Fanefjord Church is one of the Danish island of Møn's most famous attractions. The site itself is of considerable historic interest. A few hundred meters to the south of the church there is a particularly long barrow, Grønsalen, the supposed burial ground of Queen Fane and her husband Grøn Jæger who, according to a local folklore, lived some 4,000 years ago.
The church's original 7 m high nave dates back to the second half of the 13th century. The cross vaults in the nave were added around 1300. In about 1500, the porch and tower were completed and the choir was built around 1660. In 1825, the church was bought by the Klintholm Estate which maintained ownership for almost 100 years.
It may appear surprising that such a large church was built at a time (1250) when the parish only had about 300 inhabitants. One explanation may be that there was considerable trade through the fjord with the German Hanseatic ports. The traders may well have contributed to the construction, both financially and by helping with the work.
For many generations, Fanefjord's Church frescos were hidden under a covering of plaster. After frescos had been discovered at the end of the 19th century in Møn's Elmelunde Church, those in Fanefjord were painstakingly uncovered from 1932 to 1934 under the guidance of theNational Museum. In 2009, major restoration work was completed on the frescos, revealing their original colours and impact.
The earliest frescos, on the triumphal arch, were painted around 1350. They depict the four evangelists, as well as St Christopher and St George. The most famous frescos are however those dating back to about 1500 which cover large areas of the church's ceiling and upper walls. In the so-called Biblia pauperum style, they present many of the most popular stories from the Old and New Testaments. The artist, who can be identified by the emblem he included in the decorations, is known simply as the Elmelunde Master as it was he and his team who also painted the frescos in Elmelunde Church and indeed those in Keldby Church. Indeed, it is probable that there were several artists in the Elmelunde workshop who collaborated in decorating churches in the area as other emblems and various in style have been observed.
The warm colours ranging from dark red and russet to yellow, green, grey and black are distinctive. Another typical feature is the expressionless faces of the sleepy-eyed people, turned to the left or right while their bodies face the front. All the images, including the surrounding stonework, are decorated with ornaments such as stars, plants and trees. The images themselves appear to have been inspired partly from block-prints from a Dutch or German Biblia Pauperum, a book containing some 40 pages of drawings depicting stories from the Bible. Other sources probably included the Bible itself, legends, apocryphal writings and other illustrations. Initially, the wall paintings appear to have covered the entire church including the lower parts of the walls which are now whitewashed. Traces of work in these areas have been found but the images were not sufficiently clear to warrant restoration.
The church contains a number of other interesting features. The choir, renovated in the 17th century, consists of an impressive altarpiece, the original candlesticks and a new altar. The ornate pulpit is from about 1645 and bears Christian IV's emblem. Among the carved figures are Christ, Jacob, St Peter and one of the apostles. A new organ built by Frobenius & Sønner with 10 stops, two keyboards and a pedalboard, was installed in 1998.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.