Before the current Avaldsnes church was constructed, there was a wooden church on the same site. That church is assumed to have been built by Olav Trygvason, and it is possible that the present stone church is built around this church originally.
The current church has been a landmark for seafarers passing through the strait of Karmsund for 750 years. King Håkon IV Håkonsson gave permission to build a church around the year 1250. It was not completed until nearly 1320, and was then the fourth largest in the country. The church was dedicated to St. Olav and received the status of 'Royal Chapel'. During the same period it became one of four 'college-churches' (it appointed a council of theological and juridical scholars). Probably there was a group of four scholars and teachers in law and theology. There could be there was an octagonal house of stone in close proximity to the quire. Chapter Houses (Kapittelhus) were common for English cathedrals. This is assumed to have been referenced by clergyman and historical writer Peder Clausen Friis in 1599. Remaining walls were visible as late as 1840, but are now completely gone.
The history of the church depicts a fine cross-section of Norway's history. Being one of the largest churches along the coast of Norway, it is certain to have been visited by many travelers on their pilgrimage to St. Olav's shrine in Trondheim.
Decay started with the Black Death in 1349–1351. This disaster was followed by 400 years of Danish supremacy. In this period, the church gradually fell into a state of ruin due to lack of repair. In the 17th century a little wooden church was built inside the stone walls. This one was used for more than 200 years.
The first restoration work began in 1830. The old steeple was demolished, the nave was rebuilt, and a small wooden steeple was erected on the top. In the 1920s the church was once again restored in a manner which was more similar to its original architecture. A new stone steeple was built and the interior renewed.
The German occupation in World War II became dramatic for the church. The Germans asserted that the high steeple was used as a landmark for allied planes, coming in over the strait of Karmsund to drop bombs in the water. German authorities demanded the steeple be demolished. Many people were engaged in the task of saving it, and they persuaded the Germans to let them camouflage the whole church with timber. This was to be done in 5 weeks, but the whole job lasted a year.The 700th anniversary of the church in 1950 was a big event for the community, with concerts and a historical outdoor play which pictured the Viking history of the place.
The stained glass windows were ordered for the anniversary. They were made by Bernhard Greve, a Norwegian painter, and present the most important events in the life of Christ : Baptism, passion, ascension and resurrection.
The pointed arches, but thick walls and no pillars, suggest an early Gothic design. The walls are composed of ordinary gray stone in thickness about 1.2–2.0 meters. The corners and frames around the doors and windows are of steatite (soapstone) from Tolgetjønn near Haugesund.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.