Dun Beag is an iron-age broch situated at the north end of a small rocky knoll. The broch consists of a drystone tower with a diameter of around 18.6 metres with walls about 4 metres thick at the base. The broch currently stands to a maximum height of 2 metres.
The interior has a diameter of about 11 metres, and the entrance is on the east side. Internally three openings are visible in the broch wall. One leads to a small chamber; a second leads to a long narrow gallery within the wall; and a third leads to the stone stair of which some twenty steps survive.
The broch was visited by Thomas Pennant in 1772, and it was still a substantial structure, with a height of perhaps 4 metres. Around half of its wall height has been lost since the 18th century. The broch was excavated by the Countess Vincent Baillet de Latour between 1914 and 1920. Some 200 tons of earth and stones were removed from the broch and all the soil was sifted through the excavators' fingers. The standard of recording and publication was poor. Finds included many stone implements and utensils, a gold ring, bronze objects, a piece of folded sheet lead, iron and glass objects, a borer of bone, a pick made from an antler, much pottery and a stone cup. Several hundred glass beads were found although they are not thought to be prehistoric. Coins of Henry II, Edward I, James VI, George II and George III have been discovered, and it is possible that the broch was in use until comparatively recently.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.