Situated on the banks of the River Adaja, San Segundo church was built in Caleno granite between 1130 and 1160. Before it was dedicated to St Segundo after the remains of the town's first Bishop were found in 1519, it had been dedicated to St Sebastian and St Lucia. The Bishop's remains were moved in 1615 with great pomp and ceremony to the chapel of St Segundo, which was built on to the apse of the Cathedral specifically as a final resting place.
The layout draws inspiration from the basilica style and has three naves and an upper end with three apses closed off with calotte and barrel vaults. Its slightly off-centre north-eastern orientation is probably due to the existence of an earlier church or an error made when the construction was being marked out. The southern porch has five archivolts set on columns and there are others of similar characteristics to the North and West, which were replaced in the 16th century. The structure of the naves was replaced in 1521 with a structure that shows Mudejar-style influences. Its current appearance is the result of refurbishment work that was carried out as from the 16th century.
The decoration with Romanesque sculptures is limited to a number of capitals with plant and figurative motifs. Inside, it boasts a sculpture of St Segundo in prayer by Juan de Juni.
There is a Roman altar stone opposite the west entrance that was found during recent archaeological work on the church.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.