This church, with its 16th-century features, has a segmental arched porch at the entrance supported by two columns. Inside, the remarkable vaulted ceiling of the nave, with its crossed ribs, and the 18th-century tile panels that adorn two of the side chapels stand out. From the original 11th-century monastery, a magnificent Romanesque portal with two archivolts remains, resting on four small columns with historiated capitals.

The Ul River Urban Park, a green space covering an area equivalent to 30 football fields, is a modern and functional place for walks and leisure. Located in the city center, it was designed by architect Sidónio Pardal and is characterized by its surrounding granite walls and a wooded interior that winds along the Ul River. It is a spacious area that invites long walks or family outings amidst the coolness of the river and the weirs that were built there.

Silvares is on of the oldest villages in the parish and its houses are placed around the mother church, on the banks of the Zêzere river. It stands out for its narrow streets with old houses and features the following monuments: chapels of Saint Sebastião, Espírito Santo, Saint Eufémia and Saint Luzia, the crucifix, the fountains and th roman fountains. The crafts work includes drums, flutes, adufes (a kind of a tambourine), iron objects, regional embroideries and more.

The square has strong connections with the Discoveries, this was the former sand-pit where the Real cais de Belém used to anchor. Now it is a gardened area, sided by quickset hedges and trees (nettle-tree and stone pine), lake and sculptures, with the Afonso de Albuquerque, vice-king of India, statue, manueline style, standing out. This garden presents also four statues created by Barata Feio, placed at the square corners.

Church of the former Franciscan Convent of Santa Clara, founded in the 15th century. At the end of the 19th and beginning of the 20th centuries, the city of Beja suffered extensive destruction of its heritage, and only the church, the cloister, the chapter house, and adjacent rooms survived from this former convent. The Gothic portal on the facade stands out, and inside, the gilded woodcarving and tilework are noteworthy. The Queen Dona Leonor Museum is now located within the convent.

Convent built by D. Lourenço Pires de Távora in 1558. It has a façade surrounded by corners topped off in the acroteria by flames and an interior porch with three arches. The large window of the choir is topped by a niche with a clay sculpture. In the galilee, tile panels stand out. Located in the area of the Protected Landscape of Arriba Fóssil da Costa de Caparica, from there you can contemplate the landscape of the coast of Lisbon, Estoril and Cascais.

Built in the 13th century to house the mendicant order of San Francisco, it underwent several renovations in the following centuries, with the Mannerist façade dating back to 1635. In the second half of the 19th century, in the convent area, it was built the Military Hospital and, later, the Duke of Bragança Asylum. Among the various 18th century altarpieces it has, the one in the Chapel of Nossa Senhora da Conceição stands out, in which some rocaille applications are notorious.

Temple of neo-baroque structure, built in the early 20th century, on the site of the apparitions of our Lady. Dominated by a central tower of several floors, the colonnade is decorated by ceramic panels representing the Via Crucis. Designed by the Dutch architect Gerard van Kriechen and continued by the architect João Antunes, stands out for its dimensions, the statue of the Immaculate Heart of Mary in the niche of the tower and the mosaic that represents the Holy Trinity crowning of our Lady.

Religious architecture consisting of nave and chancel, separated by a Transept. The interior retains some of the symbolic religious figures, like a dead Christ with the Holy Women and s. John the Evangelist. It stands out, too, the altar in gilded, coffered ceiling and the niches of the main Chapel, where you can see 2 figures carved in stone from Ançã, depicting Joseph of Arimathea and Nicodemus. The ceiling panels saves the Via Crucis.

With a great architectonical simplicity, the Almas chapel dates from the beginning of the XVIII, and was repaired and enlarged in 1801. In 1929, the façades were covered with azulejos, by Eduardo Leite, representing the life of São Francisco de Assis and of Santa Catarina. The main façade presents a glass window by the painter Amândio Silva. Inside, the panel painted by Joaquim Rafael, representing the Lord’s Ascension and the image of Nossa Senhora das Almas stand out.