1title: John Jay (Gilbert Stuart portrait)
artist: Gilbert Stuart
date: 1794
medium: Oil on canvas
dimensions: Size cm 131 102
current location: Institution:National Gallery of Art <!--within the institution-->
source: [link The National Gallery of Art]
credit: The National Gallery of Art
license:Public domain
2title: 1794 Samuel Dunn Wall Map of the World in Hemispheres Geographicus - World2-dunn-1794
artist:
date: 1794 (dated)
dimensions: Size unit=in width=49 height=42
source: Kitchin, Thomas, <i>Kitchin's General Atlas, describing the Whole Universe: being a complete collection of the most approved maps extant; corrected with the greatest care, and augmented from the last edition of D'Anville and Robert with many improvements by other eminent geographers, engraved on Sixty-Two plates, comprising Thirty Seven maps.</i>, Laurie & Whittle, London, 1797. Geographicus-source
credit: This file was provided to Wikimedia Commons by Geographicus Rare Antique Maps, a specialist dealer in rare maps and other cartography of the 15th, 16th, 17th, 18th and 19th centuries, as part of a cooperation project.
description: An absolutely stunning and monumental double hemisphere wall map of the world by Samuel Dunn dating to 1794. This extraordinary map is so large and so rich in detail that it is exceptionally challenging to do it full justice in either photographic or textual descriptions. Covers the entire world in a double hemisphere projection. The primary map is surrounded on all sides but detailed scientific calculations and descriptions as well as northern and southern hemisphere star charts, a map of the Moon, a Latitude and Longitude Analemma chart, a map of the Solar System, a Mercator projection of the world, an Analemma projection, a seasonal chart, a universal scale chart, and numerous smaller diagrams depicting planets and mathematical systems. All text is in English. We will start our survey of this map in North America, much of which was, even in 1794, largely unknown. This map follows shortly after the explorations of Captain Cook in the Arctic and Pacific Northwest, so the general outline of the continent is known. However, when this map was made, few inland expeditions had extended westward beyond the Mississippi. This map notes two separate speculative courses for the apocryphal River of the West, a northern route extending from Lake Winnipeg and a southern route passing south of Winnepeg through Pike's lake. The River of the West was hopeful dream of French and English explorers who were searching for a water passage through North America to the Pacific. In concept, should such a route be found, it would have become an important trade artery allowing the British and French, who's colonies dominated the eastern parts of North America, to compete with the Spanish for control of the lucrative Asia-Pacific trade. Little did these earlier speculative cartographers realize the bulk of the Rocky Mountains stood between them and their dreams! Slightly south of the Rivers of the West, we find the kingdom of Quivira, which is one of the lands associated with Spanish legends of the Seven Cities of Gold. In this area we can also find Drake's Harbor or Port de la Bodega and Albion. Drake's Harbor is where Sir Francis Drake supposedly landed during his circumnavigation of the globe in 1580. Drake wintered in this harbor and used the abundant resources of the region to repair his ships. He also claimed the lands for England dubbing them New Albion. Although the true location of Drake's port is unknown, most place it much further to the north. By situating it and consequently New Albion further to the south, Dunn is advocating a British rather than Spanish claim to this region. On the Eastern coast of North America we find a fledgling United States extending from Georgia to Maine. Dunn names Boston, New York, Charleston, Long Island, and Philadelphia, as well as the important smaller towns of Jamestown, Williamsburg and Edonton. South America exhibits a typically accurate coastline and limited knowledge of the interior beyond Peru and the populated coastlands. A few islands are noted off the coast, including the Galapagos, which are referred to as the Inchanted Islands. The Amazon is vague with many of its tributaries drawn in speculatively. Dunn and d'Anville have done away with the popular representation of Manoa or El Dorado in Guyana, but a vestigial Lake Parima is evident. Further south, the Laguna de los Xarayes, another apocryphal destination, is drawn at the northernmost terminus of the Paraguay River. The Xaraiés, meaning Masters of the River were an indigenous people occupying what are today parts of Brazil's Matte Grosso and the Pantanal. When Spanish and Portuguese explorers first navigated up the Paraguay River, as always in search of El Dorado, they encountered the vast Pantanal flood plain at the height of its annual inundation. Understandably misinterpreting the flood plain as a gigantic inland sea, they named it after the local inhabitants, the Xaraies.
license:Public domain
3title: Artgate Fondazione Cariplo Canova Antonio, Allegoria della Giustizia
artist: Antonio Canova
date: 1792
medium: technique gypsum
dimensions: Size unit=cm height=129 width=129
current location: Institution:Gallerie di Piazza Scala it|Sezione I
source: [link Artgate Fondazione Cariplo]
credit: Artgate Fondazione Cariplo
description:
The bas-relief of the Goddess of justice is part of a group of thirteen plaster casts – representing allegorical figures, scenes inspired by the Iliad, the Odyssey and Phaedo, and depicting two works of mercy – in the Foundation’s Congress Centre. The reliefs were executed by Canova as a gift for Abbondio Rezzonico, a member of the Roman Senate, between 1793 and 1795. Rezzonico had already commissioned from the sculptor the commemorative monument to his uncle Pope Clement XIII, 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 Apollo Crowning Himself 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 of 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 of Zulian, Renier, Falier, Albrizi, Barisan, Cappello) as well as Rome (Villa Lante, Villa Torlonia). There is evidence that in the course of his career Canova produced various series of bas-reliefs, sometimes with different subjects, to satisfy the demands of collectors who kept up with all the current artistic trends. The most complete series of 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.
The technique used to execute them was the lost wax 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 of emphasising this original aspect also to justify the cost of producing the pieces, although he delegated the actual production to talented assistants like Vincenzo Malpieri.
The desire to promote his own work led Canova, spurred on by the intellectuals of 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 of prints dedicated to “Connoisseurs and Lovers of Fine Arts”, published by the Rome bookseller Pier Luigi Scheri in 1817, is one of the finest examples of this, and the sculptor invited some of 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.
Engravings of most of the plaster reliefs were executed, with the exception of the three Allegories connected with the design for Clement XIII’s tomb.
The story of the Rezzonico reliefs is documented in the writings of the Rome antiquarian Giovanni Gherardo de Rossi: in 1793 Hope and Charity, casts made from the figures sculpted on Clement XIII’s sarcophagus, were delivered; Achilles Delivers Briseis to Agamemnon’s Heralds, Death of Priam and Socrates Drinking Hemlock can be dated to the same year; and Socrates Taking Leave of His Family, Dance of the Sons of Alcynous and Return of Telemachus and justice, 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 of the funerary monument completed between 1784 and 1792. Lastly, Crito Closing the Eyes of Socrates and Hecuba Offering the Robe to Pallas arrived in Bassano del Grappa in 1795. To the same year should be dated Feed the Hungry and Teach the Ignorant, possibly executed on Rezzonico’s wishes, since he placed them in a school for children established on the premises of his villa.
In all probability, and with the exception of the two pieces depicting works of mercy, the idea for the prototypes was developed some years earlier, as stated in Canova’s biography in Bassano: in point of fact they were executed at the same time as the funerary monument to Clement XIII, between 1783 and 1792. The technique of the plaster relief enabled Canova to experiment with a new language that was wholly Neoclassical and thus devoid of decorative elements and strict rules of 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 of being expressionistic.
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 of San Bonifacio. From there they went, as part of an inheritance, to a country house on the Verona plain, and were purchased by the Cassa di Risparmio delle Provincie Lombarde in 1991.license:
CC BY-SA 3.0
4title: Jürgen Ovens Justice (or Prudence, Justice, and Peace) - Google Art Project-x2-y0
artist: Jürgen Ovens
date: 1662
credit: SwG7XjnIS9673w at Google Cultural Institute maximum zoom level
license:Public domain
5title: Jürgen Ovens Justice (or Prudence, Justice, and Peace) - Google Art Project-x1-y2
artist: Jürgen Ovens
date: 1662
credit: SwG7XjnIS9673w at Google Cultural Institute maximum zoom level
license:Public domain
6title: Jürgen Ovens Justice (or Prudence, Justice, and Peace) - Google Art Project-x0-y2
artist: Jürgen Ovens
date: 1662
credit: SwG7XjnIS9673w at Google Cultural Institute maximum zoom level
license:Public domain
7title: Jürgen Ovens Justice (or Prudence, Justice, and Peace) - Google Art Project-x1-y0
artist: Jürgen Ovens
date: 1662
credit: SwG7XjnIS9673w at Google Cultural Institute maximum zoom level
license:Public domain
8title: Honoré Daumier Les Gens de Justice- M. L'Avocat a rendu pleine Justice... - Google Art Project
artist: Honoré Daumier
date: 1846
medium: Lithograph on paper
dimensions: w13 x h11 in
current location: The Phillips Collection
credit: GQF443xOvdtp5Q at Google Cultural Institute maximum zoom level
license:Public domain
9title: Court sitting trying prisoners in the Justice Hall of Old Ba Wellcome V0041657
artist: unknown
source: link * Gallery: link * Wellcome Collection gallery (2018-03-28): link [link CC-BY-4.0]
credit: link Gallery: link Wellcome Collection gallery (2018-03-28): link CC-BY-4.0
description:
Court sitting trying prisoners in the justice Hall of Old Bailey.
Iconographic Collections
Keywords: justice; ic; Social justice; courtroom; old baileylicense:
CC BY 4.0
title: Marcus Gheeraerts I The triumph of justice.
artist: Marcus Gheeraerts the Elder
date: 1564
medium: grey prepared paper, pen in brown ink, brown wash, heightened in white
dimensions: size mm height=264 width=196 institution=Institution:Germanisches Nationalmuseum
source: link
credit: link
license:
CC0
.jpg){kind=small}
_-_Google_Art_Project-x2-y0.jpg){kind=small}
_-_Google_Art_Project-x1-y2.jpg){kind=small}
_-_Google_Art_Project-x0-y2.jpg){kind=small}
_-_Google_Art_Project-x1-y0.jpg){kind=small}
