The Parchim 'new town' and St. Mary’s Church parish were mentioned for the first time in historical documents dating to 1249: a new town market and St. Mary’s Church with 54-metre high steeple were built at this time. St. Mary's church steeple was finished in 1300 and its silhouette became a well-known landmark in the town. St. Mary’s Church is the oldest preserved building in Parchim and is regarded as one of the most magnificent examples of late Romanesque sacral architecture in Mecklenburg, the church also showing clear early gothic influences. In the 15th century, the church was enlarged on its a northern side, an annex being added and its western gable was renovated in a High Gothic style. Many of the original parts of the building remain standing today. After the northern wing of the building was separated around 1980, the original character of the three-aisle hall church was restored. The side aisles are only half the width of the central aisle, which is crowned by rectangular bays. Thus the interior has gothic proportions with clear emphasis on the building's vertical lines. In the church’s aisles, the visitor finds traces of the the transition from the Romanesque to the Gothic eras.
The clustered columns built on octagonal pedestals that support the church's clearly date to the 13th century, and are quiet different from the ribbed vaulting added in the 14th century. Annexes added to the church's northern wing are clearly Gothic: the annexes feature two bays and a star-shaped vault. The exterior of the Brick Gothic endear themselves to visitors through their rich decoration: you'll find typical German Gothic trimming and round-arched frescos beneath the eaves; strong lisenes at the corners of the annexes, quadrilateral frescos and triangular gables decorated with panels. The church’s interior features a valuable brass baptism font (1365), a beautifully sculptured wing altar (around 1500), a Renaissance-era pulpit and organ pipes as wide as the church itself (installed in the 17th century). The most significant historical of these cultural-historical monuments are the altar, the pulpit and and a seat designed for the use of town councillors.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.