Notre-Dame de Carentan was built in the 11th century. It is mentioned for the first time in 1106 at the time of the visit of Henry I of England, on Easter day. From the Romanesque period there remain only the west door, the lower part of the pillars and the four main pillars of the crossing with the Romanesque arches.
During the Hundred Years' War in in 1443 the church was in ruins. Reconstruction started first with the nave and the south aisle. Guillaume de Cerisay, a knight and bailiff, richly endowed the church. Its surface area was doubled with the construction of the choir, ambulatories and the north aisle, about 1466. The inauguration took place in 1470. In 1517, the Chapelle du Rosaire (Chapel of the Rosary) was added and the end of the choir. From the same period are the screen surrounding the choir and about fifteen stained glass windows.
In June 1944, American bombers, at the time of D-Day, caused serious damage to the spire, the west door and the choir. The organ was badly damaged, stained glass shattered, the roof holed and the clock damaged. Fortunately, in 1940 the old stained glass had been taken out and stored in the countryside.
The church interior is decorated with paintings from the 16th, 17th, and 18th centuries. In the choir, in the middle of the magnificent reredos behind the high altar (1655), one can admire a very beautiful “Assumption of the Virgin”, the work of Jacques de la Haie, probably from Falaise, painted for Notre-Dame in 1658. This picture is listed by the Beaux-Arts (French National Arts School), and is certainly the outstanding work in the church.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.