Beguines are women who could not or did not want to enter a convent, but lived together as a community to support themselves. Around 1560 the beguinage outside the city walls of Mechelen was destroyed. The beguines re-established themselves inside the city walls, where the Large Beguinage (Groot Begijnhof) grew up. They bought up existing buildings and built new dwellings, which explains why the Large Beguinage is rather different in character from beguinages in other cities. Because of its typical Flemish character and unique architecture, the Large Beguinage was declared a UNESCO world heritage site.
Beguines and beguinages Beguinages were small towns within a town. They had their own bakery, brewery, nursing home, church and bleaching fields. Beguinages were founded in the time of the crusades. Many of the men who left on a crusade never returned, which resulted in a surplus of women: widows, orphans and women who failed to find a suitable husband. Going and living in a convent was one solution, but many convents only took aristocratic or well-to-do women. Women who didn't enter a convent for whatever reason, went to live together and together were able to sustain themselves. The main difference with convents was that the beguines did not take the life-long vows of poverty, obedience and chastity. So they were not tied to the beguinage for life, though most did live out their life there. Initially the church treated them as heretics, but gradually they were accepted on condition that they led a devout life. This was how beguinages in Flanders originated. A beguinage was headed up by a Grand Mistress, who was assisted in the organization and coordination of daily life by mistresses.
Rich, usually aristocratic beguines would build their own house or buy one in the beguinage. Less well-off beguines rented a room from these homeowners and took charge of the housekeeping. Beguines with no possessions were taken into small convents, usually founded by benefactors, to guarantee that prayers were said for the occupants or their deceased family member. Beguines in the convents had to work for their living, which is one reason lace-making became one of the most important activities in the seventeenth century. So the beguinage played a crucial role in Mechelen's lace industry.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.