Lilienfeld Abbey was founded in 1202 by Leopold VI, Duke of Austria and Styria, as a daughter house of Heiligenkreuz Abbey. Successive abbots acted as councillors to the rulers of Austria, and the abbey became wealthy as a result of this valuable connection.
Abbot Matthew Kollweis (1650-1695) turned the monastery into a fortress during the Turkish advance against Vienna in 1683, installing a garrison and giving shelter to a large number of fugitives.
In the 17th century the medieval buildings were extended by Baroque additions. In the first half of the 18th century the tower, library and church interior and furnishings were also refurbished in the Baroque style.
The abbey was suppressed by Emperor Joseph II in 1789, but although the library, archives and portable valuables were removed, on the death of Joseph II it was reopened by Emperor Leopold II as early as 1790.
In 1810 much of the abbey was destroyed in a fire, but was rebuilt under Abbot Johann Ladislaus Pyrker, who later became the Patriarch of Venice (1820-26) and eventually Archbishop of Eger.
As part of his endowment, Duke Leopold VI, Duke of Austria, granted the Abbey lands in and around Pfaffstätten, between Baden and Gumpoldskirchen, upon which the monks erected a walled estate. This estate, the Lilienfelderhof, comprising a gothic church, manor house, and numerous other buildings, was acquired in 2006 by the Kartause Gaming Private Foundation via a 99-year leasehold. The property and its vineyards are currently in the process of being restored and revitalised.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.