Červená Lhota castle stands at the middle of a lake on a rocky island. Its picturesque Renaissance building is a destination of thousands of tourists every year. Its name Červená Lhota meaning 'red lhota' can be explained by the colour of the château's bright-red roof tiles. There is also a park, where the Chapel of the Holy Trinity is located.
The existence of an original fortress on the site of today's château is assumed from sometime around the middle of the 14th century. It was built on a rocky granite outcrop, which, after the damming of a stream and the filling up of a fishpond, became an island. The first written source is an entry into the land records from 1465, mentioning the division of the property of deceased Ctibor of Zásmuk between his two sons Petr and Václav. The fortress then might have been sold into the ownership of Diviš Boubínský of Újezd, who sold it to the knightly family of Káb of Rybňan sometime around 1530. The family had the original Gothic castle rebuilt and the basic Renaissance remodelling carried out between 1542-1555, and the château acquired the name Nová Lhota. In 1597, the château was sold to Vilém Růt of Dírná who had the building rendered with red plaster, from which it got its name Červená Lhota. The last of the Ruts, Bohuslav, had to leave the Bohemian lands as an Utraquist after the Battle of White Mountain.
In 1621, Červená Lhota was inhabited by Antonio Bruccio, who died in 1639 without an heir. With his death, Lhota lost its function as a residence and it was used by his successors as occasional cottage. In 1641, it was acquired by aristocrat Vilém Slavat of Chlum and Košumberk and later it passed into the hands of the Windischgrätz family. Bedřich Arnošt Windischgrätz and his son Leopold dragged the dominion into great debts due to their out-dated style of economics, so the custodian of his under-aged successor Josef recommended the sale of the dominion. In 1755 the château then was obtained by the free lords of Gudenus. Franz de Paul, free lord of Gudenus, shortly afterwards initiated several constructions, which were brought to an abrupt halt in 1774 by a great fire, which destroyed essentially all agricultural buildings.
In 1776, Červená Lhota welcomed a new owner, Baron Ignác Stillfried, a progressive aristocrat of Prussian Silesia whose son sold the dominion to Jakub Veith in 1820. His daughter Terezie sold the château again in 1835, this time into the princely hands of Heinrich Eduard Schönburg-Hartenstein who gave the castle to his son Josef Alexandr Schönburg-Hartenstein. He died in 1937 and was buried into the newly built tomb, and thus spared the destructive events of the new war, which drew the curtains closed for the entire aristocratic history of Červená Lhota château.
After the confiscation of the château by the Czechoslovak state in 1946, a children's clinic was established here. However, a year later, the château was granted to a National Culture Commission, and in 1949 it was opened to the public.
The four-winged two-storey château, with a small courtyard in the center, occupies the whole rock and juts into the fishpond. A stone bridge, built in 1622, links the château with the banks of the pond, replacing the original drawbridge. The interiors have an extensive collection of historic furniture, tiled stoves, pictures, porcelain and other items. The southern edge of the fishpond is covered in thick forest, which forms a backdrop to the château. On the northern side is a landscaped park where the Renaissance Chapel of the Holy Trinity is situated. A marked circular path trenches around the fishpond. Rowing across the fishpond is a pleasant diversion on a hot summer day, and boats can be hired near the château.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.