4 10 122 https://omeka-dev.carleton.edu/cgmr/files/original/770785ec5f3a404564cd481d29f78001.jpg ac1a2cfedcd0377ee9028170b545d0b6 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 Teatro di Marcello Creator An entity primarily responsible for making the resource Anna Guasco (2016) Description An account of the resource Approaching the Teatro di Marcello from the northern portion of the Via del Teatro di Marcello, or perhaps from the Piazza Venezia, it is hard to see anything but the ancient structure, if one does not notice the third and fourth floors. Yet approaching from the southern direction, it is hard to tell that this site is of ancient origins, for it appears to be a large medieval residential building. The teatro was built in the 1st century A.D. as a site of entertainment for the ancient Romans (and, today, it still hosts a summer concert series). The Teatro di Marcello retained its original use for about three and a half centuries, at which point it began to be repurposed. But it remained important -- its ruins constituted one of the major "anchor points" of the geography of medieval Rome and participated in the continued presence of antiquity in the everyday life of the Middle Ages (Krautheimer 187, 243, Brentano 15). In the Middle Ages, the ruins of the Teatro di Marcello served as an important economic site, hosting a meat market by 998 and a butcher shop that remained at least until the 16th century, as well as neighboring an enormous fish market by the 13th century. Indeed, the agricultural and industrial use of this site continued far longer than one might expect -- a twice-weekly cattle market was held in the teatro even into the 20th century! By the end of the 11th century, the Pierlioni family had gained control of the area around the Teatro di Marcello and likely fortified the site as a stronghold and mansion. The Pierlioni are believed to have offered support, protection, and the use of their fortified mansion to Pope Urban II (1088-1099) when he was violently threatened by anti-pope factions in Rome (Krautheimer 105). Eventually, the fortress fell to the Orsini family, who built the Renaissance-era Palazzo Orsini that is still highly visible today. Throughout these chaotic transitions in ownership and moments of factional violence between families, the Teatro di Marcello remained an important site, not just for its strategic position or its economic functions, but as a place of public memory regarding classical Rome. Abstract A summary of the resource. Approaching the Teatro di Marcello from the northern portion of the Via del Teatro di Marcello, or perhaps from the Piazza Venezia, it is hard to see anything but the ancient structure, if one does not notice the third and fourth floors. Identifier An unambiguous reference to the resource within a given context teatrodimarcello_2015 Subject The topic of the resource Neighborhoods 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, 1991. Krautheimer, Richard. Rome: Profile of a City, 312-1308. Princeton: Princeton University Press, 2000. Messer, William Stuart. "The New Rome and Archaeology," The Classical Journal Vol. 22, No. 3 (December, 1926): 179-188. Minchilli, Elizabeth Helman. "Palazzo for Sale in Central Rome," New York Times. Jan. 5, 2012. http://www.nytimes.com/2012/01/06/greathomesanddestinations/palazzo-for- sale-in-central-rome.html?_r=0 (accessed May 13, 2015). Spatial Coverage Spatial characteristics of the resource. Via del Teatro di Marcello, 00186 Roma RM Type The nature or genre of the resource Place families multiple uses neighborhoods public memory https://omeka-dev.carleton.edu/cgmr/files/original/88afd4dc4618f74d4328cc58871a5a79.jpg 0e042355382a326aa54c5a28a77a9753 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 Medieval Circus Maximus Creator An entity primarily responsible for making the resource Lindsay Brandt (2017) Description An account of the resource At one end of the Circus Maximus stands a small tower, which tips us off to the fact that this area during the medieval period was a predominantly agricultural area, controlled by prominent families. Called the Tower of Moletta, the tower was likely built by the Frangipani family, who controlled parts of the surrounding area, and was probably associated with a short-lived water mill that they constructed during the 11th-12th century. This mill was powered by a river that had been channeled by Pope Callistus II in 1122 from some streams that had started winding through the valley in the 6th or 7th century. In addition to the tower are the remains of some vaulting from the Roman circus. This vaulting, along with any additional pieces that have since been destroyed, would, like the vaulting of the Colosseum, have been used for medieval houses and shops, starting around the 13th century, when the monastic community of San Gregorio Magno, another controlling influence in the area, gave it over to that purpose. Early in the medieval period, there also would have been a few arches and obelisks still standing from Roman times, though the obelisks would be moved to other locations in Rome (the Piazza del Popolo and St John Lateran) by the 16th century. But the relative barrenness of the modern circus is somewhat representative of the medieval realities of the area. A part of the disabitato, or relatively uninhabited part of medieval Rome, the circus area would have contained, in addition to the few ruins from ancient Rome and the mill and tower of the Frangipani, relatively few dwellings, along with open space and farmland. Antonio Tempesta’s 1593 map of Rome, while neglecting to show the tower, alludes to this usage, portraying the circus area as space filled with farm fields, trees, and a few buildings tucked among those trees. Abstract A summary of the resource. At one end of the Circus Maximus stands a small tower, which tips us off to the fact that this area during the medieval period was a predominantly agricultural area, controlled by prominent families. Called the Tower of Moletta, the tower was likely built by the Frangipani family, who controlled parts of the surrounding area, and was probably associated with a short-lived water mill that they constructed during the 11th-12th century. Identifier An unambiguous reference to the resource within a given context circusmaximus_2017 Subject The topic of the resource Neighborhoods Source A related resource from which the described resource is derived "American Academy in Rome. “New Discoveries at the Mausoleum of Augustus, Circus Maximus and Aqua Claudia.” February 27, 2014. http://aarome.org/it/news/features/new-discoveries-at-the-mausoleum-of-augustus-circus-maximus-and-aqua-claudia. Krautheimer, Richard. Rome: Profile of a City, 312-1308. Princeton: Princeton University Press, 2000. Roma Capitale: Citta Storica Sovrintendenza Capitolina ai Beni Culturali. “Circus Maximus: Medieval and Modern Stages.” Sign on Via dei Cerchi on Palatine side of Circus Maximus. Speelberg, Femke. “Antonio Tempesta’s View of Rome: Portraying the Baroque Splendor of the Eternal City.” October 23, 2012. http://www.metmuseum.org/about-the-museum/now-at-the-met/features/2012/view-of-rome. Spatial Coverage Spatial characteristics of the resource. Via del Circo Massimo, 00186 Roma RM Type The nature or genre of the resource Place neighborhoods https://omeka-dev.carleton.edu/cgmr/files/original/9d6f31847ed8fa555ebb65a353e83c8d.jpg bb82c9cdb021945fdd9edc8f153c665c 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 Monte Testaccio: A Place of Memory and Festivity Creator An entity primarily responsible for making the resource Francesca Arcidiacono (2016) Description An account of the resource An ancient port along the Tiber. In the medieval period, the hill was part of the disabitato within the walls of the city and was used partially as land for cultivation and partially for the celebration of games and ceremonies. In particular, the hill was the scene of the ludi di Testaccio which were games held as part of the Roman carnival which took place during the Lenten season. The games involved running bulls and pigs down from the top of the hill to the bottom where an armed mob waited to tear the animals to pieces. Before being killed, the animals were paraded through the city in red cloth to symbolize the earthly desires of the Roman people and, thus, the sacrifice symbolically cleansed the city of its sins before Easter. In the medieval period Monte Testaccio was also used during Lent for a procession of crosses to the top of the hill to commemorate Christ's crucifixion. Abstract A summary of the resource. Monte Testaccio is essentially a trash heap from antiquity composed entirely of discarded amphorae (called testae) unloaded from ships at the ancient port along the Tiber. In the medieval period, the hill was part of the disabitato within the walls of the city and was used partially as land for cultivation and partially for the celebration of games and ceremonies. In particular, the hill was the scene of the ludi di Testaccio which were games held as part of the Roman carnival which took place during the Lenten season. Identifier An unambiguous reference to the resource within a given context montetestaccio_2015 Subject The topic of the resource Daily Life 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. p 63. Burroughs, Charles. "The Demotic Campidoglio: Ritual, Social Unrest, and a Case of Wizardry." RES: Anthropology and Aesthetics, no. 49/50 (2006): 171-87. Ramieri, A.M. "Monte Testaccio." Sign at Via Nicola Zabaglia entrance. Spatial Coverage Spatial characteristics of the resource. 00153 Rome, Metropolitan City of Rome Type The nature or genre of the resource Place Daily Life Unsure on details https://omeka-dev.carleton.edu/cgmr/files/original/5ec5b355d23b72e486951f0826de4c50.jpg 65844f3e888c7032dbf390edbaaec011 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 San Biagio to San Francesco a Ripa: Benedictine Rule to Franciscan Control Creator An entity primarily responsible for making the resource Shaylin Nguyen (2016) Description An account of the resource Much of the land contained within the Roman city walls remained uninhabited with little activity beyond farming for hundreds of years. Because of the dense concentration of people near the Tiber during the Middle Ages, new religious centers were built in the uninhabited farmland where there was available space. It is said that Giacoma Frangipane de’ Settesoli, later known as simply Brother Jacopa, met St. Francis in Rome and helped him find shelter. Brother Jacopa was a widow who became close friends with St. Francis, who was the one to call her “Brother." The place Jacopa found St Francis a place to say is believed to be San Biagio Hospice. The San Biagio Hospice was built near the edge of the Roman city wall and it was a part of the San Cosimato Monastery complex during the Benedictine rule (the two are separated by only 250 meters). It is said that Jacopa helped the Franciscans gain control of San Biagio from the Benedictines and thus converting it to a Franciscan complex. In the same location as San Biagio, the Chiesa di San Francesco a Ripa was consecrated in 1601 and is still actively used as a Franciscan church. The statue of the Blessed Ludovica Albertoni (1473-1533) by Gian Lorenzo Bernini (1598-1680) resides in a left side chapel. Abstract A summary of the resource. Because of the dense concentration of people near the Tiber during the Middle Ages, new religious centers were built in the uninhabited farmland where there was available space. The San Biagio Hospice was built near the edge of the Roman city wall: it was the first place that St. Francis lodged when he visited Rome. The hospice was replaced by the church of San Francesco a Ripa in 1601 and is still actively used as a Franciscan church. Identifier An unambiguous reference to the resource within a given context biagiofrancescoripa_2015 Subject The topic of the resource The Friars’ Rome 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 1100s Type The nature or genre of the resource Place Franciscans The Friars’ Rome https://omeka-dev.carleton.edu/cgmr/files/original/2041c4bdedc271e95f9883c3c8e5516d.jpg 33f0c28c1d5bb903e790271910fdf632 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 Santa Maria Porta Paradisi Creator An entity primarily responsible for making the resource Tanner Fliss (2016) Description An account of the resource The Chiesa di Santa Maria Porta Paradisi, located in the Campo Marzio district and in existence since the 9th century, was rebuilt and given its name in 1523 as part of the extension of an adjoining hospital, which in turn was part of the urbanization of the northern area of Campo Marzio. This hospital, San Giacomo degli Incurabili was built in 1326, its proximity to the great northern gate of the city, the Porta del Popolo, and its position on the Via del Corso, the main north-south thoroughfare of Rome, ensured a constant stream of patients. This hospital was constructed during, perhaps, one of the worst centuries for Rome in its entire history—Pope Clement V had moved the papacy to Avignon in 1309, and without the stability effected by the papacy the city devolved into chaos, witnessing Roman nobles attack each other with increasing frequency. In 1519, the hospital underwent a major renovation, which coincided with two major events: the larger urbanization of Campo Marzio, which included the construction of two major roads, the Via del Babuino in 1523 and the Via di Ripetta in 1516, as well as the influx of sick individuals suffering from syphilis. The hospital actually received the additional name, degli Incurabili (of the incurables), in reaction to the syphilis outbreak, as there was no cure the disease at the time—patients were often treated with mercury, which usually harmed as much as it helped. Santa Maria Porta Paradisi can be seen as the conclusion of the renovation and extension of the hospital—indeed the moniker Porta Paradisi—Gate to Paradise—may have been given for those dying in the adjacent hospital. Abstract A summary of the resource. The Chiesa di Santa Maria Porta Paradisi, located in the Campo Marzio district and in existence since the 9th century, was rebuilt and given its name in 1523 as part of the extension of an adjoining hospital, which in turn was part of the urbanization of the northern area of Campo Marzio. This hospital, San Giacomo degli Incurabili was built in 1326, its proximity to the great northern gate of the city, the Porta del Popolo, and its position on the Via del Corso, the main north-south thoroughfare of Rome, ensured a constant stream of patients. Identifier An unambiguous reference to the resource within a given context santamariaportaparadisi_2015 Subject The topic of the resource Neighborhoods Source A related resource from which the described resource is derived Anthony Majanlahti. The Families Who Made Rome: A History and a Guide. (Milan: Villardi, 2006) Alessia Muliere, Chiese e Palazzi di Roma in età moderna: Santa Maria Portae Paradisi. Università degli studi di Roma “La Sapienza” Facoltà di Filosofia, Lettere, Scienze Umanistiche, Studi orientali. Spatial Coverage Spatial characteristics of the resource. Via di Ripetta, 61, 00186 Roma RM Type The nature or genre of the resource Place Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1500s neighborhoods https://omeka-dev.carleton.edu/cgmr/files/original/93120593ec8cb299b24790f89993b7e2.jpg 0a8fee092c610ec5548b998475ca7dab 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 Acqua Paola: Roman Remains in a Baroque Landscape Creator An entity primarily responsible for making the resource Nora Katz (2016) Description An account of the resource Overlooking a beautiful view of Rome, the Acqua Paola is an imposing structure that dominates the hillside between San Pietro in Montorio and the Piazza Garibaldi. But this fountain sits on top of the remnants of a long history of Roman waterways. The fountain began as the Aqueduct of Trajan, and still uses its water supply. However, none of the original aqueduct is visible now, as this Baroque masterpiece (or monstrosity) completely erased evidence of the underlying structure. It was constructed in honor of Pope Paul V in 1612, using columns from Old St. Peter’s and marble from the Forum of Nerva. But the history of the water running through the fountain began much earlier. In the sixth century, Belisarius “repaired the aqueducts at the top of the Gianicolo...to have the water drive the mills on the slope of the hill” (Krautheimer). Pope Honorius followed suit in the early seventh century, regularizing the restorations of the aqueduct that made it more useful for the changing city. The Lombard siege in 756 caused massive damage to the city’s four major aqueducts (the Claudio-Anio Novus, Traiana, Jovia, and Virgo), and Pope Hadrian I worked at the end of that century to repair them. Archaeological evidence of massive reconstructions to the city’s aqueducts in the eighth and ninth centuries shows that huge sections of the aqueducts were completely rebuilt “up to a height of 20m, and for a distance of many kilometers” (Coates-Stephens 177). In the ninth century, Trajan’s aqueduct was the primary water supply for much of Trastevere and the Vatican. In the medieval period, and especially when the papacy moved to Avignon and ceased major construction works in Rome, the aqueducts fell out of use and into disrepair. The aqueducts were gradually phased out of use and replaced by water mills in the Tiber, which explains why Trajan’s Aqueduct has survived only as an underground channel covered by Pope Paul V’s passion project - the Acqua Paola. Abstract A summary of the resource. Overlooking a beautiful view of Rome, the Acqua Paola is an imposing structure that dominates the hillside between San Pietro in Montorio and the Piazza Garibaldi. But this fountain sits on top of the remnants of a long history of Roman waterways. The fountain began as the Aqueduct of Trajan, and still uses its water supply. However, none of the original aqueduct is visible now, as this Baroque masterpiece (or monstrosity) completely erased evidence of the underlying structure. Identifier An unambiguous reference to the resource within a given context acquapaola_2015 Subject The topic of the resource Neighborhoods Source A related resource from which the described resource is derived Coates-Stephens, Robert. “The Walls and Aqueducts of the Early Middle Ages, AD 500-1000.” The Journal of Roman Studies 88 (1998): 166-178. Krautheimer, Richard. Rome: Profile of a City, 312-1308. Princeton: Princeton University Press, 2000. Spatial Coverage Spatial characteristics of the resource. Via Garibaldi, 00153 Roma RM Type The nature or genre of the resource Place neighborhoods https://omeka-dev.carleton.edu/cgmr/files/original/e9c824ef5595dbd4eb355f7ef044d712.jpg 7242acffeee7c9dc1c5a8907bd617cd8 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 Medieval Gardens: Cloister of SS. Quattro Coronati Creator An entity primarily responsible for making the resource Clare Hiyama (2016) Description An account of the resource The <a href="https://www.wmf.org/project/santi-quattro-coronati-cloister">restored garden</a> in the cloister at SS. Quattro Coronati is a beautiful, private, natural space tucked within the walls of a monastery. This type of garden would have been much more common in the Middle Ages in a variety of settings. In the late 13th and early 14th century, an Italian lawyer from Bologna named Piero de Crescenzi wrote a twelve-book treatise on gardens at the time, including pleasure gardens and agricultural practices. Crescenzi names three types of pleasure gardens: small herb gardens, “medium-sized gardens for large and moderate landowners,” and gardens for extremely wealthy individuals, such as kings and wealthy lords. Small herb gardens would probably have been the most prominent type based on the number of people who had space for them and could afford them rather than larger gardens. A small herb garden, according to Crescenzi, is built on a flat piece of land and is surrounded by aromatic and flowering plants and herbs. There would have been at least some seats around the edges of the garden. Cresenzi also recommends including a stream through the center of the garden, which would be both decorative and functional as a cooling element for humans and a hydrating feature for the plants. These gardens were popular not only because they could provide refreshment for the senses as a very different kind of vista than an urban area would usually be able to offer, but also because they were a place with an abundance of fresh air. The health benefits of fresh air were a significant part of medieval medical dogma, and a small pleasure garden’s primary responsibility was to supply that kind of air to its patrons. In this, it was slightly different from larger pleasure gardens, which had room for orchards of fruit trees or large game for hunting. The small gardens were meant more for walking and sitting. Visitors who would like to get a feel for small medieval herb gardens should visit cloisters—keep an eye out for walking paths, streams and fountains, and flowering plants. Abstract A summary of the resource. Small herb gardens were meant for walking and sitting. These gardens were popular not only because they could provide refreshment for the senses, but also because they were a place with an abundance of fresh air. Identifier An unambiguous reference to the resource within a given context medievalgardens_2015 Subject The topic of the resource Houses and Gardens Source A related resource from which the described resource is derived Bauman, Johanna. "Tradition and Transformation: The Pleasure Garden in Piero de' Crescenzi's 'Liber ruralism commodorum'." Studies in the History of Gardens and Landscape Design 22 (2002): 99-137. Calkins, Robert G. "Piero de' Crescenzi and the Medieval Garden." In Medieval Gardens, edited by Elisabeth Blair MacDougall, 157-173. Washington, D.C.: Dumbarton Oaks, 1986. Type The nature or genre of the resource Place 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 Spatial Coverage Spatial characteristics of the resource. Via dei SS. Quattro, 20, 00184 Roma RM, Italy https://omeka-dev.carleton.edu/cgmr/files/original/707a247f72ad0edd481a10bc3cc7ae6d.jpg 861186a189d017d189ee8f02e41cc668 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 A Hole in the Walls: The Hospital-cum-Monastery at San Tommaso in Formis Creator An entity primarily responsible for making the resource J.M. Hanley (2016) Description An account of the resource Perched about halfway up the Caelian Hill is San Tomasso in Formis, built into the side of the Aqua Claudia. The history of the complex largely begins with John of Matha, a Provencal priest. Shortly after his ordination, he was inspired to found a religious order dedicated to ransoming captives from the Crusades. Innocent III confirmed John’s request. The new order – the Trinitarians – was the first of the great religious orders that would be founded over the course of the 13th and 14th centuries. The remains of a monastic church were refurbished and a hospital was constructed adjacent to it. The adjacent Arch of Dolabella – once part of Rome’s Servian walls – was also pressed into service. John, after establishing the order, had become drawn to a life of monastic isolation. He retreated to a room over the arch until his death in 1213. In many ways, the establishments of such “caritative” orders functioned more like franchises than outposts. Trinitarian branches, for instance, were responsible for funding themselves, which made them less inclined to obey central authority. San Tommasso was less a headquarters and more a working hospital. Nevertheless, the church’s location – immediately next to the major cardinal churches of San Stefano Rotondo and Santa Maria in Domnica, and a short walk from papal residence at the Lateran – seems unlikely to be a coincidence. Though the reason remains unclear, international missionary work was a top priority of Innocent’s. As pope, he certainly had some authority over the order. He would later influence staff appointments within the order itself. It is possible that the pope himself picked the location to easily observe and influence the order’s actions. Finally, John’s decision to retreat to isolation testifies to a common tension in the early thirteenth century. He began a trend of activist religious orders, yet opted personally to live like a religious hermit of an older tradition. San Tommasso offered a unique space for this: Trinitarians entered the outside world in search of the sick, but they brought them back behind walls to care for them. Abstract A summary of the resource. Perched about halfway up the Caelian Hill is San Tomasso in Formis, built into the side of the Aqua Claudia. The history of the complex largely begins with John of Matha, a Provencal priest. Shortly after his ordination, he was inspired to found a religious order dedicated to ransoming captives from the Crusades. Innocent III confirmed John’s request. The new order – the Trinitarians – was the first of the great religious orders that would be founded over the course of the 13th and 14th centuries. Identifier An unambiguous reference to the resource within a given context tommasohospitalmonastery_2015 Subject The topic of the resource Neighborhoods Source A related resource from which the described resource is derived Brentano, Robert. Rome Before Avignon. Los Angeles: University of California Press, 1990. Brodman, James W. “Community, Identity, and the Redemption of Captives: Comparative Perspectives Across the Mediterranean.” Anuario di Estudios Medievales 36 (June 2006), 241-252. Brodman, James W. “Crisis in Charity: Centrifugal and Centripetal Influences upon Medieval Caritative Orders.” Imago Temporis. Medium Aevum 5 (2011): 163-173 Spatial Coverage Spatial characteristics of the resource. Via di S. Paolo della Croce, 00184 Roma RM Type The nature or genre of the resource Place 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 neighborhoods Unsure on details https://omeka-dev.carleton.edu/cgmr/files/original/c4b380939e32414768665cabb6f04798.jpg 883624064cb8c1651d10513422b61866 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 Villa Farnesina Creator An entity primarily responsible for making the resource Anna Guasco (2016) Description An account of the resource The Villa Farnesina is a beautiful Renaissance building near the entrance to Trastevere. Across the river from central Rome and its namesake family's main residence (the Palazzo Farnese), the contemporary museum and gallery provide an excellent opportunity to envision architecture, art, and landscapes in early modern Rome. Although it the bears the name of the Farnese family (who bought the estate in 1577), it was commissioned by nouveau-riche Sienese banker Agostini Chigi as a testament to his own wealth, importance, and artistic patronage. He employed a young Baldassere Perruzi to design the building, and brought in a impressive team of master painters, including Raphael, Sodoma, del Piombo, and Bazzi (as well as Perruzi) to create elaborate fresco cycles. In its early days (constructed from approximately 1506 to 1511, with various fresco cycles completed later), the villa hosted many of Chigi's ostentatious, Gatsby-esque banquets. At one of these events, Chigi and his group of close, well-educated friends horrified his guests by instructing his servants to throw his guests' soiled silver and gold plates into the Tiber River -- but the dishes were not wasted, for Chigi had planted a net along the banks in preparation for this trick. Abstract A summary of the resource. The Villa Farnesina is a beautiful Renaissance building near the entrance to Trastevere. Across the river from central Rome and its namesake family's main residence (the Palazzo Farnese), the contemporary museum and gallery provide an excellent opportunity to envision architecture, art, and landscapes in early modern Rome. Identifier An unambiguous reference to the resource within a given context villafarnesina_2015 Subject The topic of the resource Houses and Gardens Source A related resource from which the described resource is derived "Villa Farnesina." Reference document from the Villa Farnesina. Date of production unknown. Received May 16, 2015. http://www.romasegreta.it/trastevere/via-della-lungara.html Grau, Oliver. "Into the Belly of the Image: Historical Aspects of Virtual Reality. " Leonardo, Vol. 32, No. 5, Seventh New York Digital Salon (1999): 365-371. Jones, Mark Wilson. "Palazzo Massimo and Baldassare Peruzzi's Approach to Architectural Design." Architectural History, Vol. 31 (1988): 59-106. Quinlan-McGrath, Mary. "A Proposal for the Foundation Date of the Villa Farnesina." Journal of the Warburg and Courtauld Institutes, Vol. 49 (1986): 245-250. Quinlan-McGrath, Mary. "The Villa Farnesina, Time-Telling Conventions and Renaissance Astrological Practice." Journal of the Warburg and Courtauld Institutes, Vol. 58 (1995): 52-71. Spatial Coverage Spatial characteristics of the resource. Via della Lungara, 230, 00165 Roma RM Type The nature or genre of the resource Place Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1500s Houses and Gardens https://omeka-dev.carleton.edu/cgmr/files/original/f0fb792dd741554c17956501517bc4d9.jpg 70aa6cc41b0a278bfc37dfce84a86c90 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 Landscape Imaginaries at the Villa Farnesina Creator An entity primarily responsible for making the resource Anna Guasco (2016) Description An account of the resource Today, the Villa Farnesina is known for its impressive set of frescoes. These frescoes feature imagery of astrological time-telling symbolism, ancient mythology, precious materials, and pastoral landscapes. Diane Spencer suggests that some of the less ostentatious landscape-focused frescoes (particularly those along one corridor connecting the south wing to the loggia and the hemicycle on the ground floor), prime the visitor to take an semi-literal promenade and to "to look thoughtfully through the wall to the real villa's environs" (150). A particularly interesting room for thinking about the relationship between the villa, frescoes, and imagined and real landscapes is the Sala delle Prospettive (The Room of Perspectives). Peruzzi himself painted this room between 1516 and 1518. In the Sala, marble floors blend seamlessly into wall frescoes of an imagined portico extended over an idealized, semi-pastoral, semi-antique, semi-late-medieval landscape of Rome, bordered on top by mythical scenes. Beyond the incredibly realistic marble columns and other faux-architectural structures, one can see Rome's countryside on the western wall (which faces western Rome's countryside) and a more built Rome on the eastern wall (which faces Rome's urban core across the river). Looking closely at the eastern wall, one can see features of medieval Rome -- campanili (bell towers), medieval houses, and churches -- in addition to the classical and pastoral features expected of Renaissance paintings of imagined landscapes. Oliver Grau describes this room and the almost subliminal experience it allowed its sixteenth-century visitor as the best Renaissance example of virtual reality, or the "idea of transposing the audience into an enclosed, illusionary visual space" (366). Today, this room transposes its contemporary audience not just into an imagined classical and pastoral past, but also into an imagined late medieval and early Renaissance Rome. Through the fresco cycles and the actual windows looking out onto towers, campanili, the Aurelian Walls, and the villa's gardens, one can begin to imagine the Farnesina in its early modern landscape. Abstract A summary of the resource. Today, the Villa Farnesina is known for its impressive set of frescoes. These frescoes feature imagery of astrological time-telling symbolism, ancient mythology, precious materials, and pastoral landscapes. Identifier An unambiguous reference to the resource within a given context villafarnesinalandscape_2015 Subject The topic of the resource Houses and Gardens Source A related resource from which the described resource is derived "Villa Farnesina." Reference document from the Villa Farnesina. Date of production unknown. Received May 16, 2015. http://www.romasegreta.it/trastevere/via-della-lungara.html Grau, Oliver. "Into the Belly of the Image: Historical Aspects of Virtual Reality." Leonardo, Vol. 32, No. 5, Seventh New York Digital Salon (1999): 365-371. Jones, Mark Wilson. "Palazzo Massimo and Baldassare Peruzzi's Approach to Architectural Design." Architectural History, Vol. 31 (1988): 59-106. Spencer, Diana. "VI Spaces and Places." Greece &amp, Rome, suppl. Roman Landscapes: Culture and Identity 56.39 (Oct 2009): 135-171. Quinlan-McGrath, Mary. "A Proposal for the Foundation Date of the Villa Farnesina." Journal of the Warburg and Courtauld Institutes, Vol. 49 (1986): 245-250. Quinlan-McGrath, Mary. "The Villa Farnesina, Time-Telling Conventions and Renaissance Astrological Practice." Journal of the Warburg and Courtauld Institutes, Vol. 58 (1995): 52-71. Spatial Coverage Spatial characteristics of the resource. Via della Lungara, 230, 00165 Roma RM Type The nature or genre of the resource Place Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1500s Houses and Gardens nature