Cathedral of the Divine Saviour, located in the center of Ostrava, is the second largest Roman Catholic cathedral in Moravia and Silesia. This three-nave Neo-Renaissance basilica with a semi-circular apse and two 67m high towers dates from 1889 (building started in 1883). The church was designed by Gustav Meretta, the official architect of the Archbishop of Olomouc, and the interior by Max von Ferstel.
The main nave is 14 m wide and 22 m high, the two side aisles are 7 m wide and 10 m high each. The seating capacity of the cathedral is 4,000 people. On May 30, 1996 Pope John Paul II established the Diocese of Ostrava-Opava, and soon after the basilica has been dignified into a cathedral. In 1998, a new neo-baroque organ has been installed.
The foundation stone was laid by Mayor Anton Lux and the Reverend Josef Spurný on October 4, 1883. AT that time church committees were competing in Moravia which was established under provincial laws dating from 1864 and 1874. It was the supervisory and executive bodies, which were often the purchaser of furniture projects and new churches, significantly encroached into their final form. Their arguments focused, in particular, on situations where the parish volume was small. The church of the Divine Saviour would serve 4 municipalities which, upon its construction, should contribute a proportionate financial amount. However these villages managed their own parish church and, therefore Ostravanians' contributions to the construction of the church were often the cause of discord. Other financial flow was rather paradoxical. The Archdiocese of Olomouc, who took patronage of the church, was obliged, by patronage law, to pay a third of construction costs, worth just under 33,000 florins. Contributions also flowed in from Jewish entrepreneurs, like Baron Rotschild and the Gutmannové brothers.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.