A parish church was established in Edinburgh as early as 854. This first church, a modest affair, was probably in use for several centuries before a new one was founded in the 1120s.
The 12th-century church was part of an effort of the Scottish royal family, especially David I (1124-1153), to spread Catholic worship throughout the Scottish lowlands. This church was probably quite small, Norman (Romanesque) in style, like others built at the same time. Few traces of it survive in the present building.
The parish church was formally dedicated by the bishop of St. Andrews in 1243 and subsequently named in honor of St. Giles, a 7th-century French hermit and abbot and the patron saint of Edinburgh. According to legend, Giles was accidentally wounded by a huntsman in pursuit of a hind and he is usually depicted protecting a hind from an arrow which had pierced his own body. A fine relief of this can be seen in the tympanum over the main doors of the Cathedral.
In 1385, a much larger church (early Gothic, pointed arches and simple octagonal pillars) was partially burned. No record has been found of the building of this second church. It was quickly repaired. In 1466, the church was granted collegiate status, and in 1495, the unique crown spire was added.
Many chapels were added in this period, sponsored by the craftsmen’s guilds of Edinburgh, prominent merchants, and nobles. One of the chapels was built to contain a relic of St Giles. By the middle of the 16th century, there were as many as 50 altars in the church.
In 1559, John Knox ('Scotland's Martin Luther') preached his first sermon on the Reformation at the High Kirk of St. Giles. His listeners reported that 'he was so active and vigorous it looked as if he was about to break the pulpit in bits and fly out of it.' Knox was instrumental in spreading the Presbyterian form of Protestantism throughout Scotland.
In 1633, King Charles I appointed Scottish Episcopalbishops and in 1635 William Forbes became the first bishop of the new diocese of Edinburgh. The church of St Giles' thus became a cathedral, as the seat of a bishop. Although it is today a Presbyterian church, which does not have bishops, St. Giles' continues to be referred to as a cathedral.
By 1800, the High Kirk of St. Giles was in a state of disrepair. Extensive restorations were undertaken in the 19th century, significantly altering the appearance of the church. The most important event of recent history occurred in 1996, when a national service was held at St. Giles' upon the return of the Stone of Destiny's return to Scotland.
St. Giles Cathedral combines a dark and brooding stone exterior with surprisingly graceful buttresses. Inside, a major highlight is the Thistle Chapel, designed by Robert Lorimer and finished in 1911. Some decorations have survived from the late medieval period (1385-1560), including heraldic carvings, sections of tombs and memorials, and various religious and non-religious carvings. Recognizable 12th-century remains in the church include a scalloped capital, now built into the wall of St Eloi's Aisle, and a corbel stone featuring a grotesque carved face, built into the wall by the door to the Cathedral shop.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.