La Lucerne Abbey (Abbaye Sainte-Trinité de La Lucerne) was founded in 1143 by Hasculf de Subligny, son of Othoerne, the tutor of William Adelin, both of whom perished in the White Ship disaster of 1120, and later had the support of the English crown. The new monastery was settled from Dommartin Abbey near Hesdin. The foundation stone of the permanent buildings was laid in 1164 by Achard of St. Victor, who was later buried here. Construction lasted from 1164 to 1178 and was in the Romanesque style, in the restrained and sober manner of Cistercian architecture, except that the complex was dominated by an Anglo-Norman Gothic tower. Major structural renovations were carried out in the 15th and 17th centuries.
La Lucerne was the mother-house of four other Premonstratensian monasteries: Ardenne Abbey, Mondaye Abbey and Belle-Étoile Abbey (at Cerisy-Belle-Étoile) in Normandy, and Beauport Abbey in Brittany.
During the French Revolution, in 1792, the abbey was suppressed. Its buildings were at first turned into a cotton mill and then used as a source of stone.
In 1959, under the aegis of Abbé Marcel Lelégard (1925-94), the enormous task was begun, which still continues under the 'Fondation Abbaye de La Lucerne d'Outremer', of the restoration of the abbey. The first phase of the work was the reconstruction of the abbey church, particularly the ogival crossing vaults and the west front with its Romanesque portal, continuing to the refectory and cellars.
Work has continued since then and the tithe barn, the Romanesque lavatorium (the only one in Normandy), the medieval gatehouse (with its bakery and courtrooms), the dovecote, the park, the 18th century abbot's lodgings and the ponds are all now restored . The chapel of Blessed Achard is in the process of restoration.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.