The presently visible stone church at Sproge dates from the 13th century. The nave and choir are the oldest parts of the church, built during the first half of the century. The tower was added at the end of the same century. On the south facade of the church there is a plaque claiming the construction date of the church to be 1058, but this date appears to be pure fantasy. The church however had a wooden predecessor, a stave church built on the same site. Some 40 planks from this church are preserved in the Gotland Museum in Visby. The wooden church was probably built during the 11th century.
The church was thoroughly reconstructed in 1839-40, when new windows were inserted in the wall, the interior medieval vaulting replaced by a modern ceiling and a new southern entrance constructed. Of the medieval inventories, only the 14th-century triumphal cross remains. The altarpiece and baptismal font both date from the 17th century. In the choir floor there also remain three medieval tombstones, and in the ground floor of the tower sits a pre-Christian picture stone with runic inscriptions. The picture stone tells the story of two men named Gairvatr and Audvatr who made a dolmen for their mother, and displays a picture showing the dead woman riding a sleigh towards the realm of the dead. Opposite this, a more modern memorial plaque has been put up, commemorating a British pilot who died when crashing with his plane in the Baltic Sea close to the church during World War II.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.