Glasgow Cathedral is the oldest cathedral on mainland Scotland and is the oldest building in Glasgow. The history of the cathedral is linked with that of the city, and is allegedly located where the patron saint of Glasgow, Saint Mungo, built his church. The tomb of the saint is in the lower crypt. Walter Scott's novel Rob Roy gives an account of the kirk.
Built before the Reformation from the late 12th century onwards and serving as the seat of the Bishop and later the Archbishop of Glasgow, the building is a superb example of Scottish Gothic architecture. It is also one of the few Scottish medieval churches (and the only medieval cathedral on the Scottish mainland) to have survived the Reformation not unroofed.
James IV ratified the treaty of Perpetual Peace with England at the high altar on 10 December 1502. The cathedral and the nearby castle played a part in the battles of Glasgow in 1544 and 1560. Twenty years after the Reformation, on 22 April 1581 James VI granted the income from a number of lands to Glasgow town for the kirk's upkeep. He traced the ownership of these lands to money left by Archbishop Gavin Dunbar as a legacy for repairing the cathedral. The town council agreed on 27 February 1583 to take responsibility for repairing the kirk, while recording they had no obligation to do so. The church survives because of this resolution. Inside, the rood screen is also a very rare survivor in Scottish churches.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.