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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
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Buch Der Arkadenhof der Universität Wien und die Tradition der Gelehrtenmemoria in Europa"
Der Arkadenhof der Universität Wien und die Tradition der Gelehrtenmemoria in Europa
- Titel
- Der Arkadenhof der Universität Wien und die Tradition der Gelehrtenmemoria in Europa
- Herausgeber
- Ingeborg Schemper-Sparholz
- Martin Engel
- Andrea Mayr
- Julia Rüdiger
- Verlag
- Böhlau Verlag
- Ort
- WIEN · KÖLN · WEIMAR
- Datum
- 2018
- Sprache
- deutsch
- Lizenz
- CC BY 4.0
- ISBN
- 978-3-205-20147-2
- Abmessungen
- 18.5 x 26.0 cm
- Seiten
- 428
- Schlagwörter
- Scholars‘ monument, portrait sculpture, pantheon, hall of honour, university, Denkmal, Ehrenhalle, Memoria, Gelehrtenmemoria, Pantheon, Epitaph, Gelehrtenporträt, Büste, Historismus, Universität
- Kategorien
- Geschichte Chroniken