Sobrado Abbey was founded in 952 by Count Hermenegildo Alóitez and his wife Paterna. In 958, the founders transferred the county of Présaras to the monastery and, in that same year, Hermenegildo retired there where he lived as a monk the rest of his life and where he was buried. The abbey was inherited by his descendants and nearly two centuries later, in January 1142, the brothers Fernando and Bermudo Pérez, two of the most distinguished members of the House of Traba, handed it over to the Cistercian monks from Clairvaux.
The abbey flourished during the 12th and 13th centuries and was able to undertake the foundations of its own daughter house, Valdedios Abbey in Asturias. Sobrado was also given the supervision of Monfero Abbey after it joined the Cistercian Order.
After a period of decline, in 1498 Sobrado was the first abbey in Galicia to join the Castilian Cistercian Congregation.
The monumental new Baroque abbey church was dedicated in 1708. Most of the conventual buildings were also rebuilt at this time. The dissolution of the monasteries enforced by the government of Mendizábal in 1835 put an end to the abbey, and the abandoned buildings fell into decay.
In 1954 the Cistercian monks of Viaceli Abbey in Cóbreces, west of Santander, began reconstruction, having already refounded and restored Huerta Abbey in 1929, and were able to resettle the monastery with a new community in 1966.
The present abbey church, now roofed with a number of domes and cupolas, was built at the end of the 17th century, although the Magdalene Chapel (Capela da Madalena or Capilla de la Magdalena) dates from the 14th century. The sacristy was built by Juan de Herrera. The monastery has three cloisters. The kitchen and the chapter house remain of the medieval monastic buildings.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.