The Fulfinum Mirine basilica has been preserved up to the roof level. It is the only preserved sacral building of this type not only on the island of Krk, but on the entire Croatian Littoral.
The construction of this church on the remains of the Roman town of Fulfinum marked the beginning of a new Christian town. However, its secrets are yet to be discovered by experts. Local tradition associates this church with the Glagolitic Benedictine abbey of St Nicholas, which was abandoned in the 15th century and relocated closer to Omišalj.
In its original construction phase, this impressive single-nave church had an entrance area in the front (called the narthex or vestibule), a porch on its south side, and two smaller side rooms which could be defined as early examples of a sacristy and which were connected to the wall of the presbytery. The presbytery itself has a simple layout: its rear is flat and features a freestanding bench for the clergy. In front of the bench there is part of the presbytery enclosed with an altar balustrade with a cross-shaped altar tomb at its centre. The entrance area contains a sarcophagus dug into solid rock and covered with mortar. A privileged tomb with two deceased was later placed alongside the sarcophagus. It has been dated to the period between the 7th and 8th century.
The atrium at the south porch, which also features several privileged tombs, was probably added at the same time. Over the centuries that followed, this community developed into a well-organised religious community that eventually took on the teachings of St. Benedictine, as suggested by later sources that mention the Abbey of St. Nicholas at the foot of Omišalj. Inside this monastery complex, on the eastern side of the church which also underwent changes in its interior, there are smaller spaces of a memorial and commercial character.References:
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.