Fort Vrmac is a former fortification of the Austro-Hungarian Empire located on the southern end of the Vrmac ridge near Tivat. Established in 1860, the present structure was built between 1894 and 1897, and saw action during the First World War, when it was heavily bombarded by the Montenegrins. It was repaired and disarmed before the end of the war and was abandoned after a period of occupation by Yugoslav troops. Today it is one of the best preserved Austro-Hungarian fortifications in the Bay of Kotor area.
The fort comprises a heavily reinforced stone and concrete structure situated within a ditch, defended by three caponiers. There is a single entrance on the north side, accessed from the ditch and protected by a caponier. The design is similar to that of the 'Vogl period' fortresses in South Tyrol, with an irregular pentagonal shape constructed on two levels. The main guns were housed in armoured casemates, with howitzers and observation turrets in steel cupolas made by Škoda in Pilsen.
The roof of the fort is a 1.5 m thick slab of concrete that was installed in 1906–1907 following improvements to Montenegrin artillery capabilities. The barracks rooms are located on the ground and first floors on the north side while the casemates are situated on the other sides of the fort, facing towards what was then potentially hostile territory. A separate structure a short distance to the north of the fort was used as an ammunition magazine.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.