Castle of Countess Jeanne de Merode, also called as 'New Castle', was built between 1909-1912 in a neogothic style by architect Pierre Langerock as the residence of Countess Jeanne de Mérode. Jeanne de Mérode was born in Paris in 1853 as a daughter of Charles-Antoine Ghislain de Mérode-Westerloo, Marquess of Westerlo and Princes Marie-Nicolette d'Arenberg. She remained unmarried and devoted her life to religion and charitable works. To provide employment for the population of Westerlo (especially for young girls and women) she founded a carpet factory in Westerlo. She also financed a church, a school and a monastery in Heultje, and a home for the elderly in Westerlo. She lived with her parents and siblings in the 'old castle' until the death of her brother, Count Henri de Mérode, in 1908. At that time she decided to move out. She planned to reside in the castle of Grimbergen which she had inherited from her father. As she was very popular with the local population, the people of Westerlo begged her to stay in the region.
From 1909 onwards the vast castle was constructed hardly a kilometre away from her paternal residence. The architecture of the facades was inspired by the early 16th century late Gothic wing of the nearby abbey of Tongerlo. A more aristocratic appearance was achieved by adding four small and one large tower, as well as a bell tower in the form of a crown. Although both interior and exterior were executed in a historical style, the building contained many 'modern' features that were very rare on the countryside at the beginning of the 20th-century. The cross-beams supporting the roof were in steel, and the building had electric lighting, an electric elevator, central heating, running water, WC's and bathrooms.
As Jeanne de Mérode was very devout the Castle also had its own private chapel. On the altar she kept her most important treasure, the famous Mérode Altarpiece by the 15th century painter Robert Campin. After her death it was acquired from her heirs by the Metropolitan Museum in New York for the Cloisters collection.
When German troops invaded Belgium in 1940 the castle was confiscated and used as a local headquarters by the Nazis. Countess Jeanne moved back to the 'old castle' of Westerlo where she died on 1 July 1944, few months before the liberation of Belgium. She left the castle to a monastic order of sisters. The building was used by the church as a home for retired priests until it was sold to the municipality of Westerlo in the 1970s. It has served as the Town Hall of Westerlo ever since.References:
Monastery of São Vicente de Fora (Monastery of St. Vincent Outside the Walls) is a 17th-century church and monastery in the city of Lisbon. It is one of the most important monasteries and mannerist buildings in the country. The monastery also contains the royal pantheon of the Braganza monarchs of Portugal.
The original Monastery of São Vicente de Fora was founded around 1147 by the first Portuguese King, Afonso Henriques, for the Augustinian Order. The Monastery, built in Romanesque style outside the city walls, was one of the most important monastic foundations in mediaeval Portugal. It is dedicated to Saint Vincent of Saragossa, patron saint of Lisbon, whose relics were brought from the Algarve to Lisbon in the 12th century.
The present buildings are the result of a reconstruction ordered by King Philip II of Spain, who had become King of Portugal (as Philip I) after a succession crisis in 1580. The church of the monastery was built between 1582 and 1629, while other monastery buildings were finished only in the 18th century. The author of the design of the church is thought to be the Italian Jesuit Filippo Terzi and/or the Spaniard Juan de Herrera. The plans were followed and modified by Leonardo Turriano, Baltazar Álvares, Pedro Nunes Tinoco and João Nunes Tinoco.
The church of the Monastery has a majestic, austere façade that follows the later Renaissance style known as Mannerism. The façade, attributed to Baltazar Álvares, has several niches with statues of saints and is flanked by two towers (a model that would become widespread in Portugal). The lower part of the façade has three arches that lead to the galilee (entrance hall). The floorplan of the church reveals a Latin cross building with a one-aisled nave with lateral chapels. The church is covered by barrel vaulting and has a huge dome over the crossing. The general design of the church interior follows that of the prototypic church of Il Gesù, in Rome.
The beautiful main altarpiece is a Baroque work of the 18th century by one of the best Portuguese sculptors, Joaquim Machado de Castro. The altarpiece has the shape of a baldachin and is decorated with a large number of statues. The church also boasts several fine altarpieces in the lateral chapels.
The Monastery buildings are reached through a magnificent baroque portal, located beside the church façade. Inside, the entrance is decorated with blue-white 18th century tiles that tell the history of the Monastery, including scenes of the Siege of Lisbon in 1147. The ceiling of the room has an illusionistic painting executed in 1710 by the Italian Vincenzo Baccarelli. The sacristy of the Monastery is exuberantly decorated with polychromed marble and painting. The cloisters are also notable for the 18th century tiles that recount fables of La Fontaine, among other themes.
In 1834, after the religious orders were dissolved in Portugal, the monastery was transformed into a palace for the archbishops of Lisbon. Some decades later, King Ferdinand II transformed the monks' old refectory into a pantheon for the kings of the House of Braganza. Their tombs were transferred from the main chapel to this room.