Giotto, Virtues and Vices: Justice
The appeal of Justice concentrates in the attributes and the ornamental additions, as if they try to steal all the charm from the sitting crowned figure. This process occurs on some level in other allegories as well, but in this one it reaches a notable scale — or a critical mass if you will. One reason for this shift seems to be that the attributes here consist of many miniature figures of living people, who interact and move, vying for the viewer’s attention. Since there is little variety in the facial expression, observers will naturally turn towards the fresh, previously unseen parts. The inclination towards seeking entertaining yet harmless and still relevant digressions may be a common factor, as looking at the fourteen figures may prove to be quite tiresome (as any museum frequenter will testify), but it seems particularly urgent in Faith, a rather dull looking sitter. In a way, the miniatures play the role of jewelry, attracting the eye to the otherwise insignificant owner.
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So what do we have here? First, there is the crown, the richest of all head gears; Charity is only caught in the process of reaching for one, humbler in design and appearance. The crown positions Justice as the most important of all virtues in the secular dealings of men and women; the illusionary regal architecture around her further emphasizes her exceptional status. The woman indeed sits like a queen: stately and intentionally immobile, faintly arrogant and almost inapproachable. She holds the notorious scales; punishment on one and clemency on the other — both are occupied with their respective activities, to which the condemned in front of them react accordingly (unfortunately the one in front of clemency was lost). The scales are almost even, with clemency pulling down just a little bit more; the imaginary line between the two accurately divides the scene into two halves, suggesting impartiality.
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The scene below throne is so rich that it may include some of the other virtues. We see some growth, a possible hint at charity, and a woman holding a tambourine as if it were a mirror, an allusion on prudence (and knowledge). The men on horseback, who are probably warriors, imply fortitude. It is interesting to compare this scene with the one below Injustice — the exact opposite of the festive and lively atmosphere. I would also like to mention that in general, the vices appear more interesting… which may indicate on their adequate place in our lives. There is more tension, even more movement and drama in Giotto’s vices; though they exhibit much less balance and harmony, eventually these deviations make them more fascinating, even if somewhat disturbing images. To my mind, more thought had been invested in them, which may signify another humanistic feature: the search for and the research of psychological phenomena.
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