Residential home designed by Alberto Vilhena de Carvalho and José Vilhena de Carvalho. Consisting of two floors based on a rectangular plant, the facade is disastrous and it highlights the structural elements, whose traces are simple and sober. Today only preserved a part of the Palace before, why are no longer some characteristic elements of this architecture, beyond which are still visible the damage caused by projectiles, in 1810.

Once used freely by the population since the end of the 18th century, the Termas da Fadagosa de Nisa is today a modernly equipped thermal set. The Fadagosa spring is located 11 kilometers from the town of Nisa, and its waters are especially suitable for respiratory tract disorders, skin diseases and dermatological pathologies, physical medicine and rehabilitation, metabolic-endocrine diseases and rheumatic and musculoskeletal disorders.

Its construction began in 1866, having been inaugurated only in 1928. Several reasons justify the delay in construction, but the main thing is relative to lack of funds, that would be resolved only when the Theatrical Social Bejense negotiated with the Lee Castle. Today is the main halls of the show in the South of the country, with a capacity, in the audience and counter, 622 places. Is also composed by Studio Room, cafeteria and foyer.

Of the Romanesque construction of this important monastic church, first by the Canons Regular and later by the Dominicans, we can only point out the structure of the chancel, where the rose window stands out. All the rest of the monastic set, valuable for its artistic capital and for its local and regional influence, is the work of the Modern Period. We highlight the Baroque interventions that reveal a period of space revitalization in the 17th and 18th centuries.

This church is in honour to Tomar city Patron Saint: Santa Iria. The present church resulted from the improvements done on the 16th century, standing out the fifteen hundreds door and a lateral chapel from João de Castilho. In this chapel stands out the stone altarpiece and the renaissance decoration (two Indian busts are quite remarkable). The altar, in Ançã stone, is attributed to João de Ruão. It stands out the church nave covered with glazed tiles from the 17th century; the main chapel covered with ribbed vault and the golden carving altars. The classification only refers to the entrance …

Urban Solar with a chapel located near one end of the extensive facade. It has a staircase outside preceded by an atrium enclosed by a high wall ripped by will. The spars, Windows and arched portals segment contracurvado, memorizing the earrings the jambs, wrought-iron balconies with windings and phytomorphic decorations.

Small urban Chapel, very simple and sober lines. We highlight the major Baroque retable in gilded with two flanking the throne Corbels with image of the Virgin and child. The main façade in triangular pediment, has openings in axis composed of straight Dick portal flanked by Windows.

Baroque and Rococo Chapel, longitudinal plan with an octagonal nave, a rectangular chancel and a vestry built in the back façade. The main façade is torn by a portal with double frame clipped and with contracurvada cornice, truncated by a stone with the date inscribed 1769. Inside, the chancel altar and Rococo side altarpieces.

Type of cult and religious monument, with eclectic features. Longitudinal composite plant, this church is composed of: nave, vestry and Bell Tower. The shot of the portal can see the arms of San Pedro. Gilded altarpieces. It is assumed that the chalice shaped font may have belonged to the old building.

Mandada construir no início do século XVI por Dom Manuel, esta igreja apresenta três naves, quatro tramas, duas capelas colaterais e três laterais. Destaca-se um painel de azulejos rococó e um portal manuelino.