Kamenny Monastery is situated on a small eponymous island in the very centre of the Kubensky Lake. It is distinguished as the first stone monastery of the Russian North. Kamenny Island (literally, 'Stony Island') is very small, measuring just 120 metres by 70 metres. It is so named after stony ramparts set up by the monks around the island's perimeter in order to preclude its erosion. The lake is known for its inclement weather and frequent storms. It is believed that during one of such storms in 1269 Duke Gleb of Beloozero was cast ashore, where he found a small monastic community. The legends of the monks attribute the construction of the first timber cathedral on the isle to the funds subsequently provided by that monarch.
Under Dmitry Donskoy, the Kamenny Monastery was run by Dionisius, a Greek monk who introduced the coenobian rule of Mount Athos, whereby the brethren were closed alike, took their meals (usually limited to bread and scarce vegetables) in the refectory and were bound to possess no private property. Female animals were banned from the isle to avoid any impure thought on the part of the monks.
The monastery was quite rich, owning seven larger villages (selo), four average villages (seltso) and 98 small villages, in addition to two salt pans in Totma and two branches in Vologda. The monastic community reached its peak under Paisiy Yaroslavov, a former hegumen of the Trinity Lavra and one of the most influential clerics of the time. This starets authored The Tale of the Kamenny Monastery whose main themes are the history of this monastery and the struggle of its monks against paganism in the area.
In 1476 the monastery burnt down. Ivan III's brother Andrey Menshoy, who was the ruler of Vologda, commissioned a stone four-pillared cathedral to be built on the island. The two-storey two-domed edifice was constructed in 1481 by a team of masters from Rostov, who proceeded to erect very similar cathedrals in the Ferapontov Monastery (1490) and Kirillo-Belozersky Monastery (1497). Paisiy Yaroslavov mentions that he engaged the great artist Dionisius to paint a deesis for the cathedral. It is believed that Dionisius's works perished 185 years later, during a great fire, which resulted in the collapse of the domes.
In the 16th century, the Kamenny Monastery did not develop as quickly as the two last-mentioned abbeys, because of the limited territory that the tiny and remote island could afford. In the 1540s, the monks constructed a church-belltower of curious architecture and a refectory, after which the monastery gradually declined to obscurity. It was remembered in Moscow primarily as a place of exile, where the famous Old Believer, Ivan Neronov, was deported. On 24 July 1774 one of the exiles set the monastery on fire, whereupon the monks were transferred for 26 years to Vologda. When they finally returned to the island in 1801, the cathedral was restored with five domes instead of one. The only post-medieval buildings on the island were an inn and two lighthouses, built for the needs of the monastery in the 1870s.
The Soviet government closed down the Kamenny Monastery in 1925 and had its brethren evacuated from the island. The buildings were adapted to house a penal colony for minor delinquents. This establishment proved a failure and by 1937 the island had been deserted. The regional administration profited from the situation to blow up the oldest building of the Russian North in order to obtain brick required for construction of the local 'palace of culture', which eventually failed to materialise.
As of 2005, the only building marking the spot of the historic monastery is the church belltower from the 1540s, which is now being repaired by a team of enthusiasts from Vologda and Moscow. As the team is out of funds, the future of this medieval compound looks bleak.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.