The history of the cathedral on Berlin’s Spree Island began in 1465, when the St. Erasmus Chapel in the newly built royal palace of Cölln on the Spree was elevated to the stature of collegiate church. In 1536, Elector Joachim II moved the it into the former Dominican church, south of the palace.With Martin Luther’s support, the elector established the Reformation in 1539, and the church became a Lutheran. In 1608, the collegiate church was dissolved, and the Dom was declared the highest parish church in Cölln on the Spree. When Elector Johann Sigismund converted to Calvinism in 1613, the Cathedral became Court and Parish Church.
From 1747 to 1750, Frederick the Great commissioned Johann Boumann the Elder to build a new baroque building to the north of the city palace. After the coffins were transferred from the crypt, the old, dilapidated Cathedral was torn down. On the occasion of the union of Prussia’s Lutheran and Reformed communities, the interior and exterior of the Cathedral were renovated. The classicistic conversion by Karl Friedrich Schinkel was completed in 1822.
Planning for the new Cathedral building in the Lustgarten began in the 19th century. Between 1825 and 1828, Karl Friedrich Schinkel presented numerous plans for a new Cathedral building. In 1842, construction began on a voluminous five-aisled basilica, based on drafts by August Stüler. However, due to the builder’s hesitations and the limited financial means, building advanced slowly and was stopped in 1848, at which point only the burial place had been completed.
Not until the reign of King William I, who later became Emperor, were the plans for a monumental Cathedral building advanced again. In 1893, after the demolition of the old Cathedral, the foundations of the new structure were begun. The laying of the foundation stone took place on June 17th, 1894. The central building, a baroque-influenced Italian high Renaissance structure, was consecrated almost 11 years later, on February 27th, 1905. Flanked by four corner towers, the Cathedral’s dome rose 114 meters above street level. The interior and exterior of the Cathedral were ornamented with an extensive pictorial scheme illustrating the New Testament and the history of church reformation. Criticism of the building had already begun before the Cathedral was dedicated, and it still continues today. The Cathedral is accused of being too ostentatious, the expression of imperial “Byzantinism” and “showmanship”. Despite all of these discussions, the Cathedral has always found many enthusiasts, who find the architecture uplifting and festive. At the same time, it provides a place for stillness and prayer within the restless center of Berlin.
The most prominent damage to the Cathedral caused by an air raid in 1940 was the loss of the altar windows. In 1944, the impact of a liquid incendiary bomb struck the foot of the dome lantern. Because access to this location was so difficult, the fire could not be extinguished, and the entire dome construction was destroyed. Parts of the burning dome crashed into the church and through the floor, causing the fire to spread all the way into the crypt below. Within one night, the Cathedral had been transformed into a ruin. Vandalism and weathering caused further damage. Money for the necessary protection of the structural materials came slowly. The bells chimed again for the first time after the war’s end in November of 1948, and a provisional roof for the Cathedral’s dome was only built in 1953. During this period, services and church music took place in the crypt area beneath the memorial church.
With financial support from the German Protestant Church and the government of the Federal Republic, reconstruction of the still war-damaged Cathedral began in 1975. The memorial church on the north side and the imperial underpass on the south side of the Cathedral were torn down. The restored Baptismal and Matrimonial Chapel has been back in use for services and events of the Cathedral congregation since 1980. Construction work on the exterior façade of the Cathedral – with extreme alterations in the dome area – was essentially complete in 1983. Work on the interior began in 1984. On June 6th, 1993, the Sermon Church was reopened in a ceremonial service. The windows in the chancel and the mosaic paintings in the dome of the sermon church were reconstructed in the years that followed. In 2002 the last of the dome mosaics was festively unveiled.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.