Cives Romani in Marmoris Arte Periti: the Classical World and the Renewal of the Cloister Model in 13th Century Rome

Introduction of cloister in Rome dates from the 12th century and is related to the Cistercian abbey of Tre Fontane, which was possibly the conduit for arriving of this typology in Rome because of its links with the Transalpine world where a cloister was used regularly since the Carolingian period. After few cases of the 12th century (Tre Fontane, San Lorenzo fuori le mura, Santa Cecilia in Trastevere), moreover, it’s only in the 13th century that we find systematic use of cloister as the main element in planning of old and new monastic foundations. In parallel with its spread, a typical Roman cloister, as it was codified during the 12th century, undergoes a radical change, partly because of the involvement of different artists: the marmorarii families of Rome (Cosmati and Vassalletto).
These sculptors, hitherto engaged in the production of liturgical furniture and now increasingly used in the architectural planning, considered themselves as heirs of classical Rome; in fact they call themselves Magistri doctissimi romani in the porch of Civita Castellana in 1210, Cives Romani in the north wing of the cloister of Santa Scolastica in Subiaco in the 30s of the 13th century. In the name of that heritage, they reinterpreted forms and motifs of architectural sculpture from Roman period through reusing and reworking of marbles taken from ancient monuments.
The novelty of the early 13th century cloisters, which are characterized by the classical style of decoration, is particularly noticeable in the still "experimental" cases – which form the heart of this paper – of the SS. Quattro Coronati and Santa Scholastica in Subiaco, a monastery near Rome closely related to the city, and culminate in the cloister of San Paolo fuori le mura, which represents the most complete expression of the Roman cloister model and its "speaking character" with inscription explicitly stating its symbolic and political role.
It seems no coincidence that the beginning of construction on the three monastic building sites, together with the cloister of San Saba, unfortunately destroyed but partially documented by historical photos, is linked to Pope Innocent III (1198–1216), who included them in his efforts to reform the monastic orders.
In some writings of the Pope, in fact, such as the epistle Cum ad monasterium addressed to the monks of Subiaco, the cloister becomes the theater and the symbol of perfection of monastic life he hoped for, perfection sublimated by the classical forms that refer symbolically and visually to the role of the eternal City and to the auctoritas of Roman popes.

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