Tillitse Church was built in the first half of the 13th century and extended towards the west in the early 17th century. Little is known of its ownership in the Middle Ages but the Crown had clerical appointment rights at the time of the Reformation. In 1648, it was transferred to the ownership of the Rudbjerggård Estate where over the years it was governed by F.B. Bülow and Gustav Smith. It came into the ownership of Gustav Smith c. 1850 and was transferred to the Friderichsen family in 1850. In c. 1880, it was taken over by Landsmandsbanken which transferred it to the local congragation in 1907.
The church consists of a Romanesuqe apse, chancel and nave. It was extended towards the west in 1625 with a porch on the west gable in 1856. An arched frieze decorates the upper apse, topped by a saw-toothed cornice. Its three finely finished Romanesque windows have now been bricked up. The profile of the chancel's former south door can still be seen. There is a saw-tooth decoration along the top of the chancel with a more recent cornice. The remains of the nave's south portal extend up to the roof. The old Romanesque windows have been replaced by modern pointed-arch windows. There are lesenes on the east corner but those on the west corner have been removed. There is also an arched decorated topped by a saw-toothed line along the top of the nave.
The carved altarpiece from 1642 is the work of Jørgen Ringnis. It bears the arms of Joachim von Barnewitz, Øllegaard Pentz and Hartwig Passow. The Renaissance pulpit from 1608 presents the arms of Knud Rud and Ellen Marsvin. The church also contains a sandstone epitaph for Joachim von Barnewitz (died 1626) and Øllegaard Pentz (died 1654). There is a Romanesque font.
There is a free-standing runestone listed as DR 212 in the Rundata catalog that is outside the church porch. It was originally found in the churchyard wall in c. 1627 and was later used as a foundation for the porch. Dated to the mid-11th century, it is 143 cm high and 81 cm wide. The stone contains two inscriptions which read (translated): 'Áskell, Súlki's son, had this stone raised in memory of himself. Ever will stand, while the stone lives, this memento, which Áskell produced. May Christ and Saint Michael help his soul.' and 'Tóki carved the runes in memory of Þóra, his stepmother, a good wife.'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.