Seite - 178 - in Der Arkadenhof der Universität Wien und die Tradition der Gelehrtenmemoria in Europa

the Sala d’Ercole. We can still see them in the background of an old photograph dated 1933 (Fig. 12). Moved in 1934 to a public park, they were progressively maimed and damaged by van- dalism and war and had to be stored in the Mod- ern Art Gallery by the 1970s to save them from complete annihilation. Some of them have been recently restored and are now back in the town hall, some are still in storage waiting to be re- stored. While the Pantheon celebrated the town’s great men, the habit of building impressive fu- nerary monuments to university professors con- tinued, adopting a modern artistic language and at the same time employing citations from the past. This is clearly visible in two significant tombs. In the monument of the professor of anthropology Fabio Fassetto, carved in 1950 by Farpi Vignoli, the two gisants lay vis à vis look- ing into each other’s eyes, the professor is clad in a toga and rests his hand on a skull while his son Flavio wears a Second World War uniform, alluding to his premature death (Fig. 13). In the tomb of the professor of medicine Giovanni Bat- tista Palmieri, the lower part of the monument frames a modern copy of the medieval relief of the professor of anatomy Mondino de’ Liuzzi’s sepulcral monument, thus ideally bringing us back to the start of the celebration of Bolognese scholars and their medieval monumental tombs (Fig. 14). Photographic acknowledgements: Fig 1: Mambo, Bolo- gna; Fig. 2: by the author; Fig. 3: Museo Civico Medie- vale, Bologna; Fig. 4, 5, 6: Biblioteca Comunale dell’Ar- chiginnasio,Bologna; Fig. 7: Collezioni d’Arte e di Storia della Fondazione Cassa di Risparmio di Bologna; Fig. 8: Musei Universitari di Palazzo Poggi, Bologna; Fig. 9, 10, 13, 14: Museo Civico del Risorgimento, Bologna, Photo Roberto Martorelli; Fig. 12: Municipal Archive, Bologna Fig. 14: Luigi Saccenti, Tomb of Giovanni Battista Palmie- ri, 1940, Bologna, Municipal Cemetery. antonella mampieri178 14 Both tombs depict university professors, but while the first one stresses the family bond between father and son and employs the academical toga only to underline the social role of professor Frassetto in parallel with his son’s military uniform, in Palmieri’s monument the connection is between the university professor’s celebration in a sort of unbroken line. See La Certosa di Bologna (cit. n. 12) pp. 298–9 and p. 314.; La Certosa di Bologna: guida (ed. G. Pesci), Bologna 2001. Open Access © 2018 by BÖHLAU VERLAG GMBH & CO.KG, WIEN KÖLN WEIMAR