Seitenstetten Abbey was founded in 1112 by Udalschalk, a relative of Bishop Ulrich of Passau, to which he gave all his estates as an endowment. In 1114 the new foundation was settled by monks from Göttweig Abbey. Bishop Ulrich dedicated the church in 1116 and granted the abbey the large parish of Aschbach. In 1142 it also received the large parish of Wolfsbach. Out of these two original parishes were formed the fourteen modern parishes for which the abbey is still responsible.
Despite many setbacks, including two serious fires and many disputes over property, the abbey gradually developed. In 1347 the community had 22 members. After a lengthy period of decline Abbot Benedikt I, formerly prior of the Schottenstift in Vienna, introduced the Melk Reforms at Seitenstetten, thus bringing about a revival in its spiritual and cultural life. This abbot had a chapel built and dedicated in 1440 on the Sonntagberg and so established the Sonntagberger Pilgrimage under the control and protection of the abbey.
Thereafter the abbey was hard hit by the Hungarian disturbances associated with Matthias Corvinus, the Turkish taxes and above all the Reformation; the number of monks declined sharply.
Abbot Christoph Held (1572-1602) started the beginning of spiritual revival with the powerful support of the Imperial Council. Under the abbots that followed, the monastery got its Baroque appearance. After the Thirty Years' War did Abbot Gabriel Sauer (1648-74) finally succeed in stabilising the abbey economically and then in bringing about a true religious renewal.
Abbot Benedikt II Abelzhauser (1687-1717) commissioned Jakob Prandtauer to build the magnificent Pilgrimage Church of the Holy Trinity on the Sonntagberg. The early Gothic abbey church was lavishly refurbished, including work by Franz Joseph Feuchtmayer. Between 1718 and 1747 the Baroque conventual buildings that still stand today were constructed. Ceiling frescoes in the Marble Hall (1735) and the library (1740) were painted by Paul Troger.
After the difficulties of the anti-monastic policies of Emperor Joseph II and of the Napoleonic wars, the abbey gradually regained its strength through the 19th century, until the time of Abbot Theodor Springer (1920-58), who not only brought the abbey safely through the economic crisis after World War I but also through the National Socialist period and World War II without its being dissolved, as so many other monasteries were.
Besides the major works of art and architecture mentioned previously, there are also the Romanesque Knights' Chapel, the picture gallery, and the garden, which contains about 110 different types of rose, mostly historical.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.