Seite - 173 - in Der Arkadenhof der Universität Wien und die Tradition der Gelehrtenmemoria in Europa

demia Clementina of Fine Arts, moved a great part of the scientists’ attention from the Archigin- nasio to the new seat of the institution, Palazzo Poggi. Here, thanks to General Luigi Ferdinan- do Marsili, a collector and a man of science as well as a diplomat and an expert in strategy, and to Pope Benedict XIV, both academies were en- dowed with many extremely modern camere that attracted the attention of princely and academ- ic visitors from all over the world. Contacts with the French Académie des savants and with the Royal Academy of Sciences made the Bolognese Istituto one of the most renowned bodies in Eur- ope working with empiricism and experiments. Especially celebrated were the Museo delle Navi with its wooden models of the most modern vessels sailing the seas, and the Anatomy cab- inet with its hyper-realistic wax statues of Adam and Eve (flanked by their anatomic selves ecor- chés, showing superficial as well as deep muscles and skeletons) and also hosting a great number of detailed preparazioni of systems and organs made by two well known specialists in the field, Anna Morandi (Bologna, 1714–1774) and her husband Giovanni Manzolini (Bologna, 1700– 1755).8 Thanks to Pope Benedict XIV the Istitu- to also owned a rich collection of prints, antique statues and plaster casts, including a complete series of models of life-size terracotta wombs to teach doctors as well as midwives how to master all the most modern techniques and tools to help child birthing. Extremely updated devices en- abled scientists to experiment with optics, light and sound and, thanks to the Specola, the astro- nomical observatory built over Palazzo Poggi’s roof, Eustachio Manfredi was able to write his works on the stars (Fig. 7).9 The patronage granted to both academies justifies the erection of memorials inside the building to commemorate its founders, General Marsili and Pope Benedict XIV. The memory of professors was preserved especially through their painted portraits, generally in standard meas- ures and hanging on the palace walls, a practice that would increase with the unification of the University and the two academies in the same building and become official after Napoleon’s reformation of Italian universities in 1805. The original nucleus of this collection of portraits of great men, today divided between the Bib- lioteca Universitaria and the University of Bol- ogna, starts with the bequests to the Istituto of many local private collections of portraits, en- couraged by Pope Benedict XIV. These portraits Fig. 7: Pio Panfili, Veduta della Specola dell’Istituto, etching, Bologna, Collezioni Storiche della Fondazione Cassa di Ris- parmio di Bologna. To Fame and Glory 173 8 Pope Benedict XIV commissioned the eight wax statues designed by Ercole Lelli and made by sculptors specialized in anatomical preparations, while the wax systems by Anna Morandi and Giovanni Manzolini, together with their works for the gynecologist Giovanni Antonio Galli were bought by the Bolognese Senate for the university labora- tories. About these anatomy artists see R. Messbarger, The Lady Anatomist: the Life and Work of Anna Morandi Manzolini, Chicago 2010. 9 For a general knowledge on the Bolognese Istituto delle Scienze see I Materiali dell’Istituo delle Scienze (exh. cat. Bologna, Accademia delle Scienze), Bologna 1979; Guide to Palazzo Poggi Museum: Science and Art (ed. W. Tega), Bologna 2002.