Seite - 160 - in Der Arkadenhof der Universität Wien und die Tradition der Gelehrtenmemoria in Europa

(Fig. 8).48 Through their looks, posture and ges- tures they form a referential triangle within the altarpiece’s rather traditional, compartmental- ized architectural backdrop. Mino’s much more conventional arrangement in his formally similar altarpiece for Diotisalvi Neroni in the Florentine Badia is given up in favour of an interactive and narrative scene transgressing the boundaries of convention (Fig. 9).49 The central group of Mary and the children is flanked on the left by Saint Leonard of Noblac, Salutati’s patron saint (Fig. 7).50 He is reading ‘aloud’ from the scriptures. Speech and interaction are also brought forth through the two figures on the panel’s right side: Fig. 7: Mino da Fiesole, Altarpiece for Leonardo Salutati, 1464–1466, marble, Cathe- dral San Romolo, Fiesole. jeanette kohl160 48 The iconography of the meeting of an infant Christ with a little Saint John the Baptist is a genuine Quattrocento invention, see M. Aaronberg Lavin, Giovannino Battista: A Study in Renaissance Religious Symbolism, in: Art Bulletin 37, 1955, pp. 85–101. 49 For the Badia altarpiece see Lange, Mino da Fiesole (cit. n. 13), pp. 29s. (cit. n. 13); Sciolla, La scultura di Mino da Fiesole (cit. n. 13), pp. 68–72; Zuraw, The Sculpture of Mino da Fiesole (cit. n. 13), pp. 767–780. 50 Saint Leonard of Noblac is usually depicted as a young deacon with iron chains reading from an open book. In this the altarpiece follows iconographic convention; see G. Kaftal, Iconography of the Saints in Tuscan Painting, Flor- ence 1952, col. 627–634. Open Access © 2018 by BÖHLAU VERLAG GMBH & CO.KG, WIEN KÖLN WEIMAR