St. Severin is a Lutheran parish church named after the 4th-century bishop Severin of Cologne. Built in the Romanesque style and first documented in 1240, the church stands back from the town at a higher elevation. The tower was built around 1450 and served as a navigation mark for seafarers as well as a prison.
The site upon which the church now stands initially housed a sanctuary to Odin and was used for the worship of Germanic gods. According to legend, the Danish king Canute the Great (995–1035) provided money and stones for a church to be built in Keitum. The first documented reference to the church dates from 1240. It was probably initially dedicated to St Canute. Tests recently carried out by Hamburg University's Institut für Holzbiologie indicate that the building's roof rafters are from 1216, making the church the oldest in Schleswig-Holstein. The wood used in other parts of the church appears to have the same origin, indicating that not only the nave but also the chancel and the apse can also be dated to 1216. The tower, however, is more recent, from the mid-15th century.
As a result of the plague in 1350 and the Grote Mandrenke storm in 1362, the island was depopulated and the church abandoned. Missionaries from the Archdiocese of Cologne restored the islanders' faith, dedicating the church to St. Severin in memory of the 4th-century bishop of Cologne. In 1544, the church became Lutheran.
The nave, recessed chancel and the semicircular apse are built of naturally coloured granite blocks, white-plastered tuff and brick. Evidence of the Romanesque style can be seen in the apse's east window. Cross-arched and stepped freizes decorate the exterior of the apse while zigzag and lozenge designs top the nave and chancel walls. While the windows on the north side of the chancel exhibit only minor adaptations to the Gothic style, the five on either side of the nave are clearly pointed. The almost square-shaped tower is the only Gothic brick structure on the island. It served not only as a bell tower but as a refuge and until 1806 as a prison. Visible from afar, it was used by seafarers as a landmark. Following an accident in 1740, access to the tower room was bricked up but it was reopened in 1981 as an extension to the nave. As the former 15th-century south porch is now used as a vestry, the main entrance to the church is now on the north side.
The interior of the church was refurbished in 1985 - the wooden panels, pews and fittings were restored to their original light green colour. Remains of a fresco of the Last Judgment on the north matroneum were revealed. The choir is separated from the nave by a chancel arch while a second arch leads into the half-dome of the apse.
Dating from 1230, the oldest piece in the church is the Bentheim sandstone baptismal font which stands on a base with four lions at the corners. The Late Gothic altarpiece from about 1480 is probably the work of the Lübeck imperialissima master carver. It depicts God the Father with the Risen Christ flanked by Mary with the infant Jesus and Bishop Severin. The wings of the triptych display the figures of the Apostles. The predella presents a local painting of the Last Supper (1705). The scenes of the Passion on the back of the altarpiece are badly damaged. The early Renaissance pulpit (1580) comes from Møgeltønder in Denmark. The panels present coats of arms and the Christian virtues: faith, temperance and justice.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.