Torkilstrup Church was built of hewn fieldstone rather than brick, indicating it is one of the oldest churches on the island from before 1160. The western part of the chancel and the nave from the Romanesque period are built of hewn fieldstone with a few limestone trimmings. Rounded-arch friezes, sometimes with ornamental lilies, decorate the north and south walls of the nave, indicating an early design. The round-arched south door is still in use while the north door is bricked up. In addition to the Romanesque window in the chancel, there are traces of Romanesque windows in the nave's north wall. The extension of chancel possibly occurred as early as the 14th century but could have been during the Late Gothic period when the tower and porch were added. One of the bells in the tower is dated 1491.
The low Romanesque chancel arch was probably adapted when cross-vaulting was added to the nave in the Gothic period. Traces of frescos from the second half of the 15th century have been found in the vaults. The altarpiece (1650) is the work of Jørgen Ringnis, as is the pulpit (1640). The altar painting (1840) is by Lucie Marie Ingemann, depicting the Bible story Suffer the little children to come unto me. An Early Gothic crucifix from c. 1300 hangs in the church. B. S. Ingemann's father, Søren Ingemann, is buried under the floor in the west section of the nave. The almost barrel-shaped Romanesque font of sculpted granite has a rope-shaped rim.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.