Seite - 166 - in Der Arkadenhof der Universität Wien und die Tradition der Gelehrtenmemoria in Europa

quatrefoils with images of the Virgin Mary and Archangel, Saint John the Baptist, Saint Peter and Paul, Saint Romulus (the cathedral’s pa- tron saint), Saint Zenobius and other unidenti- fied saints. The two infule or fasciae in red velvet have two larger silver plaques with translucent enamel, one of which shows Saint Jerome in the act of beating his chest with a stone. The second one shows the figure of a bishop saint, possibly Saint Augustine.77 On the annual Saint Romulus feast day, the mitre, which is usually kept in the Fiesole cathedral’s tesoro, is mounted to the reli- quary of Saint Romulus, a silver-plated copper bust from the sixteenth century (Fig. 13). While the Salutati Altarpiece’s iconography certain- ly deserves further investigation, I would hope that my suggestions are a step in the right dir- ection and serve as the basis for future studies.78 a final salute The overall concept of the Salutati Chapel’s icon- ography and typology are novel and clearly show the patron’s intellectual handwriting. Mino da Fiesole was a fine sculptor, certainly one of the most gifted portrait sculptors of the Renaissance period, yet the chapel’s design is the work of a learned humanist. Typologically, it clearly de- parts from the standard mid-fifteenth century tombs to be found in Florence and surround- ings. It is a highly individual memorial with its portrait bust articulating both this individuality and an awareness of antique standards of rep- resentation. Yet it is also a monument that em- phasizes group identity by means of its emphasis on the patron’s social status and profession. He is shown as bishop in his portrait yet identified as jurisprudent in the inscriptions and the iconog- raphy as suggested here. In this way it combines ideas of intellectual and ethical lineage with the Renaissance patron’s aspiration to stand out. The Salutati tomb is also a monument in- to which the patron’s family name is inscribed, literally and metaphorically, by means of the greeting bust. Moreover, the witty reflection of family identity extends to the identity of its in- dividual member, Leonardo, the lion-like. Every- one familiar with Christian iconography will have understood that the lion was Saint Jerome’s faithful companion as a hermit. It is Giovanni d’Andrea who is usually credited with introdu- cing the motif of the lion to images of Saint Jer- ome as a scholar and theologian in the mid-four- teenth century.79 The combination harkens back to the popular story of Jerome’s brave act of re- moving a thorn from an injured lion’s paw. The story was known throughout the Middle Ages (through Vincent of Beauvais’s Speculum Histor- iale and the Legenda Aurea) as an allegory of the extinction of carnal sensations.80 In this perspec- tive, Leonardo not only implicitly references the leonine iconography connected with Saint Jer- ome; he also alludes to the hermit interpreter of Divine Law, Saint Jerome, as a healer of human- kind in need of interpretation and salvation, thus again pointing to his own profession and its moral, social, and theological status. In his burial chapel the humanist bishop and jurispru- dent addresses us with his presence and likeness jeanette kohl166 77 Ibid, p. 60. I was unable to see the mitre in person during my last visit to Fiesole. 78 I am preparing to include a more detailed analysis in my upcoming publication on Florentine Renaissance bust por- traits (in preparation for 2018). 79 See Rice, 1985, pp. 64–68 and G. Ring, Saint Jerome Removing the Thorn from the Lion’s Paw, in: Art Bulletin 27, 1945, p. 190. See also H. Friedman, A Bestiary for Saint Jerome: Animal Symbolism in European Religious Art, Washington D.C., p. 229; D. Salter, Holy and Noble Beasts: Encounters with Animals in Medieval Literature, Cambridge 2001, p. 11–24. 80 Salter, Holy and Noble Beasts (cit. n. 79), pp. 13–15. Open Access © 2018 by BÖHLAU VERLAG GMBH & CO.KG, WIEN KÖLN WEIMAR