Hovedøya Abbey was a Cistercian founded on 18 May 1147 by monks from Kirkstead Abbey in England on Hovedøya island, and dedicated to the Blessed Virgin Mary and Saint Edmund. A church dedicated to Edmund already stood on the island, and the monks took this over as the abbey church, modifying it to meet Cistercian requirements. The rest of the monastery follow a modified Cistercian building plan, to take into account a small local hill. The church itself is built in Romanesque style; the rest of the monastery was presumably Gothic. During the medieval period the abbey was one of the richest institutions in Norway, holding over 400 properties, including a fishery and timber yards.
Political turmoil during the succession to the throne of Denmark-Norway led to the end of the monastery. The abbot, having supported the Protestant King Christian II, possibly in a bid to gain support in the face of the coming Reformation, came into conflict with the commandant of Akershus Fortress, Mogens Gyllenstierne, who ironically had supported the Roman Catholic Prince Frederick I. In 1532 the abbot was thrown into prison for his political involvements, and the abbey was looted and then set ablaze, thus ending 400 years of monastic activity at Hovedøya. Any hope the order might have had in restoring the rich abbey was dashed 4 years later, when the Reformation swept over Denmark-Norway.
The site was later used as a quarry for stone for Akershus Castle. The remaining ruins are nevertheless among the most complete of a medieval Norwegian monastery.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.