Seite - 155 - in Der Arkadenhof der Universität Wien und die Tradition der Gelehrtenmemoria in Europa

er novel feature of a lifelike bust portrait on a tomb (Fig. 1).26 While the lower part with its three vertical red markers is set completely flat against the wall, the monument’s upper register is decidedly sculptural and voluminous, with its protruding consoles and the elegant, classiciz- ing sarcophagus on top (Fig. 3).27 The sarcoph- agus in aria creates a baldacchino of sorts, with the bishop’s elevated corpse projected into the chapel space.28 Salutati’s coat of arms in marble is set well visible against the shorter red middle marker. On top of it sits the bishop’s remark- able portrait bust (Fig. 4). There is a simple tab- ula ansata in the centre of the sarcophagus’ lower tub, bearing the inscription: OSSA LEONAR- DUS SALUTATUS CIVILIS PONTIFICII QS (OLIM) IURIS CONSU(L)TUS EP(ISCOP) US QS (OLIM) FESU(LANUS) VIVENS SIBI POSUIT, VALE LECTOR ET ME PRECIBUS ADIUVA. MCCCLXVI, which translates as, ‘Here rest the bones of Leonardo Salutati, former Bishop of Fiesole, learned in canon and civil law, who had this erected for himself while still alive. Farewell reader, and may your prayers help me. 1466.’ Salutati also emphasizes his status as ‘iuris consultus’ on the altarpiece on the opposite side of the chapel facing the tomb, where we read: LEONARDUS DE SALUTATIS EP(ISCOPU)S FESULANUS IURIS CONSULTUS.29 Fig. 3: Cosimo Rosselli (fresco paintings) and Mino da Fieso- le (altarpiece and tomb), view of the Salutati Chapel toward the tomb, Cathedral San Romolo, Fiesole. Fig. 4: Mino da Fiesole, Salutati tomb (detail): bust, coat of arms, sarcophagus with inscription. The SaluTaTi Tomb in FieSole 155 26 Portrait busts on different types of tombs turn into a genuine fashion from the sixteenth century onwards. For an overview see A. Grisebach: Römische Porträtbüsten der Gegenreformation, Leipzig 1936. While Grisebach dates the beginning of this trend to the Quattrocento he does not mention the Salutati tomb. 27 In terms of its aesthetic qualities and its emphasis on the flat wall against which an elevated antique-like sarcoph- agus is mounted on corbels, the Salutati tomb compares perhaps best to the tomb for Orlando de’Medici in SS. Annunziata and to the much lesser known tomb for Antonio degli Agli in S. Maria dell’Impruneta. U. Middel- dorf, A Forgotten Florentine Tomb of the Quattrocento, in: Raccolta di Scritti, that is Collected Writings, vol. III: 1974–1979, Florence 1981, pp. 69–74 and fig. 70; for the Orlando Medici tomb (1456–58) see A. Markham Schulz, The Sculpture of Bernardo Rosselino and his Workshop, Princeton 1977, p. 126. 28 The sarcophagus measures 2.097 m in length and 0.792 m in height. See O. H. Giglioli. Catalogo delle cose d’arte e di antichità d’Italia – Fiesole, Rome 1933, pp. 128s, and Sciolla, La scultura di Mino da Fiesole (cit. n. 13), p. 63. 29 The double mention in both inscriptions is certainly a conscious choice, and it indicates the importance of his