It was the birthplace of St. Francis, who founded the Franciscan religious order in the town in 1208, and St. Clare (Chiara d’Offreducci), the founder of the Poor Sisters, which later became the Order of Poor Clares after her death. The 19th-century Saint Gabriel of Our Lady of Sorrows was also born in Assisi. UNESCO collectively designated the Franciscan structures of Assisi as a World Heritage Site in 2000. Today it’s a site of Christian pilgrimage.
Festival Calendimaggio, held on 1–5 May, is a re-enactment of medieval and Renaissance life in the form of a challenge between the upper faction and the lower faction of the town. It includes processions, theatrical presentations, flag-weavers and dances.
The town is dominated by two medieval castles. The larger, called Rocca Maggiore, is a massive presence meant to intimidate the people of the town: it was built by Cardinal Albornoz (1367) and expanded by popes Pius II (polygonal tower, 1458) and Paul III (the cylindrical bastion near the entrance, 1535-1538). The smaller of the two was built in Roman era: it has been only partially reserved, a small portion and three towers being open to the public.
Assisi was hit by two devastating earthquakes, that shook Umbria in September 1997. But the recovery and restoration have been remarkable, although much remains to be done. Massive damage was caused to many historical sites, but the major attraction, the Basilica di San Francesco, reopened less than 2 years later.
Assisi has had a rich tradition of art through the centuries and is now home to a number of well known artistic works. The Artists Pietro Lorenzetti and Simone Martini worked shoulder to shoulder at Assisi. The Basilica of San Francesco d’Assisi includes a number of artistic works. Simone Martini’s 1317 fresco there reflects the influence of Giotto in realism and the use of brilliant colors. Lorenzetti’s fresco at the lower church of the Basilica includes a series of panels depicting the Crucifixion of Jesus, Descent from the Cross, and Entombment of Christ. The figures Lorenzetti painted display emotions, yet the figures in these scenes are governed by geometric emotional interactions, unlike many prior depictions which appeared to be independent iconic aggregations. Lorenzetti’s 1330 Madonna dei Tramonti also reflects the ongoing influence of Giotto on his Marian art, midway through his career
