1 10 122 Place A location with a street address or larger region. Examples include building, statue, piazza, fountain, port, neighborhood, paintings, sculptures, frescoes, floors. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Artistic Patronage at San Cosimato Description An account of the resource The historian Kate Lowe explains that the convent at San Cosimato has a unique history of artistic patronage during the 15th and 16th centuries. During this period, the sisters at the convent seemed to behave less like active buyers and commissioners of works of art, but more like willing receivers, happy to take whatever was offered to their community. Franciscan and papal resources would lead to the support of the church through diverse works of art, leading to a heterogeneous collection of works. At least two or three notable works at San Cosimato were not created for the convent, but ultimately found a resting place there by chance or happenstance. One example is the most prominently displayed work at San Cosimato: a late 13th-century panel called Madonna and Child. This depiction of the Virgin Hodegetria gesturing toward Christ was thought to be a miraculous work, painted either by Saint Luke or an angel. The Madonna and Child first hung in the basilica of St. Peter in the Vatican City, where it was adorned with gold and precious stones. A manuscript account from the 16th century tells that during the time of a pope called Leo, thieves stole the panel, pilfered the gold and stones, tied the panel to a large rock, and tossed it into the Tiber River. Legend tells that the panel miraculously refused to sink, and that the Virgin appeared to Pope Leo in a dream, providing him instructions to find the missing panel. After the pope found it under the Ponte Senatorio (also known as the Ponte Rotto), it was housed in two different chapels before ultimately being placed in San Cosimato, where it is displayed on the center of the apse today. In discussing artistic patronage at the convent, Lowe details six artefacts: two panel paintings, two parts of frescoes/secco works, a tomb slab, and a marble sculpted monument, describing how the stories of their paths to the convent are just as diverse as the mediums. A lack of details about commissions makes it difficult to securely assess the nature of patrons. However, it is clear that proof of female patronage only exists in one instance, and no evidence exists for the commissioners being nuns or their families -- this provides a contrast to comparable convents in Venice and Florence, for instance. It is possible that the Sack of Rome led to artistic losses that might refute these claims, but the documented works of art prove that external patrons found the nuns of San Cosimato to be deserving recipients of works of art. These nuns accepted the wide variety of works offered to them, regardless of the original reason for the creation of each piece, or whether or not the piece was suitable. It was only at the end of the sixteenth century that a vast change began to occur, with the nuns accruing sufficient financial means to commission works of art for themselves. Creator An entity primarily responsible for making the resource Thomas Hiura (2017) Source A related resource from which the described resource is derived Brentano, Robert. “The Spiritual Family.” in Rome Before Avignon, a Social History of Thirteenth Century Rome. 211 – 260. Berkeley and Los Angeles, CA: University of California Press, 1991. Dalarun, Jacques. Francis of Assisi and the Feminine. New York: Franciscan Institute Publications, 2006. Krautheimer, Richard. Rome: Profile of a City, 312-1308. Princeton, NJ: Princeton University Press, 2000. Lowe, Kate. Artistic Patronage at the Clarissan Convent of San Cosimato in Trastevere, 1400-1600. 273 – 297. Rome: Papers of the British School at Rome, Vol. 69, 2001. Mondadori, Francesco. “San Francesco a Ripa.” in Trastevere, Guida ai Luoghi Dove Iniziò il Cristianesimo a Roma. 57 – 68. Rome: Sant’Egidio, 2015. O’Gorman, Edmund. St. Francis for Today. Trowbridge: Redwood Books, 1996. Pyrds, Darleen. “Lady Jacopa and Francis: Mysticism and the Management of Francis of Assisi’s Deathbed Story.” In Dying, Death and Mysticism: The Ecstasy of the End, edited by Thomas Cattoi and Christopher M. Moreman, 15-30. New York: Palgrave MacMillan, 2015. Robbins, Deborah King. “A Case Study of Medieval Urban Process: Rome’s Trastevere (1250-1450).” Ph.D.diss. University of California, Berkeley, 1989. San Francesco a Ripa Grande: Shrine, Convent and Parish. “Saint Francis and Rome,” “The Monastery of San Francesco a Ripa,” “Room of St. Francis,” and “Friar Jacopa.” Accessed May 22nd, 2017. http://en.sanfrancescoaripa.com. Thomas of Celano. St. Francis of Assisi: First and Second Life of St. Francis with Selections from the Treatise on the Miracles of Blessed Francis. Translated by Placid Hermann. Chicago: Franciscan Herald Press, 1988. Weinstein, Donald & Bell, Rudolph. Saints and Society: The Two World of Western Christendom, 1000-1700. Chicago: University of Chicago Press, 2010. Date A point or period of time associated with an event in the lifecycle of the resource n.d. Identifier An unambiguous reference to the resource within a given context sancosimatoartistic_2017 Spatial Coverage Spatial characteristics of the resource. Piazza di S. Cosimato, 00153 Roma RM Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Not Applicable Trastevere https://omeka-dev.carleton.edu/cgmr/files/original/e156beb520a3eb3c226cf2213cf94293.png 4ee483175abf4902db0feee1a3565281 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 2017image1 Place A location with a street address or larger region. Examples include building, statue, piazza, fountain, port, neighborhood, paintings, sculptures, frescoes, floors. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Papal Patronage San Cosimato Description An account of the resource In the 1230’s, just 25 years after the foundation of the Franciscan orders, the convent of San Cosimato was formed when Pope Gregory IX gave a male Benedictine house to the Clares. The convent was one of three female Franciscan convents in Rome. The others are San Silvestro in Capite and San Lorenzo in Panisperna which were founded in the late 13th and early 14th century. In the middle of the 15th century, each of these Roman Franciscan convents were reformed and re-staffed with nuns from Observant Clarissan convents in Perugia and expanded from 12 nuns to 70 nuns between 1451 and 1521. It was common for nuns to move from convent to convent when personnel was needed. Regarding patronage and the activities within San Cosimato, Lowe’s main source is a chronicle written in the late 16th century by a nun named Suor Orsola Formicini. Formicini, as a chronicler, also served as a historian and looked to past chronicles in her writing. Lowe notes that convent chronicles were uncommon enough to be considered precious but common enough to comprise a genre of writing. From Formicini and other primary sources like papal and convent transactional records we can get a sense of how papal patronage looked in the 15th and 16th centuries. In 1439 Pope Eugenius IV issued a bull that brought all Clarissan convents under protection of papacy rather than episcopal jurisdiction. In 1475, Franciscan Pope Sixtus IV, a lover of art and scholarship who was known for restoring Roman buildings and structures took on a large project at San Cosimato, adding a new church, campanile, cortile (courtyard), and well. He also would send money to the nuns whenever they sent him figs or peaches from their property. Sixtus’ fondness for San Cosimato might have due to his Franciscanism and his interest in developing the area of Trastevere. Sixtus’ sister, Franchetta, might have also been a patron of San Cosimato suggested by her request to be buried there. Popes after Sixtus IV also patronized San Cosimato. In 1492 right before his death Pope Innocent VIII wanted to send two nieces to be educated in good manners at the convent. After Pope Innocent VIII, Pope Alexander VI created subsidies of foodstuffs for convents and his mistress, Vannozza Catanei might have also been a patron, suggested by a portrait of her with other benefactors. In the 15th and 16th century, Popes employed a “patriarchal munificence” in their patronage of San Cosimato, where they provided building works, female patrons, long term subsidy programs, and waived taxes. What Lowe calls ”gendered helplessness” allowed for mutual gains– Popes were able to boost their reputation and nuns received practical help and monetary aid. Creator An entity primarily responsible for making the resource Simón Gutkin (2018) Date A point or period of time associated with an event in the lifecycle of the resource n.d. Identifier An unambiguous reference to the resource within a given context sancosimatopapal_2017 Spatial Coverage Spatial characteristics of the resource. Piazza di S. Cosimato, 00153, Roma RM Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1400s Trastevere https://omeka-dev.carleton.edu/cgmr/files/original/0183de6d4072c350c79e7347403f166e.JPG dfdb284c17ec0338209a1ac78f1e42d5 Place A location with a street address or larger region. Examples include building, statue, piazza, fountain, port, neighborhood, paintings, sculptures, frescoes, floors. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Saint Francis and the Church of San Francesco a Ripa Description An account of the resource The Church of San Francesco a Ripa (or Ripa Grande) represents the oldest and perhaps the most significant Franciscan memory in Rome. Before the foundation of the church in 1229, there was a Benedictine monastery including a pre-existing church of San Biagio. Saint Francis of Assisi (1181/82 – 1226) in his lifetime paid more than six visits to Rome starting in 1209, and had always stayed there, thanks to the arrangements made by a faithful friend of his, Giacoma Frangipane de’ Settesoli (later known as “Fra Jacopa”). During his 1219 visit, Saint Francis with his fellow Franciscans began to support the hospice of San Biagio to host pilgrims, who arrived from the nearby harbor of Ripa Grande. Three years after Saint Francis’s death, Pope Gregory IX handed the San Biagio complex over to the Franciscans, who immediately restructured and expanded the small church and renamed it as San Francesco a Ripa, and the hospice was turned into a convent. While the Franciscan tradition claims that Fra Jacopa funded the renovation, recent studies indicate that the benefactor might have been the Anguillara family. This church used to be decorated with frescos depicting Saint Francis’s life by Pietro Cavallini (who also did the Last Judgement in Santa Cecilia, and Mary’s cycle in Santa Maria in Trastevere). This cycle probably served as prototype for the frescos in the Upper Basilica of San Francesco d’Assisi. The current church was built in the 17th century. What was this quarter of Trastevere like during the 13th century? At that time, Trastevere was yet to see a growth in its inhabitants and population. Within the Aurelian walls, the inhabited area (abitato) was mostly concentrated along the Tiber river bank, due to the prosperity of some river ports and the shortage of water supply inland. Located a bit inland from the port of Ripa Grande, and near Trastevere’s southern-most gate of Porta Portese, the Church of San Francesco a Ripa was on the borderline between the abitato and the disabitato. However, the existence of a Franciscan community at San Francesco a Ripa re-defined the area around it. From the early 13th century onward, the Franciscan community continued to be active, so much so that Porta Portese was commonly referred to as Porta San Francesco and Ripa Grande was nicknamed the “Pilgrim’s Bank.” The 13th-century configuration of Saint Francis can be maintained after all because San Francesco a Ripa was considered geographically marginal. In the 1250s, the Franciscan brothers settled in the Benedictine monastery of Santa Maria Aracoeli on Campidoglio and made it the most important Roman seat of Franciscanism. Faced with the central and prestigious position of Santa Maria in Aracoeli in Rome, the modest complex of San Francesco a Ripa with some surrounding premises gradually lost attention. No influential patrons believed that a peripheral church located in an area lacking urban planning and in bad conditions deserved any investment. It is precisely because of this geographical marginalization of San Francesco a Ripa that it preserves the Franciscan integrity. Saint Francis and his lifestyle also bear ideological significance to the 13th-century Roman society. There was a social phenomenon for sensing the contrast between the begging Franciscans and the cardinals at their luxurious dinners in intense juxtaposition to each other. Robert Brentano argues that Saint Francis’s way of life “both met a taste and threatened the security of his own time; in both these ways it heightened and extended and symbolized existing or already potential tastes and fears and tensions.” In this way, Saint Francis answered the needs and threatened the fears of 13th-century Rome. The room where Saint Francis slept still exists; so does the stone on which he lay his head. Against the wall where Francis’s bed used to be, there is a baroque machine in which a great number of relics of later Franciscan revolve, and in its center there is a 13th-century portrait of Saint Francis attributed to Margaritone d’Arezzo. The room can be visited by request. Visitors go into the sacristy and enter a narrow corridor to their right. Before taking a stair up to reach the room, visitors can see two relics of Saint Francis displayed in the glass window on their right-hand side. Creator An entity primarily responsible for making the resource Russell Li (2019) Source A related resource from which the described resource is derived Brentano, Robert. “The Spiritual Family.” in Rome Before Avignon, a Social History of Thirteenth Century Rome. 211 – 260. Berkeley and Los Angeles, CA: University of California Press, 1991. Krautheimer, Richard. Rome: Profile of a City, 312-1308. Princeton, NJ: Princeton University Press, 2000. Mondadori, Francesco. “San Francesco a Ripa.” in Trastevere, Guida ai Luoghi Dove Inizio il Cristianesimo a Roma. 57 – 68. Rome: Sant’Egidio, 2015. Robbins, Deborah King. “A Case Study of Medieval Urban Process: Rome’s Trastevere (1250-1450).” Dissertation, University of California, Berkeley, 1989. San Francesco a Ripa Grande: Shrine, Convent and Parish. “Saint Francis and Rome,” “The Monastery of San Francesco a Ripa,” and “Room of St. Francis.” Accessed May 22nd, 2017. http://en.sanfrancescoaripa.com. Date A point or period of time associated with an event in the lifecycle of the resource n.d. Identifier An unambiguous reference to the resource within a given context stfrancisripa_2017 Spatial Coverage Spatial characteristics of the resource. Piazza di S. Francesco d'Assisi, 88, 00153 Roma RM Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1200s Trastevere https://omeka-dev.carleton.edu/cgmr/files/original/07073ff15a57d9c79495ee533c00686d.JPG bffd1b0bd39c2cb6d3006729abaff7ae https://omeka-dev.carleton.edu/cgmr/files/original/b2579ee780566935c452edddeb4af848.jpg 036c5090e9f6895b9c51d254bab8b813 Place A location with a street address or larger region. Examples include building, statue, piazza, fountain, port, neighborhood, paintings, sculptures, frescoes, floors. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Torre dei Conti: Protecting Papal Processions Description An account of the resource The Torre dei Conti still guards the base of the steep Salita del Grillo road, as it has since its construction in the early thirteenth century when it was built by the Conti Pope Innocent III. Some claim that he used church funds to build the tower, which is why he later built the Santo Spirito Hospital as a way to atone for his actions. The tower was built at the same time as the Torre delle Milizie with similar techniques and as a result the towers looked similar. The Torre dei Conti was built in stages due to structural issues. It was remodeled and restored throughout its history, but due to earthquakes and defective supports it had partially collapsed by the 17th century. Because of this, the top parts of the tower were eventually demolished, leaving only the base that we can see today. On the base we can see black and white bands of decoration, made from basalt and limestone chips. In addition to showing the power and wealth of the family that could decorate their tower in this way, the black and white bands were also an indication that it was a Conti building, since such a design was commonly included on their buildings. Although the tower today stands alone, it was originally built as part of a typical baronial fortified complex. It also formed part of a larger fortification of the street Salita del Grillo that included two other towers, the Torre del Grillo and the Torre delle Milizie. The street formed part of the papal processional route from the Lateran to the Vatican, so these fortifications were meant to protect familial papal interests. The other major route between the Lateran and the Vatican passed through the Roman Forum that was controlled by the rival Frangipane family, so by fortifying the Salita del Grillo the Conti and the allied Annibaldi ensured a safe passage for their popes away from the interference of the Frangipane. As such, the tower not only declared the power and status of the Conti family, but also made claims about their right to a place among the Roman families who controlled the papacy. Creator An entity primarily responsible for making the resource Madison McBride (2016) and Elizabeth Budd (2019) Source A related resource from which the described resource is derived Brentano, Robert. Rome Before Avignon: A Social History of Thirteenth Century Rome. Berkeley: University of California Press, 1990. Hart, Vaughan and Peter Hicks, trans. Palladio’s Rome. New Haven: Yale University Press, 2006. Keyvanian, Carla. Hospitals and Urbanism in Rome, 1200-1500. Leiden: Brill, 2015. Krautheimer, Richard. Rome: Profile of a City, 312-1308. Princeton: Princeton University Press, 2000. Date A point or period of time associated with an event in the lifecycle of the resource n.d. Identifier An unambiguous reference to the resource within a given context contipapal_2017 Spatial Coverage Spatial characteristics of the resource. Torre dei Conti, 00184 Roma RM Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1200s Towers Person An individual. Birth Date ca. 1190 Birthplace Rome Death Date ca. 1273 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource A Female Leader of Franciscanism in Rome? Description An account of the resource A devoted early follower of St. Francis of Assisi, Jacoba of Settesoli (Italian Giacoma di Settesoli) was affectionately known to the Franciscan friars as Brother Jacopa (Fra Jacopa). She was an integral figure in the creation of a Roman Franciscan community shortly after Francis' death. Probably born in Trastevere around 1190, she married into the powerful Frangipani family. The Frangipani were heavily involved, both financially and militarily, in the papal disputes of the 11th and 12th centuries, giving them a tremendous amount of religious and political power and control of large landholdings before and during Fra Jacopa’s lifetime. Brother Jacopa met Francis in 1209 during one of his visits to Rome. Probably after hearing him preach, she helped Francis both receive lodging near the Ripa Grande at the hospice of St. Biago, where the current church of San Francesco a Ripa stands, and gain a meeting with Pope Innocent III. She also invited his followers to use her home as a meeting place. Somewhere between 1212 and 1217, Fra Jacopa was widowed, leaving her with large property holdings from her husband’s family. Her new status as a widow, some historians argue, allowed her to maintain a closer relationship with Francis without scandal. Additionally, scholar Jacques Darlun argues that her nickname “Brother Jacopa” shows an effort masculinize her, allowing for the relationship to be further normalized. Perhaps the most famous legend involving Brother Jacopa occurred just moments before Francis’ death in 1226. According to this story, Francis told his close follower Leo to let Jacopa know of Francis's coming death. Just as Leo began to write to her, she burst through the door, arriving from Rome because the voice of God told her to come to her friend. She then bathed the stigmata on his body with her tears as he died. Darleen Pryds notes that this account of Francis’ death was disputed by many Franciscan historians because of the dangerous implications of a placing a laywomen at one of the most important scenes in the saint’s life. During the 13th century when non-cloistered lifestyles for monks, friars, and nuns rapidly gained popularity, the Church was very concerned with the intermingling of men and women, and a story about a close male-female relationship could be used as justification for interaction between the two sexes. Brother Jacopa has been compared to Mary Magdalene, who also wept besides Jesus’ deathbed, allowing for dangerous debates similar to those about the sexuality of Mary and Jesus’ relationship. While there is disagreement of the validity and details of this story, the importance of its presence in Francis’ early hagiography suggests that this Roman noblewoman played a very important part in the early days of Franciscanism. Moved by Francis’ death, Jacopa returned home, gave up the majority of her property and helped found the hospital and convent for friars at San Francesco a Ripa. Fra Jacopa lived out the remainder of her life in Assisi, choosing to be impoverished until her death. Today, her body lies in the crypt at San Francesco in Assisi, a church she was also believed to have helped fund. In San Francesco a Ripa, her portrait faces that of Francis. Creator An entity primarily responsible for making the resource Lizzy Ehren (2018) Source A related resource from which the described resource is derived Brentano, Robert. “The Spiritual Family.” in Rome Before Avignon, a Social History of Thirteenth Century Rome. 211 – 260. Berkeley and Los Angeles, CA: University of California Press, 1991. Dalarun, Jacques. Francis of Assisi and the Feminine. New York: Franciscan Institute Publications, 2006. Krautheimer, Richard. Rome: Profile of a City, 312-1308. Princeton, NJ: Princeton University Press, 2000. O’Gorman, Edmund. St. Francis for Today. Trowbridge: Redwood Books, 1996. Pyrds, Darleen. “Lady Jacopa and Francis: Mysticism and the Management of Francis of Assisi’s Deathbed Story.” In Dying, Death and Mysticism: The Ecstasy of the End, edited by Thomas Cattoi and Christopher M. Moreman, 15-30. New York: Palgrave MacMillan, 2015. Thomas of Celano. St. Francis of Assisi: First and Second Life of St. Francis with Selections from the Treatise on the Miracles of Blessed Francis. Translated by Placid Hermann. Chicago: Franciscan Herald Press, 1988. Weinstein, Donald & Bell, Rudolph. Saints and Society: The Two World of Western Christendom, 1000-1700. Chicago: University of Chicago Press, 2010. Identifier An unambiguous reference to the resource within a given context femaleleaderfranciscanism_2017 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1200s Abstract A summary of the resource. A devoted early follower of St. Francis of Assisi, Jacoba of Settesoli (Italian Giacoma di Settesoli) was affectionately known to the Franciscan friars as Brother Jacopa (Fra Jacopa). She was an integral figure in the creation of a Roman Franciscan community shortly after Francis' death. Spatial Coverage Spatial characteristics of the resource. Piazza di S. Francesco d'Assisi, 88, 00153 Roma RM, Italy Trastevere https://omeka-dev.carleton.edu/cgmr/files/original/650fea7f85de60e5395bc2c05aa6cac4.png 94aad50a77ae98db5285a28e91b21d58 Place A location with a street address or larger region. Examples include building, statue, piazza, fountain, port, neighborhood, paintings, sculptures, frescoes, floors. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Torre del Grillo Description An account of the resource The first document to reference the tower using its current name was a 1675 peace agreement (strumento di concordia) between Girolama Ottaviani Orsini and the marchese Cosmo Del Grillo. Because there is so little documentation of the tower during the Middle Ages, much of its history is less clear than some of the more famous towers in the area. Some sources attribute its construction to Gilidone Carbone, a member of the Colonna family who is also credited with building the Torre di Colonna, but recent studies have called that into question. According to documents written soon after the acquisition of the tower by the Del Grillo family, the tower belonged first to the Colonna family, then to the Conti (medioevo). However, Keyvanian points out that it was built using the same masonry techniques as both the Torre dei Conti and the Torre di Milizie, and was likely a Conti structure built to reduce the distance that forms of communication like fire and smoke would need to travel in order to send messages between the two major Conti family towers. The Conti family kept control of the tower until the second half of the 17th century, when the Del Grillo family acquired the tower from Baldassarre of the Conti and connected it to their noble palace. The stucco decoration which can be found at the top of the tower, which reads Ex Marchione de Grillis, was the first inscription on the tower. Creator An entity primarily responsible for making the resource Laura Diamond (2020) Identifier An unambiguous reference to the resource within a given context torregrillo_2017 Spatial Coverage Spatial characteristics of the resource. Piazza del Grillo, 5, 00184 Roma RM Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1300s Source A related resource from which the described resource is derived Keyvanian, Carla. Hospitals and Urbanism in Rome, 1200-1550. Leiden: Brill, 2015. Bernacchio, Nicoletta. "Roma. Torre del Grillo: Vicende storiche e analisi strutturale." Archeologia Medievale 23(1996): 763-775. Person An individual. Birth Date 1313 Birthplace Rome Death Date 1354 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource An Introduction to Cola’s Rome Description An account of the resource When the Papacy moved to Avignon in 1309, a power vacuum was created in Rome. Without the authority of the papacy, many powerful baronial families were left to war with each other over the control of territory within the city. In the midst of this state, the charismatic Cola di Rienzo created a populist regime that seized power in Rome, promising to bring justice and peace to the city. Cola desired to rebuild the ancient imperial city and place it back on the world stage as an important player. He painted a picture of Rome in disarray, a Rome in need of recreation; a recreation he was ready to undertake. Although the historical realities of the time may not be as violent and chaotic as Cola claimed, this collection of entries hopes to help the reader visualize the Rome of Cola, weaving narratives of his life and society into the present physical spaces of Rome. We aspire to guide the reader through Cola’s life chronologically using his biography as a narrative tool: from his rise to power to his gruesome demise. The biography, The Life of Cola di Rienzo, (recently discovered to have been authored by Bartolomeo di lacovo Valmontone) is a complex historical source that can illuminate life in 14th-century Rome, if used carefully. Because the work was written by a contemporary of Cola’s, the narrative offers a primary source critical to our understanding of Cola’s Rome from a point of view close to the action. This tour is meant to take you to several different physical locations important in Cola’s Life. If you decide to undertake the entire tour as we suggest, you will travel from Sant’Angelo in Pescheria to the Capitoline Hill with a stop to check out Lex Vespasiana in the Capitoline Museum before eventually ending at the church of Santa Maria in Aracoeli. The tour is meant to take an hour or two in its entirety but also function independently at each of the sites, so if you are only making one stop, make sure to check out the entry for the corresponding place. Before you go off on your journey to start exploring Cola’s Rome, here is some personal backstory on Cola, as told in The Life of Cola di Rienzo, to help you better understand him as a person: "Cola de Rienzi was of low birth: his father was an innkeeper named Rienzi; his mother, named Matalena, earned her living by washing clothes and carrying water.... From his youth he was nourished on the milk of eloquence: a good grammarian, an excellent speaker, and a good scholar. Lord, what a fast reader he was! He was well acquainted with Livy, Seneca, Cicero, and Valerius Maximus; he loved to describe the great deeds of Julius Caesar. Every day he would gaze at the marble engravings which lie about in Rome. He alone knew how to read the ancient inscriptions. He translated all the ancient writings; he interpreted those marble shapes perfectly. Lord! How often he would say, 'Where are those good Romans? Where is their high justice? If only I could line in such times!'” (The Life of Cola di Rienzo I.1 pg.1) Creator An entity primarily responsible for making the resource Jonathan Dahlsten (2019) Source A related resource from which the described resource is derived Keyvanian, Carla. Hospitals and urbanism in Rome, 1200-1500. Leiden: Brill, 2016. Wright, John, trans. The Life of Cola di Rienzo. Toronto: Pontifical Institute of Medieval Studies, 1975. Date A point or period of time associated with an event in the lifecycle of the resource n.d. Identifier An unambiguous reference to the resource within a given context introcolarome_2017 Spatial Coverage Spatial characteristics of the resource. Piazza delle Cinque Scole, 3, 00186 Roma RM Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1300s cola di rienzo Unsure on details Place A location with a street address or larger region. Examples include building, statue, piazza, fountain, port, neighborhood, paintings, sculptures, frescoes, floors. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Frangipane Family in the Roman Forum Description An account of the resource The Forum, resting symbolically and physically at the heart of Rome, was a key locus of power for the medieval baronial families of Rome. In the 12th and 13th centuries, it was occupied by the Frangipane family, one of the two dominant families of Rome through the 12th century. Their base of operations was on the Palatine Hill, but they laid claim to the Forum with a series of prominent fortifications on the Via Sacra, an ancient road running through the Forum. At the western end of the Forum, a set of three Frangipane towers were built on and around the Arch of Septimus Severus. These towers were intended to exert control over both the Via Sacra and a street called the Argiletum, which formed the primary junction between the Roman Forum and the Imperial Forums. At the center of the Forum, the Frangipane built a fortified complex around the Arch of Fabianus (no longer standing today). This complex included a massive tower called the Torre dell’Inserra, a palace, and a barricade that stretched across the entire Forum, incorporating the ruins of the Regia, Temple of Caesar, and Arch of Augustus. At the east end of the Forum stood a famous Frangipane fortress named Cartularia, constructed around the Arch of Titus and S. Maria Nova. This fortress was referred to in medieval chronicles as firmissima munitione (most solid stronghold) or locus tutissimus (most protected site), suggesting its importance as a site of Frangipane power. Cartularia was adjoined to a thick, defensible wall that connected it to the Arch of Constantine and probably the Coliseum—also a Frangipane stronghold and residential center. This whole area, then, was fortified to an extent that left little doubt as to the Frangipane’s power. Military fortifications were only a part of the picture in the medieval Forum, however: The Roman cattle market was held here, and modest two-story houses belonging to craftsmen and shopkeepers under Frangipane protection would have been clustered around the family’s towers and walls. Finally, the Via Sacra was a central route for trade, pilgrimage, and papal processions, a fact which became a source of significant tension when the papacy was controlled by rival baronial families. Creator An entity primarily responsible for making the resource Galen Berger-Fletcher (2019) Source A related resource from which the described resource is derived Keyvanian, Carla. Hospitals and Urbanism in Rome, 1200-1500. Leiden: Brill, 2015. Krautheimer, Richard. Rome: Profile of a City, 312-1308. Princeton: Princeton University Press, 2000. Date A point or period of time associated with an event in the lifecycle of the resource n.d. Identifier An unambiguous reference to the resource within a given context frangipaneforum_2017 Spatial Coverage Spatial characteristics of the resource. Via della Salara Vecchia, 5/6, 00186 Roma RM Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1100s Towers https://omeka-dev.carleton.edu/cgmr/files/original/57a998a54a8eb8d60471f5fe05d951de.JPG 01ea2a3eef4d06e3ea335ddccca5cccc Place A location with a street address or larger region. Examples include building, statue, piazza, fountain, port, neighborhood, paintings, sculptures, frescoes, floors. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Sant’Angelo in Pescheria Description An account of the resource “Then he predicted his ascendancy and his reform of the government of the city in this way: on the wall of Sant’Angelo in Pescheria, a place famous throughout the world, he had a picture painted.” The Life of Cola di Rienzo I.IV, pp. 37. Pope Stephen II (714-757) oversaw the construction of the church that came to be known as Sant’Angelo in Pescheria within the ruins of the Portico of Octavia. The emperor Augustus had built the portico, a rectangular covered walkway, in 23 BCE out of the earlier Portico of Marcellus; it underwent two reconstructions in the classical period. One of its two massive gates provided a monumental entrance for the new church. The chronicler of Cola’s life writes that Cola was born along the waterfront behind San Tommaso, a church located just a stone’s throw from Sant’Angelo in Pescheria. By this time, the area within the portico was home to a bustling fish market (pescheria) that gave the church its name. The church and market would have been local sites for him, and it is certainly easy to imagine him considering the antique origins of the portico while reflecting upon the writings of its ancient contemporaries. The church and surrounding area provide the setting for two important events in the story of Cola’s rise to power. According to the chronicler, Cola commissioned an allegorical painting on the side of the church that depicted an angel lifting Rome, an aged woman, out of a fire in which many “plebeians and rulers” were being burned alive. The area surrounding the church was under the influence of the powerful Colonna family, and the work may thus have been a particularly pointed statement against them. In April of 1347, a major leader of the family, Stefano Colonna, left the city to collect grain. Seizing this moment, Cola heard mass and then gathered his forces, some 100 armed men as well as the Pope’s representative in Rome, in front of Sant’Angelo in Pescheria. "Gathering his courage,” he marched from the church up to the Capitoline Hill. It was on this hill that he would use his rhetorical gifts to rally support for his cause. You can now walk along a major thoroughfare to reach the base of the Capitoline Hill. If you choose to continue on, imagine traveling through busy streets as well as a large market on the slope of the hill – the perfect place to gather the attention of potential supporters as you head up to the Capitol. Source A related resource from which the described resource is derived Coerelli, Fillipo. Rome and Its Environs: An Archaeological Guide. Translated by James J. Claus and Daniel P. Harmon. Berkeley: University of California Press, 2014. Koster, Joelle Roller and Alizah Holstein. “Anger and Spectacle in Late Medieval Rome: Gauging Emotion in Urban Topography.” In Cities, Texts, and Social Networks 400-1500: Experiences and Perceptions of Medieval Roman Space, edited by Anne Lester, Caroline Goodson, and Carol Symes, 149-174. Farnham, UK: Ashgate, 2010. Krautheimer, Richard. Rome: Profile of a City, 312-1308. Princeton, NJ: Princeton University Press, 2000. Wright, John, trans. The Life of Cola di Rienzo. Toronto: Pontifical Institute of Medieval Studies, 1975. Creator An entity primarily responsible for making the resource Chloe Bash (2017) Spatial Coverage Spatial characteristics of the resource. Via della Tribuna di Campitelli, 6, 00186 Roma RM Identifier An unambiguous reference to the resource within a given context santangelopescheria_2017 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1300s Abstract A summary of the resource. The church of Sant'Angelo in Pescheria, built into the ruins of the Portico of Octavia, was the medieval fish market. Cola di Rienzo was born nearby and the church was an important site in his efforts to reform Rome in the 1340s. cola di rienzo https://omeka-dev.carleton.edu/cgmr/files/original/0d8e2f75f06852873fd37336f55bfcd2.JPG 1f10f687f1ec6174a9abd7cd7c06cc66 Place A location with a street address or larger region. Examples include building, statue, piazza, fountain, port, neighborhood, paintings, sculptures, frescoes, floors. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Cola on the Capitoline Description An account of the resource Now Cola de Rienzi, though still somewhat fearful, gathered his courage and set out, together with the Pope’s vicar, and climbed to the Palace of the Campidoglio in the year of our Lord thirteen forty-six. He had a force of about one hundred armed man. A huge crowd of people gathered, and Cola mounted the platform and made an eloquent speech on the misery and servitude of the people of Rome. He said that he was exposing his person to danger for the love of the Pope and the salvation of the people of Rome. (Life of Cola di Rienzo, I.5 p. 41) For Cola di Rienzo, the Campidoglio served not only as a seat of power, but also as a connection to the ancient Rome which he sought to replicate. As the historic site of Roman government and the Palazzo Senatorio, the Capitoline hill represented both the imperial and senatorial rule of ancient Rome. Cola’s march to the hill and ensuing speech gathered the attention of the Roman citizens because of the populace’s association of this place with the glorified Roman past. Cola later restored and fortified the Palazzo di Campidoglio, further strengthening his connection to imperial lineage of ancient Rome in the minds of the 14th-century citizens of Rome. Upon reaching the top of the stairs of the Capitoline Hill, the modern visitor will witness Michelangelo’s Piazza del Campidoglio, which was built during the 16th century. The complex includes a statue of Marcus Aurelius surrounded by three large buildings: from left to right is the Palazzo Nuovo, Palazzo Senatorio, and the Palazzo dei Conservatori, which are now all parts of the Capitoline museum. Despite the political symbol that these buildings represent, only the Palazzo Senatorio was built during the 12th century; the other two buildings were built during the Renaissance period. Cola’s palace at the Campidoglio was burned down during his death in 1353 by a crowd of the same Roman citizens who had supported his rise to power only seven years earlier. Creator An entity primarily responsible for making the resource Andy Hoyt (2019) Source A related resource from which the described resource is derived Ghisalberti, Alberto Maria, and John Wright. The Life of Cola Di Rienzo. Toronto: Pontifical Institute of Mediaeval Studies, 1975. Date A point or period of time associated with an event in the lifecycle of the resource n.d. Spatial Coverage Spatial characteristics of the resource. Piazza del Campidoglio, 00186 Roma RM Identifier An unambiguous reference to the resource within a given context colacapitoline_2017 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1300s 1500s cola di rienzo