The Benedictine Convent of St John at Müstair, located in a valley of the Grisons in the extreme south-eastern part of Switzerland, south of the Alps, was founded around 775, probably on the orders of Charlemagne. At the beginning of the 9th century it was noted as being an establishment of religious Benedictines, and became a women’s abbey in the first half of the 12th century. Religious activities have continued uninterrupted until the present day, with the abbey becoming a priory in 1810. Today, the convent ensemble comprises the Carolingian conventual church and the Saint Cross Church, the residential tower of the Abbess von Planta, the ancient residence of the bishop, including two rectangular courtyards. To the west the courtyard is surrounded by cloisters, two entrance towers and agricultural buildings.
The property reflects both the history of its construction and the political and socio-economic relations in this region and throughout Europe over more than 1200 years, and thus provides a coherent example of Carolingian conventual architecture over time.
The conventual church houses the most important cycle of frescoes of the Carolingian era conserved in situ. The creation of these frescoes is dated around the first half of the 9th century. The church, which is conserved for the most part in its Carolingian style, was initially destined as a space to be decorated with paintings: representations of the history of Christ decorate its entire perimeter, the apses and the inner walls. The scenes are laid out in a decorative way with elements connected by thematic and spatial correspondence and represent an outstanding example of Christian iconography.
By reason of its exceptionally well-preserved heritage of Carolingian art, it has been a UNESCO World Heritage Site since 1983.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.