Seite - 158 - in Der Arkadenhof der Universität Wien und die Tradition der Gelehrtenmemoria in Europa

there are both earlier and contemporaneous ex- amples of bishop’s busts. It is safe to assume that the tradition of reliquary busts had a decisive impact on the development, ‘resurrection’ and boom of bust portraiture in the Quattrocento.37 Everyone in Florence was familiar, for example, with the reliquary bust of San Zenobius by Flor- entine goldsmith Andrea Arditi (Fig. 6).38 While most of these busts were still rather hieratic, with Donatello’s San Rossore being an early ex- ception in its pronounced lifelikeness, they were perceived and venerated as ‘alive’, active through their sheer presence as containers of holy body parts and particles.39 Salutati’s bust is an agen- tive image along the lines of this well-established representational tradition, yet in a slightly modi- fied way. Salutati’s moral and intellectual author- ity is given presence through physical likeness in a character portrait masterly executed by Mino, who succeeds in producing and presenting the image of a Renaissance humanist. The reminis- cences to both antiquity (in its form and materi- al) and traditional religious image concepts (in that it is a bishop’s bust with a mitre similar to Trecento and Quattrocento reliquaries of saintly bishops) reproduce and address in one single ob- ject the status of its sitter as a venerated humanist bishop. The fact that the bust was originally gild- ed in most of its ornamental parts (traces are still visible) must have additionally underlined its in- herent reference to the bust reliquary tradition. Salutati was met with unusual veneration during his tenure in Fiesole – Bargilli reports ‘un culto come Beato’40 – and his mitre served as a ‘talis- mano miracoloso’ after the bishop’s death;41 it is kept in the cathedral’s tesoro until today. The direct address of the viewer in an epi- taph is a rather common rhetorical strategy to be found on both ancient Latin and Greek tomb in- scriptions. The stock phrase qui transis is found frequently, combined with the wish for com- memoration and the peaceful rest of the mor- tal remains.42 The farewell to the passerby, some- times as a combination of ave viator and vale lector, can also be found on several English and German tombs of the late Renaissance and Bar- oque periods.43 Unprecedented, at least to my knowledge, is the epitaph’s address to the visitor in combination with a portrait bust. This smart combination of a sculpted portrait ‘simile al vi- jeanette kohl158 37 Ibid. See also Marek, ‘Virtus’ und ‘fama’ (cit. n. 32), p. 346 and Kohl, Kopf/Bild (cit. n. 4), pp. 9–30. 38 The gilded silver reliquary of 1331 is in the Museo dell’Opera di S. Maria del Fiore in Florence, see L’oreficeria nella Firenze del Quattrocento (exhibition catalogue), Florence 1977, pp. 176–178; also G. Winter, Zwischen Individu- alität und Idealität. Die Bildnisbüste. Studien zu Thema, Medium, Form und Entwicklungsgeschichte, Stuttgart 1985, pp. 105–107 and fig. 27; J. Poeschke, Donatello. Figur und Quadro, Munich 1980, pp. 31s. and n. 91, p. 104. For bust reliquaries and their perception see S. B. Montgomery, The Use and Perception of Reliquary Busts in the Later Middle Ages, Ann Arbor 1997 and C. Hahn, Speaking Reliquaries, in: Gesta 36, no. 1, 1997, pp. 20–31. 39 For the reliquary of San Rossore see J. Kohl, No one in particular. Donatello’s San Rossore, in: Inventing Faces. Rhetorics of Portraiture Between Renaissance and Modernism (ed. M. Körte/S. Weppelman et al.), Berlin 2013, pp. 15–28. Donatello’s remarkable bust reliquary of San Rossore (Museo San Matteo, Pisa) of 1428 represents a tran- sitional stage, mediating between the Trecento reliquary of San Zenobio and objects like the Salutati bust portrait. See again Winter, Zwischen Individualität und Idealität (cit. n. 38), p.109. 40 F. Bargilli, La Cattedrale di Fiesole, Florence 1883, p. 67. 41 O. H. Giglioli, La mitria del vescovo Leonardo Salutati nel Duomo di Fiesole, in: Rivista d’Arte 9, 1916, p. 5. 42 See e.g. the examples in Rest Lightly: An Anthology of Latin and Greek Tomb Inscriptions (ed. P. J. Shore), Wau- conda/Illinois 1997, p. 42. In Ovid’s epitaph, we find a combination of ‘qui transis’ – the call to the traveller passing by – with ‘molliter ossa cubent’ (may the bones rest softly) similar to that on Salutati’s tomb. 43 The tomb for Edward Croke, a floor slab with inlaid brass epitaph of 1626 in the Church of Saint Mary the Virgin in Chilton (Buckinghamshire), combines both exhortations; see G. Lipscomb, The History and Antiquities of the County of Buckingham, London 1847 (reprint, London 2013), p. 148. Another example, among many more, is the tomb of Joseph Hall, Bishop of Exeter and Norwich, of 1656. Open Access © 2018 by BÖHLAU VERLAG GMBH & CO.KG, WIEN KÖLN WEIMAR