Details
Founded: c. 1200Category: Religious sites in Sweden
Historical period: Consolidation (Sweden)
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The nave and tower are the oldest parts of the church in Lummelunda. They were both erected circa 1200. Originally, a choir built at the same time formed part of the church. This choir was razed in the middle of the 14th century, and the presently, disproportionally large choir was built instead. The rebuilding of the choir was intended as the beginning of a complete reconstruction scheme, but only the choir was executed. The church has remained largely unaltered since then. The sacristy is of unknown date, mentioned for the first time in 1739, and the church spire dates from 1636. During the 17th century, new windows were added to the nave, it received new furnishings and was re-decorated inside. The windows were again altered during the 19th century.
Architecturally, the church is characterised externally by the large Gothic choir and the much smaller Romanesque nave and tower. It is built in limestone. The main, southern portal is decorated with stone sculptures similar to those of Martebo Church, but somewhat cruder in execution. Internally, the church is decorated with frescos. Of these, some date from the construction period of the church, some from the 15th century and some from the 17th century. The church houses a single, rather worn late medieval wooden sculpture depicting Saint Anthony. Most other furnishings are from the 17th century.
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.
