Seite - 156 - in Der Arkadenhof der Universität Wien und die Tradition der Gelehrtenmemoria in Europa

Coat of arms, bust and inscription are in the monument’s central axis. They form three dis- tinguished and significant components, all of which evoke the deceased’s presence in differ- ent ways. The bust is clearly staged as the centre- piece of the entire composition.30 It is a sculptur- al masterpiece, creating a vibrant presence of the bishop that is lifelike yet not overly veristic, the iconic portrait of a man of moderation and con- templation.31 Mino, whose fame is largely based on his production of trendsetting portrait busts, fully displays his remarkable artistic talent with the bust of Salutati. In turning the bishop’s head slightly to one side, the artist succeeds in creating a vivid impression of the humanist and scholar, infusing life into the somewhat rigid and frag- mentary nature of bust portraits (Fig. 5).32 The bust’s pupils are marked by drill holes, an an- tique feature which helps to direct the bust’s line of sight towards those who enter the chapel; the bishop pensively greets the visitors. With what Fig. 5: Mino da Fiesole, Salutati tomb (detail): portrait bust (1464–1466), marble. jeanette kohl156 education in canon and civil law. His grandfather Coluccio is the author of a famous treatise, De nobilitate legum et medicinae, in which he discusses the primacy of jurisprudence over medicine. He understands jurisprudence as part of the more intellectually oriented ‘humanities’, actively creating its subjects of inquiry, whereas medicine is merely empirical. Coluccio’s humanistic concept favours jurisprudence, and those who practise it possess ethical and moral authority. See in particular the preface by E. Kessler in: Coluccio Salutati. Vom Vorrang der Jurisprudenz oder der Medizin / De nobilitate legum et medicinae (Latin-German ed., translation and commentary by P. M. Schenkel), Munich 1990, vol. 25, pp. VII–XXV. 30 Burger, Geschichte des florentinischen Grabmals (cit. n. 11), p. 217 keenly observes that the entire tomb architec- ture serves one main purpose, which is to provide a monumental frame for the life-size bust of the deceased staged in its centre. 31 If compared to the busts of the famous Florentine physician Giovanni Chellini (of 1456 by Antonio Rosselino) and Pietro Mellini (of 1474 by Benedetto da Maiano), the difference in concept becomes evident. The busts of Chellini and Mellini are naturalistic to the point where beard stubble, moles and even the pores of the skin are made vis- ible. Chellini’s bust is most certainly sculpted after a life mask. Like Leonardo Salutati’s bust, it bears an inscription (albeit hidden within the bust’s hollow base) hinting at the sitter’s profession: MAGisteR IOHANES MAGistRI. AN- TONII DE SancTO MINIATE DOCTOR ARTIVM ET MEDICINE. MCCCCLVI. The two objects’ painstaking lifelikeness contrasts with the smoother liveliness of the bishop’s portrait. For the Chellini bust see R. Lightbown, Il busto di Giovanni Chellini al Museo Victoria & Albert di Londra, in: Bollettino dell’Accademia degli Euteleti 26, 1962/63, pp. 13–24; for Mellini see D. Carl, Benedetto da Maiano. A Florentine Sculptor at the Threshold of the High Renaissance, Turnhout 2005, 2 vols., vol. 1, pp. 178–82. 32 M. Marek, ‘Virtus’ und ‘fama’. Zur Stilproblematik der Porträtbüsten, in: Piero de’Medici ‘il Gottoso’ (1416–69) (ed. A. Beyer/B. Boucher), Berlin 1993, pp. 341–368. Marek points out that Mino sets a new standard with the bust in that it is not ostentatiously veristic and rather creates a psychological realism, ‘ein Extrakt jener Züge und Eigenschaften der Persönlichkeit’, which is so important for individual memoria. Poise, pathognomy and the directed look represent the deceased’s virtus in a highly lifelike manner. Open Access © 2018 by BÖHLAU VERLAG GMBH & CO.KG, WIEN KÖLN WEIMAR