215 The blending of religious, political, and legal ideas can also be seen in the art glorifying theprinces. Some frontispieces toHugoGrotius’ De jurebelliacpads give an example of how a panegyric tribute was dedicated to Louis XIV and Leopold II respectively by association toJustitia’s role as Regina virtutum(Fig. 3, 5). InSweden such concepts of the Kingas the highest representativeof justice are re-echoed in the frontispieces to tracts with a legal connection; such occurred in direct association to national conditions in an edition of Swedish Marine Law (1667, Fig. 12) and in an edition of a medieval work de regimeprindpum from 1669 (Fig. 1). The role ofJustitia within the Swedish royal panegyric had already been confirmed by the Royal Ballet during the reign of Queen Christina; it would later return in thepictorial arts which hailed peace during the reign of the Palatine House. Within juridical literature the picture of Justitia can be followed from the early editions of lawbooks from the beginning of the seventeenthcentury. Inthe increasingly unifiedculturein Sweden it seems natural that thepictorial worldin the lawbooks is similar tothe illustrations of the Bibles that werepublished. The tradition from the Old Testament was strongly emphasized and so was the inevitable combination of Pax and Justitia. With the ratification of Christopher’s National Law {landslag) 1608 and its appendix dealing with civil cases. Mosaic law came to assume a key position. Thus the iconography of the title pages in the law editions of 1617, 1621, and 1638 demonstratea close correspondence with the illustrations in the Bible of Gustavus Adolphus (1617—18, Fig. 15). This hierarchical pictorial worldis anchored in a strict legalistic spirit which at that time characterized churchly piety. It is noteworthy that the 1666 edition of the law texts was published with alternative title pages. One nearly adopts the iconography of the edition of the Biblepublished in 1655 (Fig. 14), while the other is inspired by a Catholic missal published in Wurzburg in 1613 (Fig. 15). With rather small modifications the Catholic saints have in the Swedish edition become missionaries and kings from Swedish medieval history placed on either side of the apocalyptical Madonna and the Lord’s Supper. The reason that this variant could appear in orthodox Lutheran Sweden was probably the enthusiasmwhich the Age of Greatness had for the Middle Ages, an enthusiasm manifested in the journeys conducted for taking inventories and the establishment of the Collegeof Antiquities in 1666. It can also be noted that in Sweden more was adopted fromRoman Catholicism than in other reformed churches. During the Caroline autocracy the personification of the State achieved a place in the legal iconography, such as in Johan Schmedeman’s collection of statutes from 1706. In accordance with a creation of Elias Brenner, Svecia is enthroned over the figures which symbolize the diligent collection of documents from the MiddleAges onward (Fig. 17). It seems symptomatical that both the representations ofJustitia and Pax had been reduced to genies bearing their
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