GONFALONE, ARCICONFRATERNITY OF THE
This name was assumed in the 14th century by the oldest Roman confraternity, that of the Raccomandati, which was founded in 1264 with the assistance of St. Bonaventure and was probably a derivation of the ascetic movement promoted by Ranieri Fasani, as evidenced by the primitive name of Disciplinati, which appears in some documents, and by the custom of visiting the Sepulchres on Holy Thursday, in which all the confrères participated in procession, flagellating themselves and dressed in sackcloth.
Among its acts of piety was the representation of the mystery of the Annunciation and especially of the Passion. The latter was performed within the Colosseum, almost to redeem the infamous memory, in a space above the chapel of the Madonna della Pietà, which, having a circular wing of the walls as its backdrop, lent itself to being used as a stage. The spectacle took place with great splendor before a large crowd of people, and acquired a singular fascination within the setting of the gigantic building. Large sums were allocated each year by the Confraternity for the scenic arrangements, the costumes of the performers, the decorations, and the frescoes, one of which depicted the city of Jerusalem with Calvary. The authors of the dramatic text are cited as Bernardo di M. Antonio Romano, and the guardians of the Gonfalone, Giuliano Dati and Mariano Particappa. It cannot be established to what date this dramatic tradition of the Confraternity dates back; but it is certainly to be considered earlier than the construction of the chapel of the Madonna della Pietà, which took place in 1517.
The representation of the Passion was suspended in 1522 to be resumed with greater magnificence and commitment in the Jubilee of 1525: after that, considering the increasing expenses, it became quadrennial instead of annual. In 1539, under the pontificate of Paul III, it was abolished due to the public order disturbances that often resulted: in fact, the excitement and indignation of the people, aroused by the realistic vision of the crucifixion of Jesus, vented itself against the Jews and the executioners with insults, stone-throwing, and often with violence that degenerated into deadly brawls.
After 1539 attempts were made to restore the custom: various steps were taken in this direction by the guardians of the Gonfalone; and in 1561 they succeeded in obtaining the consent of Pius IV, which was later revoked due to unfavorable reports. However, in 1562, on the first Sunday of May, a final performance took place, not of the Passion, but of the Annunciation, in the church of S. Anna Annunziata outside the walls: and this was the seal of a glorious activity, which certainly was not unrelated to the rebirth of theater in Europe.