History of Germany between 1815 - 1866
The German Confederation was a loose association of 39 German states in Central Europe, created by the Congress of Vienna in 1815 to coordinate the economies of separate German-speaking countries and to replace the former Holy Roman Empire. Most historians have judged the Confederation to be weak and ineffective, as well as an obstacle to German nationalist aspirations. It collapsed due to the rivalry between Prussia and Austria, warfare, the 1848 revolution, and the inability of the multiple members to compromise. It dissolved after the Prussian victory in the Seven Weeks' War of 1866.
In 1848, revolutions by liberals and nationalists were a failed attempt to establish a unified German state. Talks between the German states failed in 1848, and the Confederation briefly dissolved but was re-established in 1850.
The dispute between the two dominant member states of the Confederation, Austria and Prussia, over which had the inherent right to rule German lands ended in favour of Prussia after the Seven Weeks' War of 1866. This led to the creation of the North German Confederation under Prussian leadership in 1867. A number of South German states remained independent, allied first with Austria (until 1867) and subsequently with Prussia (until 1871), after which they became a part of the new German Empire.
Before 1850 Germany lagged far behind the leaders in industrial development – Britain, France, and Belgium. In 1800, Germany's social structure was poorly suited to entrepreneurship or economic development. Domination by France during the era of the French Revolution (1790s to 1815), however, produced important institutional reforms. Reforms included the abolition of feudal restrictions on the sale of large landed estates, the reduction of the power of the guilds in the cities, and the introduction of a new, more efficient commercial law. Nevertheless, traditionalism remained strong in most of Germany. Until mid-century, the guilds, the landed aristocracy, the churches, and the government bureaucracies had so many rules and restrictions that entrepreneurship was held in low esteem, and given little opportunity to develop. From the 1830s and 1840s, Prussia, Saxony, and other states reorganized agriculture. The introduction of sugar beets, turnips, and potatoes yielded a higher level of food production, which enabled a surplus rural population to move to industrial areas. The beginnings of the industrial revolution in Germany came in the textile industry, and was facilitated by eliminating tariff barriers through the Zollverein, starting in 1834.
German artists and intellectuals, heavily influenced by the French Revolution and by the great German poet and writer Johann Wolfgang von Goethe (1749–1832), turned to Romanticism after a period of Enlightenment. Philosophical thought was decisively shaped by Immanuel Kant (1724–1804). Ludwig van Beethoven (1770–1827) was the leading composer of Romantic music. His use of tonal architecture in such a way as to allow significant expansion of musical forms and structures was immediately recognized as bringing a new dimension to music. His later piano music and string quartets, especially, showed the way to a completely unexplored musical universe, and influenced Franz Schubert (1797–1828) and Robert Schumann (1810–1856). In opera, a new Romantic atmosphere combining supernatural terror and melodramatic plot in a folkloric context was first successfully achieved by Carl Maria von Weber (1786–1826) and perfected by Richard Wagner (1813–1883) in his Ring Cycle. The Brothers Grimm (1785–1863 & 1786–1859) not only collected folk stories into the popular Grimm's Fairy Tales, but were also linguists, now counted among the founding fathers of German studies. They were commissioned to begin the The German Dictionary, which remains the most comprehensive work on the German language.
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.