Wallenstein palace is the first large secular palace of the Baroque era. The original Palace was built in years 1623-1630 by Albrecht von Wallenstein, Duke of Mecklenburg (1583-1634), who made his name and fortune as the Commander-in-Chief of the Imperial forces in the Thirty Years War. Emperor Ferdinand II feared Albrecht of Wallenstein’s calculating mind and had him assassinated in 1634 in the town of Eger (now Cheb). He lived in the palace for only a year before his death. His widow sold it to his nephew and it remained in the Wallenstein family until 1945. After the Second World War, the palace became Czechoslovak state property and was renovated to house government offices. Today, the Senate of the Czech Republic operates out of the main palace buildings. The Riding School is used as a branch of the National Gallery in Prague. The challenging restoration of the main building began in mid-1999. The most valuable parts of this building in historical and artistic terms are the Main Hall, the Knights' Hall, the Antechamber, the Audience Hall and the Mythological and Astronomical Corridors.
The main wing of Wallenstein palace was largely a reconstruction of the Trcka residence. It incorporates both late renaissance and Nordic mannerism which is expressed in the portals and Netherlandish dormer-windows. Initially, in keeping with the architectural style, the Main Hall was decorated with tapestries and furniture ordered from Italy and the Netherlands. Much of the original furnishings were looted either in 1648 by the Swedes or 1742 by the French.
The west wing of the complex hosts the Main Hall, that rises to the height of two stories. The Duke is depicted, in the middle ceiling fresco as the god of war, Mars, riding in a war chariot drawn by a team of horses. In the painting, the Duke is holding the reins of four horses while Mars is usually seen only holding three horses. The stucco work depicting weapons, war trophies and musical instruments were probably made by Santino Galli and Domenico Canevalle. When the wing was built, it was the second largest hall after the Spanish hall of Prague Castle with an area of 288 meters squared and a height of 10.5 meters. This is original façade was altered in the mid nineteenth century to include marble portals from the Cerninsky palace and the entire hall was rebuilt as a barracks.
Originally tile stoves placed in each room heated the palace. The tile in the Antechamber was used later to line the fireplace. Guests waited in the antechamber to be granted audience with the Duke. Due to an adaptation in the 19th century, it is a kind of Mirror Hall with two Venetian mirrors made in the 18th century on the Italian island of Murano. The only objects original to the room are a set of four chests used by the Duke to hold his wardrobe. They are Italian chests made around the turn of the 17th century.
The palace chapel is two stories high and richly decorated with scenes from the legend of St Wenceslas. Cabinet-maker and woodcarver Arnošt Jan Heidelberger constructed the chapel altar in 1630. Its construction marked the first Baroque monument of its kind in Prague and the beginning of the Baroque age in the Czech lands.
The garden was created at the same time as the Wallenstein Palace in the early 17th century, in the lower part of the Malá Strana District. It displays a fine example of Mannerist layout and decoration, with very diverse sections. It is dominated by an aisle lined with bronze sculptures, an impressive Sala Terrena and an amazing artificial grotto.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.