The text offers the visual analysis of oil on panel, Justitia Zeven Hoofdzonden, work of Antoon Claeissens (ca. 1536-1613), dated to 1584, comparing other versions how are Iusticia etching, by Luca Penni (c.1500-1504- 1556), realized by Léon Davent, engraver of the mid of s. XVI, and also oil on panel by Pieter Claeissens de Oude (ca. 1499- 1576) bearing the title Justitia overwint de zeven hoofdzonden (1570-1613). The A. maintains that the medieval roots of the theme of these three works, related to the allegory of the seven deadly sins, has a legal dimension connected to procedural reforms undertaken by Francis I of France for the transition from the accusatory to the inquisitive system to the Ordonnance Villers -Cotterets (Ordonnance sur le fait de la Justice, 1539) In this sense, it introduces new visual references, such as the Iusticia, by Pieter Bruegel de Oude (1525-1569), engraved (1559) by Philips Galle (1537-1612), and highlights specific functional elements about the defendant's ignorance of the charges formulated against him, and the effective practice of the probative diligence of torture (judicial torture) .The explanatory force of the visual culture of the Law is highlighted in this way. In fact, it will be seen as a real alternative to legal knowledge exclusively derived from the textual, such as Praxis rerum criminalium elegantissimis iconibus ad Materiam accommodatis illustrata (1554) and the Enchiridion Rerum Criminalium (1554), by Joos de Damhouder (1507-1581), and the Praxis criminis persequendi, elegantibus aliquot figuris illustrata (1541), by Jean de Milles de Souvigny (1490?-1563), they use in abundance the use of images (woodcuts) to portray ways of driving and dealing with the accused. Isolated these features A. concludes that the new moral and legal imagery of Justice that the introduction of the inquisitive system gives place in Europe during the s. XVI is equipped with a disturbing plastic. This work, then, projects from the perspective of the visual culture of Law an innovative ...