History of Sweden between 1700 BC - 501 BC
Sweden's southern third was part of the stock-keeping and agricultural Nordic Bronze Age Culture's area, most of it being peripheral to the culture's Danish centre. The period began in c. 1700 BC with the start of bronze importation; first from Ireland and then increasingly from central Europe. Copper mining was never tried locally during this period, and Scandinavia has no tin deposits, so all metal had to be imported though it was largely cast into local designs on arrival. Iron production began locally toward the period's end, apparently as a kind of trade secret among bronze casters: iron was almost exclusively used for tools to make bronze objects.
The Nordic Bronze Age was entirely pre-urban, with people living in hamlets and on farmsteads with single-story wooden long-houses. Geological and topographical conditions were similar to those of today, but the climate was milder.
Rich individual burials attest to increased social stratification in the Early Bronze Age. A correlation between the amount of bronze in burials and the health status of the deceased's bones shows that status was inherited. Battle-worn weapons show that the period was warlike. The elite most likely built its position on control of trade. The period's abundant rock carvings largely portray long rowing ships: these images appear to allude both to trade voyages and to mythological concepts. Areas with rich bronze finds and areas with rich rock art occur separately, suggesting that the latter may represent an affordable alternative to the former.
Bronze Age religion as depicted in rock art centres upon the sun, fertility and public ritual. Wetland sacrifices played an important role. The later part of the period after about 1100 BC shows many changes: cremation replaced inhumation in burials, burial investment declined sharply and jewellery replaced weaponry as the main type of sacrificial goods.
The Palazzo Colonna is a palatial block of buildings built in part over ruins of an old Roman Serapeum, and has belonged to the prestigious Colonna family for over twenty generations.
The first part of the palace dates from the 13th century, and tradition holds that the building hosted Dante in his visit to Rome. The first documentary mention notes that the property hosted Cardinal Giovanni and Giacomo Colonna in the 13th century. It was also home to Cardinal Oddone Colonna before he ascended to the papacy as Martin V (1417–1431).
With his passing, the palace was sacked during feuds, and the main property passed into the hands of the Della Rovere family. It returned to the Colonna family when Marcantonio I Colonna married Lucrezia Gara Franciotti Della Rovere, the niece of pope Julius II. The Colonna"s alliance to the Habsburg power, likely protected the palace from looting during the Sack of Rome (1527).
Starting with Filippo Colonna (1578–1639) many changes have refurbished and create a unitary complex around a central garden. Architects including Girolamo Rainaldi and Paolo Marucelli labored on specific projects. Only in the 17th and 18th centuries were the main facades completed. Much of this design was completed by Antonio del Grande (including the grand gallery), and Girolamo Fontana (decoration of gallery). In the 18th century, the long low facade designed by Nicola Michetti with later additions by Paolo Posi with taller corner blocks (facing Piazza Apostoli) was constructed recalls earlier structures resembling a fortification.
The main gallery (completed 1703) and the masterful Colonna art collection was acquired after 1650 by both the cardinal Girolamo I Colonna and his nephew the Connestabile Lorenzo Onofrio Colonna and includes works by Lorenzo Monaco, Domenico Ghirlandaio, Palma the Elder, Salviati, Bronzino, Tintoretto, Pietro da Cortona, Annibale Carracci (painting of The Beaneater), Guercino, Francesco Albani, Muziano and Guido Reni. Ceiling frescoes by Filippo Gherardi, Giovanni Coli, Sebastiano Ricci, and Giuseppe Bartolomeo Chiari celebrate the role of Marcantonio II Colonna in the battle of Lepanto (1571). The gallery is open to the public on Saturday mornings.
The older wing of the complex known as the Princess Isabelle"s apartments, but once housing Martin V"s library and palace, contains frescoes by Pinturicchio, Antonio Tempesta, Crescenzio Onofri, Giacinto Gimignani, and Carlo Cesi. It contains a collection of landscapes and genre scenes by painters like Gaspard Dughet, Caspar Van Wittel (Vanvitelli), and Jan Brueghel the Elder.
Along with the possessions of the Doria-Pamphilij and Pallavacini-Rospigliosi families, this is one of the largest private art collections in Rome.