Refectory in the context of "Santa Maria delle Grazie, Milan"

A monastery is a building or complex of buildings comprising the domestic quarters and workplaces of monastics, monks or nuns, whether living in communities (as cenobites) or alone (as hermits). A monastery generally includes a place reserved for prayer which may be a chapel, church, or temple, and may also serve as an oratory, or in the case of communities anything from a single building housing only one senior and two or three junior monks or nuns, to vast complexes and estates housing tens or hundreds. A monastery complex typically comprises a number of buildings which include a church, dormitory, cloister, refectory, library, balneary and infirmary and outlying granges. Depending on the location, the monastic order and the occupation of its inhabitants, the complex may also include a wide range of buildings that facilitate self-sufficiency and service to the community. These may include a hospice, a school, and a range of agricultural and manufacturing buildings such as a barn, a forge, or a brewery.

In English usage, the term monastery is generally used to denote the buildings of a community of monks. In modern usage, convent tends to be applied only to institutions of female monastics (nuns), particularly communities of teaching or nursing religious sisters. Historically, a convent denoted a house of friars (reflecting the Latin), now more commonly called a friary. Various religions may apply these terms in more specific ways.

The Last Supper (Italian: Il Cenacolo [il tʃeˈnaːkolo] or L'Ultima Cena [ˈlultima ˈtʃeːna]) is a mural painting by the Italian High Renaissance artist Leonardo da Vinci, dated to c. 1495–1498, housed in the refectory of the Convent of Santa Maria delle Grazie in Milan, Italy. The painting represents the scene of the Last Supper of Jesus with the Twelve Apostles, as it is told in the Gospel of John – specifically the moment after Jesus announces that one of his apostles will betray him. Its handling of space, mastery of perspective, treatment of motion and complex display of human emotion has made it one of the Western world's most recognizable paintings and among Leonardo's most celebrated works. Some commentators consider it pivotal in inaugurating the transition into what is now termed the High Renaissance.

The work was commissioned as part of a plan of renovations to the church and its convent buildings by Leonardo's patron Ludovico Sforza, Duke of Milan. In order to permit his inconsistent painting schedule and frequent revisions, it is painted with materials that allowed for regular alterations: tempera on gesso, pitch, and mastic. Due to the methods used, a variety of environmental factors, and intentional damage, little of the original painting remains today despite numerous restoration attempts, the last being completed in 1999. The Last Supper is Leonardo's largest work, aside from the Sala delle Asse.

A lavra or laura (Greek: λαύρα; Cyrillic: ла́вра) is a type of monastery consisting of a cluster of cells or caves for hermits, with a church and sometimes a refectory at the center. Lavra monasteries operate within the Orthodox and other Eastern Christian traditions; the name is also used by some Catholic communities.The term in Greek initially meant a narrow lane or an alley in a city. In a later Eastern Orthodox context, the term took the new meaning of large and important monastery.

La Cambre Abbey (French: Abbaye de La Cambre, pronounced [a.be.i d(ə) la kɑ̃bʁ]) or Ter Kameren Abbey (Dutch: Abdij Ter Kameren) is a former Cistercian abbey in the City of Brussels, Belgium. It is located in the Maelbeek valley between the Bois de la Cambre/Ter Kamerenbos and the Ixelles Ponds. The abbey church is a Catholic parish of the Archdiocese of Mechelen–Brussels and home to a community of Norbertine canons, while other parts of the monastery house the headquarters of the Belgian National Geographic Institute (NGI) and La Cambre, a prestigious visual arts school.

The abbey was founded around 1196 and reached its apogee in the 13th century. It was suppressed during the French Revolution and abolished in 1796. Most of today's buildings date from the 18th century; only the church, the refectory and the wing of the capitular hall maintain their medieval character. The simple abbey church houses Albert Bouts' early 16th-century oil painting The Mocking of Christ.

Hull House was a settlement house in Chicago, Illinois, that was co-founded in 1889 by Jane Addams and Ellen Gates Starr. Located on the Near West Side of Chicago, Hull House, named after the original house's first owner Charles Jerald Hull, opened to serve recently arrived European immigrants. By 1911, Hull House had expanded to 13 buildings. In 1912, the Hull House complex was completed with the addition of a summer camp, the Bowen Country Club. With its innovative social, educational, and artistic programs, Hull House became the standard bearer for the movement; by 1920, it grew to approximately 500 settlement houses nationally.

The Hull mansion and several subsequent acquisitions were continuously renovated to accommodate the changing demands of the association. In the mid-1960s, most of the Hull House buildings were demolished for the construction of the University of Illinois Chicago. The original house and one additional building, a community refectory and meeting hall (which has been moved 200 yards (182.9 m)) survive today. On June 23, 1965, it was designated as a U.S. National Historic Landmark. On October 15, 1966, the day that the National Historic Preservation Act of 1966 was enacted, it was listed on the National Register of Historic Places. On June 12, 1974, the surviving Hull mansion was designated as a Chicago Landmark.