Gengenbach Abbey was an Imperial Benedictine Abbey from the late Carolingian period to 1803. It was founded by Saint Pirmin (d. 735) sometime after his expulsion from Reichenau in 727 and settled by monks from Gorze Abbey. It enjoyed good relations with the Carolingian dynasty and soon became an Imperial abbey, with territorial independence. In 1007, however, Emperor Henry II presented it to his newly founded Prince-Bishopric of Bamberg.
Gengenbach was deeply embroiled in the Investiture Controversy and two of its abbots were driven out for supporting the Imperial rather than the Papal cause. Shortly after this, the abbey was involved by Abbot Theoger (1080–1139) of St. George's Abbey in the Black Forest and Bishop Otto of Bamberg in the Hirsauer Reform, during which the abbey church was demolished and rebuilt to the Hirsau model. Subsequently, it has been remodelled in the Gothic, Baroque and neo-Romanesque styles.
During the 13th and 14th centuries, the abbey was instrumental in developing the town of Gengenbach to economic maturity. The abbey avoided further monastic reforms, and although in danger of suppression during the Reformation, survived that too.
In 1575 and 1580, the abbey applied for membership of the Imperial College of Prelates but was refused, due to concern about its Imperial immediacy and Vogtei; membership was eventually approved in 1645 but this approval was not implemented until 1751. The abbey was mediatized in the wake of the German Mediatisation of 1803, and shortly afterwards its territories were absorbed into the state of Baden. However, the abbey was left to function under the last abbot until 1807 when the Grand Duke ordered it secularized.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.