5 10 122 https://omeka-dev.carleton.edu/cgmr/files/original/7bad6ef15ca26f51ffe7dc5f101100e9.jpg 316eb38527b6f8b1c53d05f7db1a8448 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 Bramante's Tempietto Creator An entity primarily responsible for making the resource Shaylin Nguyen (2016) Description An account of the resource On top of the Gianicolo Hill (also known as the Janiculum) in Trastevere sits San Pietro in Monotorio, built most likely by Baccio Pontelli. Inside a small courtyard Bramante’s high renaissance architectural masterpiece, The Tempietto (1502-1510), was constructed. Ferdinand and Isabella, the monarchs of Spain at the time, commissioned the structure. At the time of construction it was believed to be the location St. Peter has been crucified on an upside down cross and the Tempietto was to be part of a memorial for the saint. Currently the San Pietro in Monotorio complex is part of the Spanish Royal Academy in Rome. Bramante intensely studied classical architecture before creating his masterpiece but it is clear he made some renaissance alterations to the classical rule. Some scholars believe that his use of circular plan is a reference to the ancient Temple of Hercules Victor, which is in what is now the Piazza Bocca della Verità in Rome. However, his deviation from the traditional corinthian column capital seen on the Temple of Hercules Victor to the simple Doric order is an important distinction. Bramante’s original sketch included a plan for a circular courtyard to continue the strong concept of harmony seen throughout the work of architectural art, however it is placed in a plain rectangular space that makes the grandeur of the Tempietto feel somehow out of place. Abstract A summary of the resource. On top of the Gianicolo Hill (also known as the Janiculum) in Trastevere sits San Pietro in Monotorio built most likely by Baccio Pontelli. Inside a small courtyard Bramante’s high renaissance architectural masterpiece The Tempietto (1502-1510) was constructed. Identifier An unambiguous reference to the resource within a given context bramantestempietto_2015 Subject The topic of the resource Neighborhoods Source A related resource from which the described resource is derived Partiridge, Loren. The Art of Renaissance Rome 1400-1600. Upper Saddle River, NJ: Laurence King Publishing Limited, 1996. Rosenthal, Earl. “The Antecedents of Bramante’s Tempietto,” Journal of the Society of Architectural Historians. 23:2 (1964): 55-74. Spatial Coverage Spatial characteristics of the resource. Piazza di S. Pietro in Montorio, 2, 00153 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/d4171dfbc5483da637a2c66ebca02cc1.jpg 27667f57ae6115085475999fc07f5bee 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 Monte Mario as a Portal to the City Creator An entity primarily responsible for making the resource Spencer Dillon (2017) Description An account of the resource "Monte Mario was the first overlook of the city for all travellers and pilgrims coming south along the old Via Cassia and then the Via Francigena into Rome. It was the first chance for those who had survived long and arduous journeys to finally look upon their destination. Though the Via Cassia does not exist as it did then, it is still possible to see what those pilgrims would have seen from the crest of the hill. The modern view is also obscured by development. Rome was, and still is to some extent, famed for its campanila, and the view from the Monte, as pictured, gives a very clear view of the city, affording those on top an excellent view from the northern perspective. Master Gregorius, a 13th century English visitor to the city, said that he “strongly recommend[s] the wonderful panorama of the whole city [from Monte Mario]. There is so great a forest of towers, and so many palatial buildings, that no one has counted them.” The view was in fact so spectacular that it was often sketched. Given how unbelievably difficult pilgrims’ journeys often were, such a view could only have come as a welcome sight. Pilgrims’ journeys were often severely constrained by the contemporary political climate, and while pilgrims were supposed to be given free food and shelter along the way, almost all pilgrims to Rome until the Renaissance wrote out their last will and testament before going as a safeguard. Abstract A summary of the resource. Monte Mario was the first overlook of the city for all travellers and pilgrims coming south along the Via Francigena which followed the ancient Via Cassia into Rome. It was the first chance for those who had survived long and arduous journeys to finally look upon their destination. Though the Via Cassia does not exist as it did then, it is still possible to see some of what those pilgrims would have seen from the crest of the hill. Identifier An unambiguous reference to the resource within a given context montemario_2015 Subject The topic of the resource The City's Edge Source A related resource from which the described resource is derived Krautheimer, Richard. Rome: Profile of a City, 312 – 1308. Princeton: Princeton University Press: 1980 Master Gregorius. The Marvels of Rome, trans. John Osborne, Toronto: Pontifical Institute of Medieval Studies, 1987. Olsen, Katherine. “Welsh Pilgrimage and Travel to Rome c. 1200-1350” in The Welsh History Review, Vol. 24, No. 2, (2008): 1-40. Raju, Alison. Via Francigena: Pilgrim Trail Canterbury to Rome, vol 2. The Great St Bernard Pass to Rome. Milnthorpe: Cicerone, 2014. Spatial Coverage Spatial characteristics of the resource. 00136 Rome, Metropolitan City of Rome 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 https://omeka-dev.carleton.edu/cgmr/files/original/0d240fcadafde7a3070cd8672bce20e3.jpg 66fb409c2611fd15eebf72e1be579183 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 Porta San Paolo Creator An entity primarily responsible for making the resource Madison McBride (2016) Description An account of the resource Just northeast to the Pyramid of Gaius Cestuis, Porta San Paolo now serves as the entrance into the Museo della Via Ostiense. However, entry through the Porta San Paolo brings one to a very different setting--back in the Middle Ages. As an important gate along the Aurelian Walls, this porta sat on the Via Ostiense, one of the major highways used to get into medieval Rome. The Museo now inside the gatehouse is dedicated to this roadway and its history. The porta itself was built during the first construction period of the Aurelian Walls from 309-312. During 402 and 403, when the walls were reconstructed, Porta San Paolo lost one of its original archways and its towers were made taller. This is the building we see now. According to medieval guidebooks to Rome, Porta San Paolo took many names, including Porta Ostiense and Porta Trigemina. Porta San Paolo’s significance goes beyond Rome. This is demonstrated in its use in Christian imagery in other places. One such image, painted in the 1300s by Jacopo di Cione of Florence, uses the Porta San Paolo as a geographic reference in his fresco retelling a traditional story regarding the martyrdoms of Peter and Paul. According to tradition, St. Peter and St. Paul were martyred on the same day in different parts of Rome. However, before being led to their sites of death, the two Apostles said good-bye to each other somewhere along the Via Ostiense. In his painting, Jacopo di Cione places Peter and Paul, surrounded by Roman soldiers, underneath the Porta San Paolo as they part ways. Porta San Paolo as it’s depicted here is quite large, taking up about three-fourths of the frame. Jacopo also paints the tower with its top, a cylindrical structure with two small slit-like windows and a cylindrical pyramid-shaped roof. This could be how the tower looked during the medieval period following the second construction phase of the Aurelian Walls. The inclusion of the Porta here is crucial in revealing how medieval beliefs shaped the way traditional stories were told and how Roman features played a part in those stories. By including the Porta, Jacopo di Cione is demonstrating the centricity of Rome in Christian stories. In this way, medieval Porta San Paolo becomes multifunctional, serving not only as a gate and defensive fort but also as a method of promoting a Roman narrative. Abstract A summary of the resource. Just northeast to the Pyramid of Gaius Cestuis, Porta San Paolo now serves as the entrance into the Museo della Via Ostiense. However, entry through the Porta San Paolo brought one to a very different setting back in the Middle Ages. As an important gate along the Aurelian Walls, this porta sat on the Via Ostiense, one of the major highways used to get into medieval Rome. Identifier An unambiguous reference to the resource within a given context portasanpaolo_2015 Subject The topic of the resource The City's Edge Spatial Coverage Spatial characteristics of the resource. Piazzale Ostiense, 00154 Roma RM Source A related resource from which the described resource is derived Finch, Margaret. “Petrine Landmarks in Two Predella Panels by Jacopo di Cione.” Artibus et Historiae 12 (1991): 67-82. Hart, Vaughan and Peter Hicks, trans. Palladio’s Rome. New Haven: Yale University Press, 2006. Krautheimer, Richard. Rome: Profile of a City, 312-1308. Princeton: Princeton University Press, 2000. Nichols, Francis Morgan, trans. and ed. The Marvels of Rome: Mirabilia Urbis Romae. New York: Italica Press, 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 1300s The City's Edge https://omeka-dev.carleton.edu/cgmr/files/original/3fbedbb0661392e79d94b9df4254f06f.jpg f948bbd952ea6e5fc13daa54353df824 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 13th-Century Flood Marker Creator An entity primarily responsible for making the resource Francesca Arcidiacono (2016) Description An account of the resource Before the embankment project of the late 19th century, flooding of the Tiber river was a fact of Roman life. Built on a natural floodplain, Rome would experienced catastrophic floods at least twice per century. Waters would engulf houses and buildings, and flood fields and farms, leaving destruction, famine, and disease as they receded. While records of the floods of late antiquity survive mainly in the Liber Pontificalis, stone plaques indicating the heights and dates of floods came into use in the medieval period and exist throughout the city. The earliest surviving plaque can be found under an archway on the Via dell'Arco dei Banchi, across the river from the Castel Sant'Angelo. A marble slab is embedded in the side of the now heavily-restored archway and records the height of a flood that occurred on November 6, 1277. While the script is stylized, one can clearly make out the words Huc Tiber accessit ("To here the Tiber came") right above the line indicating the flood level. Abstract A summary of the resource. A marble slab is embedded in the side of the now heavily-restored archway and records the height of a flood that occurred on November 6, 1277. While the script is stylized, one can clearly make out the words Huc Tiber accessit ("To here the Tiber came") right above the line indicating the flood level. Identifier An unambiguous reference to the resource within a given context romanfloodmarker_2015 Subject The topic of the resource The Tiber Source A related resource from which the described resource is derived Aldrete, Gregory S.. Floods of the Tiber in Ancient Rome. Baltimore, MD, USA: Johns Hopkins University Press, 2006. Accessed May 30, 2015. ProQuest ebrary. Krautheimer, Richard. Rome : Profile of a City, 312-1308. Princeton, N.J. , Chichester: Princeton University Press, 2000. pp. 64, 237 Squatriti, Paolo. "The Floods of 589 and Climate Change at the Beginning of the Middle Ages: An Italian Microhistory." Speculum 85, no. 04 (2010): 799-826. Date A point or period of time associated with an event in the lifecycle of the resource November 6, 1277 Type The nature or genre of the resource Physical Object 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 del Banco di Santo Spirito, 47, 00186 Roma RM, Italy The Tiber Unsure on details https://omeka-dev.carleton.edu/cgmr/files/original/08d561de1a0c7b4f51dc3ee14959958b.jpg 6cba5952d1befe33f62751ceffaec979 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 Columns and Colonnades as Spolia Creator An entity primarily responsible for making the resource Ben White (2017) Description An account of the resource The house at this site presents an intersection of medieval and ancient Rome. The colonnaded portico, clearly distinct from the otherwise modern appearance of the house's exterior, is an excellent example showing the practice of using ancient marble spoils taken from ruins or other buildings in the construction of medieval houses. Ornamentation of medieval structures using spoiled elements was a consistent feature in Rome, but this was not always the fate of Roman marble - architectural features and statuary frequently was fed to the lime kilns during the medieval period. For those pieces which survived, Richard Krautheimer argues that without the threat of paganism, these spoils could be viewed appreciatively as "quotations" of the craftsmen of the past. Colonnaded porticoes specifically appear to have become a feature of upper class housing in high medieval Rome, with columns and architraves almost always being spoils. When rows of houses with porticoes were built, the continuous portico along the street would have provided some shade or protection from rain for pedestrians. In this house, a fragment of an ancient frieze is also an ancient spoil, featuring magnificent lion heads and palmette decoration. Abstract A summary of the resource. Ornamentation of medieval structures using spoiled elements was a consistent feature in Rome, but this was not always the fate of Roman marble - archictural features and statuary frequently was fed to the lime kilns during the medieval period. Identifier An unambiguous reference to the resource within a given context spoliacolumnscolonnades_2015 Subject The topic of the resource Neighborhoods Spatial Coverage Spatial characteristics of the resource. Via Banco di Sto. Spirito 60/61 Source A related resource from which the described resource is derived Krautheimer, Richard. Rome: Profile of a City, 312-1308. Princeton: Princeton University Press, 2000. neighborhoods Unsure on details https://omeka-dev.carleton.edu/cgmr/files/original/cb043ae4872dcd203c180a5719a72926.jpg f6a12b231d0f09eb63d4229541e772b6 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 Medieval House from Street Level Creator An entity primarily responsible for making the resource Ben White (2017) Description An account of the resource The beautiful late medieval house at this site retains features that demonstrate the fundamental style of medieval architecture, although later construction has decreased their prominence. The dual arches, filled by a later added material, are representative of the surface view of medieval houses. These would have provided the main entrance to the house from the road, now replaced by two wooden doors inset in the arches. The use of a column as a supporting element is also a feature of this period. The portico created by these arches, when coupled with similar porticoes at other houses along the street, might have created a continuous portico allowing cover for passersby. The multiple stories of this house are accurate to its medieval incarnation: the ground floor of medieval houses might have been used as a shop or workspace, with upper floors reserved for residential purposes. Oftentimes, skinny facades meant that buildings were more developed in depth. Altogether, the row house template seen in the house would have been a common staple of the abitato of medieval Rome. Abstract A summary of the resource. The beautiful late medieval house at this site retains features that demonstrate the fundamental style of medieval architecture, although later construction has decreased their prominence. Identifier An unambiguous reference to the resource within a given context medievalhouse_2015 Subject The topic of the resource Houses and Gardens Source A related resource from which the described resource is derived Krautheimer, Richard. Rome : Profile of a City, 312-1308. Princeton, N.J. , Chichester: Princeton University Press, 2000. Spatial Coverage Spatial characteristics of the resource. Via dell'Arco della Pace 10/11 Houses and Gardens Unsure on details https://omeka-dev.carleton.edu/cgmr/files/original/99d3243f8ee67f8a498d211e83d66a3c.jpg 60758d86a24a5c3286d87ef90704f961 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 Heart of Medieval Rome Creator An entity primarily responsible for making the resource Ben White (2017) Description An account of the resource As the city of Rome regained both population and prominence in the late middle ages, built up areas that had retained population slowly linked together to form a single coherent inhabited area that became known as the abitato, or inhabited area. The presence of an important draw for pilgrims and administrators alike in St. Peter's basilica drove the development of accommodations, commerce, and housing in the bend of the Tiber river from the eleventh century onwards, in an area known to the Romans as Campus Martius. From Trastevere to the core of the abitato across the river, dense housing and narrow streets defined the medieval landscape, two features which can still be observed today. Except for the long period in the fourteenth century when the papacy was based in Avignon, papal processions would have frequently wound through the streets of the abitato. Wealthy families such as the Colonna and Orsini were important occupants of the area, and many palaces and towers built by these families dot medieval maps. As the city of Rome began to grow in the 12th and 13th centuries, the abitato emerged as the beating heart of populated Rome. Abstract A summary of the resource. As the city of Rome regained both population and prominence in the late middle ages, built up areas that had retained population slowly linked together to form a single coherent inhabited area that became known as the abitato, or inhabited area. Identifier An unambiguous reference to the resource within a given context medievalromeheart_2015 Subject The topic of the resource Neighborhoods neighborhoods Unsure on details https://omeka-dev.carleton.edu/cgmr/files/original/c192f18f0a4f92fa5cf79dac5eb4ba30.jpg 685b37f147c11a7652eb8c32c8474255 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 Column of Flagellation at the Basilica di Santa Prassede Creator An entity primarily responsible for making the resource Gracie McNeely (2016) Description An account of the resource Upon entering the San Zeno Chapel, located in the Basilica di Santa Prassede, a dark marble object, spotted with white, lies in a niche to the right (Figure 1). The object appears to be an oddly large chess piece, but is allegedly the column upon which Jesus Christ was flogged in his final years. During the medieval crusades, it was very common to take spoils from Jerusalem and bring them back to Rome. Some were then placed in churches as relics—such as the column itself, the crown of thorns (now in Notre Dame in Paris), or the bones of St. Jerome (now in the Basilica di Santa Maria Maggiore). The relic was taken from the Holy Land and brought to Rome in 1222 by Cardinal Giovanni Colonna the Younger—a member of the powerful Colonna family during the 13th century. Given to him by the King of Jerusalem after the Fourth Crusade, Colonna brought the column back to Santa Prassede, his cardinalate church since 1212 (the church that is given to a cardinal). The history of the column before 1222, however, is unclear. At the top of the column was a metal loop, where Christ was bound to during his flagellation. Before its move to the Chapel of San Zeno in 1699, the column was not completely visible by the pilgrims, and would only appear on feast days. Currently, the column is housed in a reliquary made of bronze, designed by Duilio Cambellotti in 1898. The column is also incorporated in other Roman monuments, such as the relief sculpture in the Chigi Chapel, located in Chiesa di Santa Maria della Pace, and one of the angels located on Ponte Sant’Angelo (Figure 2). While many scholars are skeptical of the true history that this column, it is a great example of translating relics from the Holy Land to Rome during the Crusades. Abstract A summary of the resource. During the medieval crusades, it was very common to take spoils from Jerusalem and bring them back to Rome. Some were then placed in churches as relics—such as the column itself, the crown of thorns (now in Notre Dame in Paris), or the bones of St. Jerome (now in the Basilica di Santa Maria Maggiore). Identifier An unambiguous reference to the resource within a given context santaprassedecolumn_2015 Subject The topic of the resource Neighborhoods Spatial Coverage Spatial characteristics of the resource. Via di Santa Prassede, 9/a, 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 crusades neighborhoods Relics https://omeka-dev.carleton.edu/cgmr/files/original/b50c98c92df5091d60a1c0b7a2d9ee44.jpg 96a9b5443c1f93646b0854e07c3e3e39 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 Persistence of The Statue of Marcus Aurelius Creator An entity primarily responsible for making the resource Michael Sanson (2017) Description An account of the resource The statue of Marcus Aurelius now rests on the hilltop of Piazza Campidoglio. While the original statue is inside of the Capitoline museum, a replica of the statue stands at the center of Piazza Campidoglio. The statue is the only surviving statue of the 22 equestrian statues of ancient Rome. The Roman emperor Marcus Aurelius built the statue likely towards the end of his reign from 161-180 AD. He was revered for his efforts to fend off barbarian and Persian invasions, and built the statue as a reflection of his military prowess. However, the statue and legacy of Marcus Aurelius was close to being lost forever, due to the statue being moved, and being associated with many different names. The location of the statue’s origin is highly debated due to the different purposes it held throughout the Middle Ages, however it is known that the statue was located at the Lateran Hill as early as the 10th century. During the 9th and 10th centuries its name underwent a series of changes that caused the statue’s true historical origin to become lost for quite some time. It was first documented as a representation of Constantine in the 10th century, when it was given the name “The Horse of Constantine”. It was believed that the Senate dedicated the statue to Constantine, which in turn prevented it from being melted down as recyclable bronze. However, later historians found that this was actually not the case. In many medieval representations of Rome, depictions of the horse and rider were quite common, and was thus associated with Constantine by the populace. Furthermore, the name “The Horse of Constantine” is the same name given to the sculpture inside the Forum. The interchanging name of the two pieces has caused much confusion for modern day scholars, however it is noted in historical writings, like John Wright’s The Life of Cola Di Rienzo that the medieval idea that the statue of Marcus Aurelius being the statue of Constantine was a mistake, which allowed it to survive destruction. In the 16th century, Pope Paul III moved the statue from the Lateran Hill to Piazza Campidoglio to emphasize Campidoglio’s significance as the city’s historical center. In addition to the Pope’s work with the piece, he commissioned Michelangelo to design the base for the statue. Thus the statue of Marcus Aurelius still rests inside of the Museum at Piazza Campidoglio for private viewing, accompanied by a replica at the center of the Piazza. Abstract A summary of the resource. The statue of Marcus Aurelius now rests on the hilltop of Piazza Campidoglio. While the original statue is inside of the Capitoline museum, a replica of the statue stands at the center of Piazza Campidoglio. The statue is the only surviving statue of the 22 equestrian statues of ancient Rome. Identifier An unambiguous reference to the resource within a given context marcusaureliusstatue_2015 Subject The topic of the resource Cola’s Rome Source A related resource from which the described resource is derived Macadam, Alta, and A. B. Barber. Rome. London: Somerset, 2010. Nichols, Francis Morgan, and Eileen Gardiner. The Marvels of Rome = Mirabilia Urbis Romae. New York: Italica Press, 1986. Wright, John Henry. The Life of Cola Di Rienzo. Toronto: Pontifical Institute of Mediaeval Studies, 1975. Spatial Coverage Spatial characteristics of the resource. Piazza del Campidoglio, 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 900s Cola’s Rome https://omeka-dev.carleton.edu/cgmr/files/original/2b92484801c1bd03ac6f172b0eb199e9.jpg 3a525040cdf688be47d31520f28baf58 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 Tomb of Alfanus at Santa Maria in Cosmedin Creator An entity primarily responsible for making the resource Liza Peterson (2016) Description An account of the resource The Tomb of Alfanus is located on the porch of Santa Maria in Cosmedin. Attributed to a wealthy, twelfth-century noble, this tomb is one of the best examples of twelfth-century tombs in Rome. Although perhaps unremarkable to the untrained eye, John Osbourne identifies this tomb as a visible turning point for tombs in the medieval period, speaking primarily to its past, but also to its future. The Tomb of Alfanus exemplifies early medieval tombs in several ways. First, the tomb is situated within the urban perimeter on the portico of Santa Maria in Cosmedin, as most tombs were after the sixth century when it was no longer mandatory to bury the dead outside the walls. Second, its shape and construction, which includes a sarcophagus, a canopy, and an enclosed mural, follows a formula that reaches back through the medieval period to the late classical period, demonstrated by findings of this same formula in the catacombs of earlier centuries. Although the mural is somewhat damaged, this formula for construction can still be easily identified in this tomb. However, the tomb also begins to indicate a shift towards the 12th century renovation in which Romans began to evoke antiquity in their art. In what seems to be an evolutionary step away from earlier tombs, the Tomb of Alfanus attempts to create a Corinthian capital and has carved foliage running around the edge of the sarcophagus, both of which recall antiquity. In this way, Osbourne suggests, the tomb demonstrates the newly developing vocabulary of finery and luxury products for Roman tombs in the 12th century that would continue to develop in the years to come. Abstract A summary of the resource. The Tomb of Alfanus is located on the porch of Santa Maria in Cosmedin. Attributed to a wealthy, twelfth-century noble, this tomb is one of the best examples of twelfth-century tombs in Rome. Identifier An unambiguous reference to the resource within a given context cosmedintombalfanus_2015 Subject The topic of the resource Neighborhoods Source A related resource from which the described resource is derived John Osbourne, “Santa Maria in Cosmedin, Rome, and Its Place in the Tradition of Roman Funerary Monuments.” Papers of the British School at Rome (1983): pp. 240-247. Spatial Coverage Spatial characteristics of the resource. Piazza della Bocca della Verità, 18, 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 neighborhoods