratic residences in Veneto (those <u style="background-color:yellow;" class="">of</u> Zulian, Renier, Falier, Albrizi, Barisan, Cappello) as well as Rome (Villa Lante, Villa Torlonia). There is evidence that in the course <u style="background-color:yellow;" class="">of</u> his career Canova produced various series <u style="background-color:yellow;" class="">of</u> bas-reliefs, sometimes with different subjects, to satisfy the demands <u style="background-color:yellow;" class="">of</u> collectors who kept up with all the current artistic trends. The most complete series <u style="background-color:yellow;" class="">of</u> plaster casts, which were never executed in marble, is in the Gipsoteca in Possagno, and another series very like the one in the Cariplo Collection, is located in the Museo Correr, Venice. </p> <p>The technique used to execute them was the <a href="https://en.wikipedia.org/wiki/Lost-wax_casting" class="extiw" title="w:Lost-wax casting">lost wax</a> process, which enables a one-off piece to be produced from a cast obtained from a prototype: this allows the artist to work on the plaster and to give it a unique quality. We know that Canova was in the habit <u style="background-color:yellow;" class="">of</u> emphasising this original aspect also to justify the cost <u style="background-color:yellow;" class="">of</u> producing the pieces, although he delegated the actual production to talented assistants like Vincenzo Malpieri. </p> <p>The desire to promote his own work led Canova, spurred on by the intellectuals <u style="background-color:yellow;" class="">of</u> the day such as Pietro Giordani and Francesco Leopoldo Cicognara, to reproduce his sculptures in engravings, in order to make his production more widely known through an economical, straightforward medium. The collection <u style="background-color:yellow;" class="">of</u> prints dedicated to “Connoisseurs and Lovers <u style="background-color:yellow;" class="">of</u> Fine Arts”, published by the Rome bookseller Pier Luigi Scheri in 1817, is one <u style="background-color:yellow;" class="">of</u> the finest examples <u style="background-color:yellow;" class="">of</u> this, and the sculptor invited some <u style="background-color:yellow;" class="">of</u> the leading artists then active in Rome, including Vincenzo Camuccini, Raffaello Morghen, Jean-Baptiste Wicar, Tommaso Minardi and Francesco Hayez, to work on the project. </p> <p>Engravings <u style="background-color:yellow;" class="">of</u> most <u style="background-color:yellow;" class="">of</u> the plaster reliefs were executed, with the exception <u style="background-color:yellow;" class="">of</u> the three Allegories connected with the design for Clement XIII’s tomb. </p> <p>The story <u style="background-color:yellow;" class="">of</u> the Rezzonico reliefs is documented in the writings <u style="background-color:yellow;" class="">of</u> the Rome antiquarian <a href="https://it.wikipedia.org/wiki/Giovanni_Gherardo_de_Rossi" class="extiw" title="it:Giovanni Gherardo de Rossi">Giovanni Gherardo de Rossi</a>: in 1793 <a href="//commons.wikimedia.org/wiki/File:Canova_Antonio,_Allegoria_della_Speranza.jpg" class="mw-redirect" title="File:Canova Antonio, Allegoria della Speranza.jpg">Hope</a> and <a href="//commons.wikimedia.org/wiki/File:Canova_Antonio,_Allegoria_della_Carit%C3%A0.jpg" class="mw-redirect" title="File:Canova Antonio, Allegoria della Carità.jpg">Charity</a>, casts made from the figures sculpted on Clement XIII’s sarcophagus, were delivered; <a href="//commons.wikimedia.org/wiki/File:Canova_Antonio,_Briseide_consegnata_da_Achille_agli_araldi_di_Agamennone.jpg" class="mw-redirect" title="File:Canova Antonio, Briseide consegnata da Achille agli araldi di Agamennone.jpg">Achilles Delivers Briseis to Agamemnon’s Heralds</a>, <a href="//commons.wikimedia.org/wiki/File:Canova_Antonio,_Uccisione_di_Priamo.jpg" class="mw-redirect" title="File:Canova Antonio, Uccisione di Priamo.jpg">Death <u style="background-color:yellow;" class="">of</u> Priam</a> and <a href="//commons.wikimedia.org/wiki/File:Canova_Antonio,_Socrate_beve_la_cicuta.jpg" class="mw-redirect" title="File:Canova Antonio, Socrate beve la cicuta.jpg">Socrates Drinking Hemlock</a> can be dated to the same year; and <a href="//commons.wikimedia.org/wiki/File:Canova_Antonio,_Socrate_congeda_la_propria_famiglia.jpg" class="mw-redirect" title="File:Canova Antonio, Socrate congeda la propria famiglia.jpg">Socrates Taking Leave <u style="background-color:yellow;" class="">of</u> His Family</a>, <a href="//commons.wikimedia.org/wiki/File:Canova_Antonio,_Danza_dei_figli_di_Alcinoo.jpg" class="mw-redirect" title="File:Canova Antonio, Danza dei figli di Alcinoo.jpg">Dance <u style="background-color:yellow;" class="">of</u> the Sons <u style="background-color:yellow;" class="">of</u> Alcynous</a> and <a href="//commons.wikimedia.org/wiki/File:Canova_Antonio,_Ritorno_di_Telemaco.jpg" class="mw-redirect" title="File:Canova Antonio, Ritorno di Telemaco.jpg">Return <u style="background-color:yellow;" class="">of</u> Telemachus</a> and <a href="//commons.wikimedia.org/wiki/File:Canova_Antonio,_Allegoria_della_Giustizia.jpg" class="mw-redirect" title="File:Canova Antonio, Allegoria della Giustizia.jpg"><u style="background-color:yellow;" class="">justice</u></a>, to 1794. The latter is the most interesting piece in the group, since it is the artist’s original study – and therefore not featured in other series – for a figure that does not appear in the final version <u style="background-color:yellow;" class="">of</u> the funerary monument completed between 1784 and 1792. Lastly, <a href="//commons.wikimedia.org/wiki/File:Canova_Antonio,_Critone_chiude_gli_occhi_a_Socrate.jpg" class="mw-redirect" title="File:Canova Antonio, Critone chiude gli occhi a Socrate.jpg">Crito Closing the Eyes <u style="background-color:yellow;" class="">of</u> Socrates</a> and <a href="//commons.wikimedia.org/wiki/File:Canova_Antonio,_Offerta_del_peplo_a_Pallade.jpg" class="mw-redirect" title="File:Canova Antonio, Offerta del peplo a Pallade.jpg">Hecuba Offering the Robe to Pallas</a> arrived in Bassano del Grappa in 1795. To the same year should be dated <a href="//commons.wikimedia.org/wiki/File:Canova_Antonio,_Dar_da_mangiare_agli_affamati.jpg" class="mw-redirect" title="File:Canova Antonio, Dar da mangiare agli affamati.jpg">Feed the Hungry</a> and <a href="//commons.wikimedia.org/wiki/File:Canova_Antonio,_Insegnare_agli_ignoranti.jpg" class="mw-redirect" title="File:Canova Antonio, Insegnare agli ignoranti.jpg">Teach the Ignorant</a>, possibly executed on Rezzonico’s wishes, since he placed them in a school for children established on the premises <u style="background-color:yellow;" class="">of</u> his villa. </p> <p>In all probability, and with the exception <u style="background-color:yellow;" class="">of</u> the two pieces depicting works <u style="background-color:yellow;" class="">of</u> mercy, the idea for the prototypes was developed some years earlier, as stated in Canova’s biography in Bassano: in point <u style="background-color:yellow;" class="">of</u> fact they were executed at the same time as the funerary monument to Clement XIII, between 1783 and 1792. The technique <u style="background-color:yellow;" class="">of</u> the plaster relief enabled Canova to experiment with a new language that was wholly Neoclassical and thus devoid <u style="background-color:yellow;" class="">of</u> decorative elements and strict rules <u style="background-color:yellow;" class="">of</u> perspective. These works reveal the sculptor’s attempt to adapt to contemporary literary canons, using a style that was spare and dramatic to the point <u style="background-color:yellow;" class="">of</u> being expressionistic. </p> The bas-reliefs stayed in Bassano until 1837, when they were sold to the collector Antonio Piazza, who hung them in his mansion in Padua, which was later bought by the Counts <u style="background-color:yellow;" class="">of</u> San Bonifacio. From there they went, as part <u style="background-color:yellow;" class="">of</u> an inheritance, to a country house on the Verona plain, and were purchased by the Cassa di Risparmio delle Provincie Lombarde in 1991.</div>

title: <div class="fn"> <span ><span dir="ltr" lang="en"><i>Allegory of Peace and Justice</i></span></span><div style="display: none;">title QS:P1476,en:"Allegory of Peace and Justice"</div> <div style="display: none;">label QS:Len,"Allegory of Peace and Justice"</div> </div>

artist: <div class="fn value"> Giaquinto, Corrado (1703 - 1766) – Artist (Italian)<br><a rel="nofollow" class="external text" href="http://www.googleartproject.com/artist/corrado-giaquinto/4130449/">Details of artist on Google Art Project</a> </div>

date: from 1753 until 1754 <div style="display: none;">date QS:P571,+1753-00-00T00:00:00Z/8,P580,+1753-00-00T00:00:00Z/9,P582,+1754-00-00T00:00:00Z/9</div>

current location: Indianapolis Museum of Art

credit: <a rel="nofollow" class="external text" href="//www.google.com/culturalinstitute/asset-viewer/YwEeDD15qDMllg">YwEeDD15qDMllg at Google Cultural Institute</a> maximum zoom level

title: <div class="fn"> <span ><span dir="ltr" lang="en"><i>Architecture as an Allegory of Justice and Clemency</i></span></span><div style="display: none;">title QS:P1476,en:"Architecture as an Allegory of Justice and Clemency"</div> <div style="display: none;">label QS:Len,"Architecture as an Allegory of Justice and Clemency"</div> </div>

artist: <div class="fn value"> Brussels Manufactory (Workshop of Jan Leyniers) 1660 – Workshop (Belgian)<br> Born in Brussels.<br><a rel="nofollow" class="external text" href="http://www.googleartproject.com/artist/brussels-manufactory/4131053/">Details of artist on Google Art Project</a> </div>

date: 1660<div style="display: none;">date QS:P571,+1660-00-00T00:00:00Z/9</div>

dimensions: w2010 x h4100 mm

current location: Fundación Banco Santander

credit: <a rel="nofollow" class="external text" href="//www.google.com/culturalinstitute/asset-viewer/TgHJQ3azbpgaiw">TgHJQ3azbpgaiw at Google Cultural Institute</a> maximum zoom level

title: <div class="fn"> <span ><span dir="ltr" lang="en"><i>Allegory of Justice</i></span></span><div style="display: none;">title QS:P1476,en:"Allegory of Justice"</div> <div style="display: none;">label QS:Len,"Allegory of Justice"</div> </div>

artist: <bdi><a href="https://en.wikipedia.org/wiki/en:Hubertus_Quellinus" class="extiw" title="w:en:Hubertus Quellinus">Hubertus Quellinus</a> </bdi>

date: between 1655 and 1668 <div style="display: none;">date QS:P571,+1650-00-00T00:00:00Z/7,P1319,+1655-00-00T00:00:00Z/9,P1326,+1668-00-00T00:00:00Z/9</div>

medium: print

dimensions: size cm 33.6 41.8

current location: Institution:Rijksmuseum

source: http://hdl.handle.net/10934/RM0001.COLLECT.341560

credit: <a rel="nofollow" class="external free" href="http://hdl.handle.net/10934/RM0001.COLLECT.341560">http://hdl.handle.net/10934/RM0001.COLLECT.341560</a>

title: <div class="fn"> Allegory of Fortuna and Justice</div>

artist: <div class="fn value"> <a href="//commons.wikimedia.org/w/index.php?title=Creator:Monogrammist_HC&amp;action=edit&amp;redlink=1" class="new" title="Creator:Monogrammist HC (page does not exist)">Creator:Monogrammist HC</a> </div>

date: 1534<div style="display: none;">date QS:P571,+1534-00-00T00:00:00Z/9</div>

medium: Etching and engraving

dimensions: Sheet: 6 5/16 × 7 7/16 in. (16.1 × 18.9 cm)

current location: Institution:Metropolitan Museum of Art

source: https://www.metmuseum.org/art/collection/search/703195 Template:TheMet

credit: This file was donated to Wikimedia Commons as part of a project by the <a href="//commons.wikimedia.org/wiki/Commons:Met" title="Commons:Met">Metropolitan Museum of Art</a>. See the <a rel="nofollow" class="external text" href="https://metmuseum.org/about-the-met/policies-and-documents/image-resources">Image and Data Resources Open Access Policy</a>

title: <div class="fn"> Design for a ceiling with an allegory of Justice</div>

artist: <div class="fn value"> <a href="//commons.wikimedia.org/w/index.php?title=Creator:Hendrik-Frans_Verbruggen&amp;action=edit&amp;redlink=1" class="new" title="Creator:Hendrik-Frans Verbruggen (page does not exist)">Creator:Hendrik-Frans Verbruggen</a> </div>

date: Unknown date<div style="display: none;">Unknown date</div>

medium: Pen and brown ink, graphite, brush and gray and brown wash

dimensions: sheet: 5 9/16 x 8 1/8 in. (14.2 x 20.6 cm)

current location: Institution:Metropolitan Museum of Art

source: https://www.metmuseum.org/art/collection/search/348301 Template:TheMet

credit: This file was donated to Wikimedia Commons as part of a project by the <a href="//commons.wikimedia.org/wiki/Commons:Met" title="Commons:Met">Metropolitan Museum of Art</a>. See the <a rel="nofollow" class="external text" href="https://metmuseum.org/about-the-met/policies-and-documents/image-resources">Image and Data Resources Open Access Policy</a>

title: <div class="fn"> Allegory of Justice with Two Putti (after Lorenzo Sabatini's Fresco in Palazzo Vecchio, Florence)</div>

artist: <bdi>After <a href="https://en.wikipedia.org/wiki/en:Lorenzo_Sabbatini" class="extiw" title="w:en:Lorenzo Sabbatini">Lorenzo Sabbatini</a> </bdi>

date: 16^th century <div style="display: none;">date QS:P571,+1550-00-00T00:00:00Z/7</div>

medium: technique adj=Red chalk and=brush adjand2=red and2=wash , langswitch de=gehöht en=highlighted with technique adj=white gouache ( langswitch de=oxidiert en=oxidized )

dimensions: size in 13 9.9375 -15/16 in. (33 x 25.3 cm)

current location: Institution:Metropolitan Museum of Art

source: https://www.metmuseum.org/art/collection/search/342055 Template:TheMet

credit: This file was donated to Wikimedia Commons as part of a project by the <a href="//commons.wikimedia.org/wiki/Commons:Met" title="Commons:Met">Metropolitan Museum of Art</a>. See the <a rel="nofollow" class="external text" href="https://metmuseum.org/about-the-met/policies-and-documents/image-resources">Image and Data Resources Open Access Policy</a>

title: Drawing, Allegory of justice with sword and scales, ca. 1759–70

artist: <div class="fn value"> Unknown artist</div>

date: circa 1759 <div style="display: none;">date QS:P571,+1759-00-00T00:00:00Z/9,P1480,Q5727902</div>–70

medium: red chalk on paper

current location: Institution:Cooper Hewitt, Smithsonian Design Museum

source: [https://collection.cooperhewitt.org/objects/18491963 Catalog] [https://images.collection.cooperhewitt.org/255746_c7024b4fc18072c4_x.jpg Photo]

credit: <a rel="nofollow" class="external text" href="https://collection.cooperhewitt.org/objects/18491963">Catalog</a> <a rel="nofollow" class="external text" href="https://images.collection.cooperhewitt.org/255746_c7024b4fc18072c4_x.jpg">Photo</a>

description: An <u style="background-color:yellow;" class="">allegory</u> <u style="background-color:yellow;" class="">of</u> <u style="background-color:yellow;" class="">justice</u>. Robed female figure holds a sword upright in her left hand and a set <u style="background-color:yellow;" class="">of</u> scales in her right.

title: <div class="fn"> <i>Allegory of Justice </i> </div>

artist: <div class="fn value"> Felice Giani</div>

medium: pen and brown ink with violet-brown wash over black chalk on wove paper

dimensions: sheet: 22.5 x 16.7 cm (8 7/8 x 6 9/16 in.)

current location: Institution:National Gallery of Art

source: https://purl.org/nga/collection/artobject/143848 Template:NGADC

credit: This file was donated to Wikimedia Commons as part of a project by the <a href="//commons.wikimedia.org/wiki/Commons:NGA" title="Commons:NGA">National Gallery of Art</a>. Please see the Gallery's <a rel="nofollow" class="external text" href="https://images.nga.gov/en/page/openaccess.html">Open Access Policy</a>.

title: <div class="fn"> Allegory on Justice and the Pitfalls of Corruption</div>

artist: <div class="fn value"> <a href="//commons.wikimedia.org/w/index.php?title=Creator:Lambert_Cornelisz&amp;action=edit&amp;redlink=1" class="new" title="Creator:Lambert Cornelisz (page does not exist)">Creator:Lambert Cornelisz</a> </div>

date: 1590–1630

medium: Engraving

dimensions: Height: 8 3/4 in. (22.2 cm) Width: 6 9/16 in. (16.6 cm)

current location: Institution:Metropolitan Museum of Art

source: https://www.metmuseum.org/art/collection/search/837725 Template:TheMet

credit: This file was donated to Wikimedia Commons as part of a project by the <a href="//commons.wikimedia.org/wiki/Commons:Met" title="Commons:Met">Metropolitan Museum of Art</a>. See the <a rel="nofollow" class="external text" href="https://metmuseum.org/about-the-met/policies-and-documents/image-resources">Image and Data Resources Open Access Policy</a>