The first documented mention of a castle on the site of current palace dates from 1398. The current palace replaced an earlier previous moated fortress. The manor belonged to the von Schorlemer and the von Rüdenberg families till 1447 when it was acquired by the von Lürwalds. They were followed by the von Hanxleden who were in their turn succeeded by the von Westrems in 1614. Between 1645 and 1819 it belonged to the von Weichs family.
In 1714 Franz Otto von und zu Weichs instructed the architect Justus Wehmer to construct a replacement palace in the fashionable Baroque style, and the new building was completed in 1746. The von Fürstenbergs acquired it in 1830 and it has remained in this family since that time.
In 1945 the palace was occupied by the British and became as a holding centre for refugees rendered homeless by ethnic cleansing after large parts of eastern Germany had been transferred to Poland and the Soviet Union. Between 1999 and 2004 the palace underwent an extensive restoration under the direction of the then owner, Baron Dietger von Fürstenberg, whose work earned him a prize for Historic preservation.
Today Körtlinghausen is available for conferences, receptions and other large functions. Buildings on the north side house administrative operations for the house and its farm estate.
The site comprises a rectangular manor house with two detached wings, one on each side, to the north of the main building. Between them these form three sides of a four sided courtyard. To the north of that runs part of the moat, across which a continuation of the courtyard is flanked by the stable block. Within the moat, the principal island is the one on which the mansion and its detached wings stand: there is also a small 'unbuilt' island to the west of that.
The windows of the simple rendered building are framed in sandstone. On the main building the lines of the hipped roof are interrupted by gable windows, and the roof is topped off with four substantial chimney blocks. On each of the long sides of the court-yard ('Cour d'honneur'), it is rimmed by two short pavilion-like detached wings. On the garden (south) side the double steps approaching the main arched entrance are inscribed with the date, 1721. On the court-yard side the main entrance of the main building is topped of with a double double coats of arms of the von Weichs and (in the eighteenth century, neighbouring) von Droste zu Erwittearistocratic families.
The main double staircase leads to the first floor via a raised mezzanine halfway up A large ground floor reception room, with rich stucco decoration and frescoes on the ceiling, overlooks the park. The coat of arms of the Baron von Weichs who had the château built is prominently displayed along with those of each of his three successive wives.
The chapel is directly accessible from either of the building's two main floors. The ceiling is decorated with a geometrical stucco design incorporating the image of Mary Magdalene, to whom the chapel is dedicated. The ceiling was painted in 1727. The altar dates from 1739. The raised box (literally 'patronal loggia'), constructed to be occupied by the lord of the manor and his family during services, is particularly eye-catching.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.