GONFALON, Archconfraternity of the. - This name was assumed in the 14th century by the oldest Roman Confraternity, that of the Raccomandati, which was founded, with the cooperation of St. Bonaventure, in 1264 and was a probable offshoot of the ascetic movement promoted by Ranieri Fasani, as would be demonstrated both by the original name of Disciplinati, which occurs in some documents, and by the custom of visiting the Sepulchres on Holy Thursday, in which all the confratelli took part in procession, flagellating themselves and dressed in sackcloth.
Among its exercises of piety was that of representing the mystery of the Annunciation and principally of the Passion. The latter was performed within the enclosure of the Colosseum, almost to redeem its infamous memory, in a space above the chapel of the Madonna della Pietà, which, having as its backdrop a circular wing of the walls, lent itself to being used as a stage. The spectacle unfolded with great richness of staging before the people, who flocked there in great numbers, and acquired, within the setting of the gigantic building, a singular suggestiveness. Considerable sums were disbursed each year by the Confraternity for the stage setting, for the costumes of the performers, for the decorations and for the frescoes, one of which depicted the city of Jerusalem with Calvary. Cited as authors of the dramatic text are Bernardo di M. Antonio romano, and the guardiani of the G. Giuliano Dati and Mariano Particappa. It cannot be established to what date this dramatic tradition of the Confraternity dates back; but it is to be considered certainly 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 effort in the Jubilee of 1525: after that time, taking into account the growing expenses, it changed from annual to quadrennial. In 1539, under the pontificate of Paul III, it was abolished because of the disturbances of public order that were often its consequence: in fact the popular excitement and indignation, aroused by the realistic vision of the crucifixion of Jesus, vented itself against the Jews and the birri with insults, with stone-throwing and often with violence that degenerated into deadly brawls.
After 1539 attempts were made to restore its use: various steps were taken in this direction by the guardiani of the G.; and in 1561 they succeeded in obtaining the consent of Pius IV, which was then revoked because of information on the matter that was not reassuring. Nevertheless in 1562 there took place, on the first Sunday of May, a final representation, not of the Passion, but of the Annunciation, in the church of the Santissima Annunziata outside the walls: and this was the seal of a glorious activity, which was certainly not extraneous to the rebirth of theater in Europe.