Uvdal Stave Church was originally constructed just after the year 1168, which we know through dendrochronological dating of the pine tree used during the construction. The logs were not completely dry when the construction took place. The church was made on top of the remains of previous church on the site, thought to have been made with the use of imbedded corner column technology at the beginning of the 11th century. This we know from an archeological excavation that took place during 1978. Churches made during the 12th century were usually very small, perhaps no more than 40 square meters in their footprint. They were therefore often expanded, even during the Middle Ages and certainly just before and after the Reformation, which took place during 1537 in Norway.
The nave of the church was first expanded to the west during the Middle Ages, when the original apse of chancel was also removed and the chancel itself elongated. Again, during that period, an extra center column was added to construction. The chancel was torn down again in 1684, when a new and wider chancel was made. This had the same width as the nave. Then, during the period 1721–1723, the church was made into cruciform. A new ridge turret had to be made, to fit the new cruciform. Later, in 1819, a new vestry was added to the north wall of the chancel. The exterior walls were panelled in 1760.
Benches with ornately decorated sidewalls were added to the nave in 1624. The oldest part of the interior was probably richly ornately decorated by painting during 1656, the expansions during 1684 and 1723. Two scary halfmasks are quite visible on the poles of the chancel, and according to myth they were able to capture demons.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.