Aastrup Church dates from c. 1200. Built in the Late Romanesque style, it has frescos from the 13th and 15th centuries. The church was dedicated to St Anne although this was probably not its original patron as Anne was not generally known in Denmark until the late Middle Ages. The Crown, which enjoyed clerical appointment rights since before the Reformation, sold the church in 1767 to the parish priest, C. H. Biering. In 1810, Peter Hersleb Classen, director of Det Classenske Fideikommis, transferred the church's ownership to the local landowners and in 1919 it became autonomous.
The brick chancel and the nave both have round arch friezes below the cornice. The south door, partly bricked up, is still in use but the north door, whose remnants were uncovered in 1984, is completely closed. The nave was extended at the end of the 15th century when cross-vaulting replaced the flat ceiling. The remains of the priest's door can be seen on the south wall of the chancel. The east gable contains a rounded Romanesque window while traces of the other Romanesque windows can be seen in the masonry. The tower with stepped gables, built in the Gothic period, fills the full width of the nave. The porch dates from the same period.
On the nave's eastern gable there is a relief of two heads and on the chancel's east gable, there is a head above the window. These have given rise to a legend about three virgins who had been to church in Horbelev and were murdered when returning home: one in Horbelev, one in Aastrup and the third in Grønsund. The three murderers were the women's brothers who were taken by robbers when they were small children. According to the legend, the three heads in Aastrup are those of the virgins while those on the tower at Horbelev are those of the robbers.
The Neoclassical altarpiece from 1838 has a painting of Christ at Emmaus by Fritz Westphal. The pulpit carved in the auricular style by Jørgen Ringnis (1645) is similar to those inToreby and Væggerløse. The 55 cm high crucifix from around 1400 used to hang above the chancel arch but is now above the door to the porch. It depicts a thin figure whose thorn-covered head falls to his right shoulder. The arms are long and thin and the hands unnaturally small and stumpy. The church's limestone font is Late Gothic.
The frescos in the chancel and the nave from the late 15th century are probably the work of the Elmelunde Master and his workshop although they also appear to have been influenced by the nearby Brarup workshop. Rediscovered under the whitewash in 1901, they cover the Creation and the Passion. There are scenes depicting Christ bearing his cross, the suicide of Judas and the rich man and the poor man. In 1943, even older frescos (c. 1275) depicting a Majestas Domini were discovered on the wall above the chancel arch.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.