Rot an der Rot Abbey was the first Premonstratensian monastery in Swabia. The imposing structure of the former monastery is situated on a hill between the valleys of the rivers Rot and Haslach. The monastery church, dedicated to St Verena, and the convent buildings are an important part of the Upper Swabian Baroque Route. Apart from the actual monastic buildings, a number of other structures have been preserved among which are the gates and the economy building.
Rot an der Rot village was first mentioned around the year 1100. According to local tradition the monastery was founded under the name of Mönchroth in 1126 by Hemma von Wildenberg with active participation of Norbert of Xanten. The first monks to settle at Rot an der Rot Abbey were French Premonstratensians. Shortly after 1126, probably around 1140, a nunnery was added to Rot an der Rot Abbey, which was not unusual for the Premonstratensian order. By close proximity to a monastery the nuns were provided with protection and pastoral care. This nunnery continued to exist until the second half of the 14th century.
In a charter dated from 1179, Emperor Frederick Barbarossa declared himself Vogt of the abbey, laying the foundation for the later Imperial immediacy. In 1182 a devastating conflagration destroyed the original foundation documents and imperial privileges. A Papal bull by Lucius III published the same year replaced the lost documents and assigned the foundation of the monastery to Hemma von Wildenberg and two of her male relatives.
In 1338 the abbey received a grant exempting it from the jurisdiction of secular courts. Following the Great Plague of 1348 fewer members of the landed gentry joined the monastery but more and more farmers and members of the middle class resulting in a decrease in the acquisition of lands. Crop failures, fires, wars and an economic crisis lasting for decades accelerated the decline of the abbey until, in 1391, only three monks were left.
The abbot of Weissenau Abbey, an abbey originally founded as a filial institution by monks from Rot an der Rot, finally took control and in 1407 King Rupert installed Seneschal John II of Waldburg as governor of the abbey. The restoration of the fortunes of Rot an der Rot Abbey began with Abbot Henrich Merk (1417–20) and was continued by his successor Martin Hesser (1420–57), who was also called the second founder of Rot an der Rot. In Constance in 1425 an alliance was forged with most of the other Swabian abbots to defend the monasteries' rights against the intervention of noble family members of monks. Martin Hesser also expedited the restoration of monastic life and the restitution of the monastery's mortgaged and sold property as well as the rebuilding of the monastery buildings. Since 1458 Rot an der Rot Abbey had the financially lucrative right to occupy the incorporated parishes with priest from the monastery.
In 1481 a fire destroyed almost the whole monastery. The rebuilding of the monastery lasted until 1509 when the new church was dedicated. Emperor Maximilian I elevated Rot an der Rot Abbey to the status of Imperial Abbey in 1497. The abbey gained imperial immediacy and the abbot became a member of the Swabian College of Imperial Prelates contributing to the Council of the Princes in the Imperial Diet of the Holy Roman Empire. However, following repeated lootings during the German Peasants' War in 1525 and the Schmalkaldic War in 1546 the fortunes of the abbey went again into decline which was only stopped by cautious reforms introduced by Abbot Martin Ehrmann (1560–89).
During the Thirty Years' War (1618–48) the abbey was looted more than 200 times. After the end of the war and a period of consolidation, Abbot Martin Erde (1672–1711) endeavored to re-establish religious discipline and learning among the clerics and also attempted to improve the economic situation of the monastery. However, in 1681 most of the abbey was destroyed during a fire. Between 1681 and 1698 the whole monastery complex was rebuilt in Baroque-style.
The present-day monastery complex is towered by the neoclassicist monastery church St Verena. It was rebuilt between 1777 and 1786 and newly furnished since Abbot Mauritius Moritz had started with the demolishing of the older church against the wishes of the convent. The architect Johann Baptist Laub had the eastern part of the church erected but the real reconstruction commenced only under Abbot Willebold Held (1782–89). After the foundation stone was laid in 1783 most of the work was carried out by the canons themselves. The interior was designed by the painters Meinrad von Ow and Januarius Zick whereas the plaster was designed by Franz Xaver Feuchtmayer. The construction of the massive organ by Johann Nepomuk Holzhey began in 1792 and finished the following year. Adjoined to the church the new monastery building was built. At the bottom of the hill where the monastery is situated the square economy building was raised.
In 1803 the abbey was dissolved during the secularisation of secular and ecclesiastical states and the monks were forced to leave the premises. The monastery's possessions of thirteen villages and hamlets with a total of 2871 subjects were taken over by the Counts of Wartenberg in compensation for territories they had lost left of the river Rhine. In 1806 the monastery and village of Rot an der Rot was incorporated into the newly founded Kingdom of Württemberg. In 1808 the Counts of Erbach-Erbach inherited the former abbey. In the 19th century, two wings of the monastery building and the library were demolished.
In 1947 the Premonstratensians bought the monastery building and returned to Rot an der Rot. However, the attempt to re-establish monastic life failed and in 1959 the buildings were bought by the Roman Catholic Diocese of Rottenburg-Stuttgart. Today the former monastery is home to the educational and recreational establishment St Norbert run by Premonstratensian nuns who founded a community in Rot an der Rot in 1950.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.