The Kintsvisi Monastery complex consists of three churches, of uncertain origin. The central (main) central church dedicated to St Nicholas is thought to date to the early 13th century, in what is generally regarded as the Georgian Golden Age. A very small chapel standing next to it is dedicated to St George, and dates from around the same time. The oldest church, dedicated to St Mary dates from the 10-11th centuries, but is mostly in ruins.
The main church is a large inscribed-cross domed brick building which houses unique examples of medieval mural art from the early 13th century.
In the central position of the cupola is the Hodegetria flanked by the archangels Michael and Gabriel. At the central part of cupola arch is an expressed cross as a medallion. Medallions with the Four Evangelists adorn the pendentives. Images of archangels are repeated on south and west walls of the church. Scenes from the New Testament are presented on north walls, as are portraits of Georgian kings, Giorgi III, Tamar and Giorgi IV Lasha. Particularly remarkable is the figure of a sitting angel (the so-called “Kintsvisi Archangel”) from the Resurrection composition pointing at the open sarcophagus in a gracious manner, represented above the kings' figures, between two windows. These murals date to before 1205 and rank, due to the lavish use of lapis-lazuli to color their backgrounds, among the most beautiful paintings of that period.
These murals were ordered by Anton Gnolistavisdze, a local feudal magnate who served as a royal minister. His fresco with a model of a church in his hand is represented on the lower register of the south wall, along with a severely damaged cycle of images from the life of St Nicholas, and depictions of various Georgian saints.
The murals of the narthex are of a later date, and were painted by the order of a prominent person of the 15th century, Zaza Panaskerteli, whose portrait is represented here as well.
The church of the Virgin Mary also contains an enthroned Hodegetria with a Communion of the Apostles in its ruined apse. The walls of this church were presumably entirely painted in the same manner as the main church, but everything but the apse has collapsed into ruins down the side of the mountain.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.