The Ateni Sioni Church is an early 7th-century Georgian Orthodox church in the village of Ateni, some 10 km south of the city of Gori, Georgia. It stands in a setting of the Tana River valley known not only for its historical monuments but also for its picturesque landscapes and wine. The name 'Sioni' derives from Mount Zion at Jerusalem.
Sioni is an early example of a 'four-apse church with four niches' domed tetraconch (between the four apses are three-quarter cylindrical niches which are open to the central space). The church's cruciform interior measures 24m x 19.22m, and its façades are faced with carved rectangular greenish-gray stones, richly decorated with ornaments and figurative reliefs. The church is not dated but is very similar in design to the Jvari Monastery at Mtskheta, which is generally held to have preceded it, and, hence, has been described by some art historians as belonging to the 'Jvari-type' group of churches. Todosak, mentioned in an undated Armenian inscription on the southern facade as 'I, Todosak, the builder of this holy church' is considered to have been an Armenian architect of the original church or its late 10th-century renovator.
The walls of the church contain the earliest known inscriptions in Nuskhuri or Nuskha-Khutsuri, one of the versions of the early Georgian alphabet, dating from 835. The earliest known examples of Mkhedruli, a currently used Georgian script, are also found in the Ateni Sioni church and date to the 980s. One of the inscriptions on the church commemorates Adarnase I of Tao-Klarjeti, the first documented Georgian Bagratid nobleman who was the father of Ashot I, the founder of the new royal line of Georgia.
Near the church there are the ruins of the medieval fortified town of Ateni (modern-day villages of Didi Ateni and Patara Ateni).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.