History of Germany between 1517 - 1617
In the early 16th century there was much discontent in Germany occasioned by abuses such as indulgences in the Catholic Church, and a general desire for reform. In 1517 the Reformation began with the publication of Martin Luther's 95 Theses; he posted them in the town square and gave copies of them to German nobles, but it is debated whether he nailed them to the church door in Wittenberg as is commonly said. The list detailed 95 assertions Luther believed to show corruption and misguidance within the Catholic Church. One often cited example, though perhaps not Luther's chief concern, is a condemnation of the selling of indulgences; another prominent point within the 95 Theses is Luther's disagreement both with the way in which the higher clergy, especially the pope, used and abused power, and with the very idea of the pope.
In 1521 Luther was outlawed at the Diet of Worms. But the Reformation spread rapidly, helped by the Emperor Charles V's wars with France and the Turks. Hiding in the Wartburg Castle, Luther translated the Bible from Latin to German, establishing the basis of the German language. A curious fact is that Luther spoke a dialect which had minor importance in the German language of that time. After the publication of his Bible, his dialect suppressed the others and evolved into what is now the modern German.
In 1524 the German Peasants' War broke out in Swabia, Franconia and Thuringia against ruling princes and lords, following the preaching of Reformers. But the revolts, which were assisted by war-experienced noblemen like Götz von Berlichingen and Florian Geyer (in Franconia), and by the theologian Thomas Münzer (in Thuringia), were soon repressed by the territorial princes. As many as 100,000 German peasants were massacred during the revolt. With the protestation of the Lutheran princes at the Imperial Diet of Speyer (1529) and rejection of the Lutheran "Augsburg Confession" at Augsburg (1530), a separate Lutheran church emerged.
From 1545 the Counter-Reformation began in Germany. The main force was provided by the Jesuit order, founded by the Spaniard Ignatius of Loyola. Central and northeastern Germany were by this time almost wholly Protestant, whereas western and southern Germany remained predominantly Catholic. In 1547, Holy Roman Emperor Charles V defeated the Schmalkaldic League, an alliance of Protestant rulers. The Peace of Augsburg in 1555 brought recognition of the Lutheran faith. But the treaty also stipulated that the religion of a state was to be that of its ruler.
The Augsburg formula preserves for half a century an uneasy peace in the German lands, while princes use their religious freedom as a form of diplomacy. In 1608/1609 the Protestant Union and the Catholic League were formed. Early in the 17th century the two sides form up in opposing blocs, each headed by a branch of the Wittelsbach family. The Wittelsbachs of the Rhine Palatinate, in southwest Germany, are Calvinist; they lead the Protestant Union, formed in 1608. The Wittelsbachs of Bavaria, just to the east, form the Catholic League in the following year.
This confrontation does not immediately lead to armed conflict - until the Protestants of distant Bohemia elect as their king, in 1619, the Calvinist Wittelsbach, Frederick V. The response by the Catholic League, in alliance with pope and emperor, becomes one of the opening encounters of the Thirty Years' War.
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.