Niederaltaich Abbey was founded in 731 or possibly 741 by Duke Odilo of Bavaria. The monastery, dedicated to Saint Maurice, was settled by monks from Reichenau Abbey under Saint Pirmin. Eberswind, the first abbot, is considered the compiler of the Lex Baiuvariorum, the first code of law of the Bavarian people.
The monastery brought great areas of Lower Bavaria into cultivation as far as the territory of the present Czech Republic, and founded 120 settlements in the Bavarian Forest. In the reigns of Charlemagne and Louis the German the abbey extended its possessions as far as the Wachau. Abbot Gozbald (825-855) was the latter's arch-chancellor.
In 848 the monastery received the right of free election of its abbots, and in 857 became reichsunmittelbar (free of all territorial lordship except that of the monarchy itself). By the end of the 9th century over 50 monks had become abbots in other monasteries or been appointed bishops. The 10th century however brought the turmoil of the Hungarian incursions, and between 950 and 990 the monastery was a residential foundation (Kollegiatstift).
Under Abbot Gotthard or Godehard of Hildesheim (996-1022), better known as Saint Gotthard, the monastery entered a renewed golden age. Saint Gotthard, who along with Duke Henry of Bavaria, later Emperor Henry II, was a key supporter of contemporary monastic reform, was probably the abbey's best-known abbot. He later became Bishop of Hildesheim, where he was buried.
The abbey was granted by Emperor Frederick Barbarossa to the Bishop of Bamberg in 1152, and as a consequence lost its reichsunmittelbar status. In 1242 the Wittelsbachs inherited from the Counts of Bogen the office of Vogt (lord protector) of the abbey.
Important abbots from this time on were Hermann (in office from 1242 to 1273), the author of the 'Annales Hermanni', and the Reformation abbots Kilian Weybeck (1503 to 1534) and Paulus Gmainer (1550 to 1585). Vitus Bacheneder, abbot between 1651 and 1666, created after the Thirty Years' War the foundations of the economic prosperity of the abbey in the Baroque period. Under Abbot Joscio Hamberger (1700–1739) the creation of the Baroque abbey and church took place, as well as the construction of the school. The church was the first commission for the later famous Baroque architect Johann Michael Fischer, who worked on it from 1724–1726.
The abbey was dissolved at the secularisation of Bavaria in 1803. A fire in the church in 1813, caused by a bolt of lightning, signalled the beginning of the demolition of the Baroque complex. The monastery buildings were sold off to private individuals. The side chapels of the abbey church, the Gothic cloisters and adjoining buildings, as well as the parish church, were demolished.
In 1918, with the help of a legacy from the theology professor Franz Xaver Knabenbauer, a native of Niederalteich, a monastery was re-established here and settled from Metten Abbey. In 1932 the monastery church received from the pope the title of Basilica minor.
In 1949, under Abbot Emmanuel Maria Heufelder, the monastery became once again an independent abbey.
In 1946 the St. Gotthard Gymnasium was refounded after having been closed by the Nazis. The remaining parts of the Baroque buildings were incorporated into new buildings in 1953–1954 and gradually renovated. In 1959 the Catholic State Secondary School was established here, and between 1971 and 1973 a new school building was erected for the St. Gotthard Gymnasium because the number of pupils had continually risen in the 1960s. Its boarding facilities, however, were shut down in 1994 and converted in 1999–2001 into the St. Pirmin Conference and Hospitality Centre.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.