Page - 174 - in Der Arkadenhof der Universität Wien und die Tradition der Gelehrtenmemoria in Europa

depicted not only university professors, but also musicians, artists, members of the local nobility and scientists; not all of them were members of the Studio, but rather of the Accademia delle Sci- enze or of both institutions (Fig. 8).10 For the same reason only few of the carved memorials inside Palazzo Poggi were dedicated to famous university professors. Most of them were instead celebrations of kings and popes (Benedict XIV and Pius VII, Vittorio Emanuele II and Umberto I of Savoy), some were dedicat- ed to founders of academies or benefactors, such as Francesco Pannolini, Luigi Ferdinando Mar- sili, and the Duke of Curlandia.11 The few memorials dedicated to scholars are still visible in the loggia on Palazzo Poggi’s first floor. One of them, the monument of the phys- ician Luigi Galvani carved in marble by the neo- classical sculptor Giacomo De Maria (Fig. 9) only slightly differs from the early marble monumen- tal tombs dedicated to the illustrious deceased inside the new public cemetery of Bologna, La Certosa. Opened in 1801 in order to satisfy the modern need of burial outside the city gates, the public cemetery was a refurbishment and adap- tation of Bologna’s charter house, founded in 1334 and abandoned by the monks in 1797 after the Napoleonic suppressions. The claims by the nobility and the bourgeoisie for distinguished tombs inside the cemetery were satisfied, en- abling them to buy special areas for monumen- tal sepulchres. A comparison between the me- morial of Luigi Galvani in Palazzo Poggi and the tomb of the nobleman and scientist Prospero Malvezzi shows striking similarities, such as the employment of rare and antique marbles most- ly imported from Rome and the adoption of a lay symbolic language, in which the female fig- ures representing the virtues in Galvani’s monu- ment are paralleled by the Genius of Knowledge surrounded by scientific paraphernalia (Fig. 10). The same visual analysis can be applied to more modest monuments, like the tomb of the cele- Fig. 8: Angelo Crescimbeni, Portrait of Giovanni Antonio Galli, Bologna, Museo di Palazzo Poggi. antonella mampieri174 10 G. Gandolfi, Imagines Illustrium Virorum: la collezione dei ritratti dell’Università e della Biblioteca Universitaria di Bologna, Bologna 2010. 11 The merchant Francesco Pannolini was the creator of a college for poor but talented university students. His marble bust, today in the Collezioni Comunali d’Arte of Bologna, comes from the Istituto delle Scienze. It was commis- sioned in Rome from the Bolognese sculptor Agostino Corsini by Pope Benedict XIV (A. Mampieri, Roma- Bol- ogna. Le statue dei santi Pietro e Paolo per il completamento della facciata della Metropolitana di S. Pietro, in: Benedetto XIV e la facciata della cattedrale di Bologna (ed. R. Terra/ G. Cavina), Ferrara 2008, pp. 39–53). Ernst Johann Biron, Duke of Curlandia, was so impressed during his stay in Bologna by the organisation of the insti- tute that he promoted an annual prize for young artists attending the Accademia Clementina, namely, the Premio Curlandese. For this reason the academy dedicated to him a memorial planned by the architect Angelo Venturoli (Medicina, Bologna, 1749 – Bologna, 1821) and carved by the neoclassical sculptor Giacomo De Maria (Bologna, 1760–1838). See I concorsi Curlandesi: Bologna Accademia di Belle Arti 1785–1870 (exh. cat. 1980) ed. C. Poppi and E. Farioli. Open Access © 2018 by BÖHLAU VERLAG GMBH & CO.KG, WIEN KÖLN WEIMAR