Thursday, December 16, 2010
As the Yale Law School professors Judith Resnik and Dennis Curtis show in an unusual new book just out, 'Representing Justice' — an academic treatise on threats to the modern judiciary that doubles as an obsessive’s tour of Western art through the lens of the law — Lady Justice’s familiar blindfold did not become an accessory until well into the 17th century. And even then it was uncommon because of the profoundly negative connotations blindfolds carried for medieval and Renaissance audiences, who viewed them as emblems not of impartiality but of deception (hence the early use of the word hoodwink as a noun, meaning a blindfold or hood).
'Sight was the desired state,' Professors Resnik and Curtis write, 'connected to insight, light and the rays of God’s sun.' Even in modern times the blindfold continues to fit uneasily in Lady Justice’s wardrobe, used as a handy prop by political cartoonists and a symbol of dysfunction by others. 'That Justice is a blind goddess/Is a thing to which we black are wise,' Langston Hughes wrote in 1923. 'Her bandage hides two festering sores/ That once perhaps were eyes.'
It might convey some idea of the depth of Ms. Resnik and Mr. Curtis’s mutual interest in the art life of Lady Justice that their examination of the history of her blindfold alone takes up one whole chapter and part of another in the book, following ideas of sight and veiling through the philosophy of Locke, Diderot and Bentham. The book traces the remarkable ubiquity of the figure of justice around the world, from the statue at the Supreme Court of Canada in Ottawa to one presiding over a constitutional court in Azerbaijan to others in Zambia, Iraq, Brazil and Japan.
You can read the rest of the NYT's review here.