Jędrzejów Abbey is a former Cistercian abbey founded in 1140. The convent, under the lead of Fr. Nicholas, came to these lands in 1114 from the Morimond Abbey in Champagne. The consecration act from 1149 elevated the monastery to a rank of an abbey and king Bolesław IV the Curly gave it a foundation privilege which exempted it from ducal tributes and charges. The ceremony of consecrating the new church and devoting it to the Assumed Blessed Virgin Mary took place in 1210.
In 1447, at the decline of the Middle Ages, Mikołaj Odrowąż became the abbot of the monastery and soon after he decided to rebuild and modernise the Romanesque church and in 1475 the abbey was transformed in the Gothic style. Additionally, a separate building of the abbey hospice was erected. The abbot hired many acknowledged artists to decorate the temple, e.g. Veit Stoss. In 1479, the devastated 12th-century parish church was replaced by a new Gothic church of the Holy Trinity. The convent was liquidated in 1819 and in 1831 its buildings were turned into a field hospital. The pastoral service was taken over by Franciscan monks, however, in 1870 they were also dismissed for supporting the January Uprising. Instead, in 1872 the Russian authorities placed a teaching seminary in here. The Cistercians returned to Jędrzejów in 1945 and in 1953 the monastery gained the rank of a priorate, while in 1989 it again became an abbey.
In the modern times, the monastery underwent a thorough makeover, especially its wings, one of which was extremely devastated and got deconstructed. Only the remains of the chapter house have survived (a few architectural details, decorated with floral relief) - some of them have been transported to the church lapidary, other to the National Museum of the Przypkowski Family. Consequently, today the monastery has there three multi-storey wings from the 13th and 15th centuries.
The post-Cistercian Church dates from the 13th century. Its Romanesque outlook was thoroughly changed in the 15th century and the most radical changes took place after a fire in 1725, when the whole temple gained a Baroque decor. Therefore, the inside combines architectural elements from various epochs.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.