This village, located in the far north of the municipality, between the Massueime Stream and the Coa River, preserves archaeological remains (integrated into the Coa Valley Archaeological Park), architectural heritage, and natural features. Once fortified, this settlement retains surface features that indicate Roman inhabitation. The settlement's longevity is evident in the homogeneity of its architecture and the materials used. Highlights include the chapel of St. Sebastian, the main church, and several private residences.

A medieval settlement that was once the seat of the municipality between 1120 and 1836, it boasts the castle, a former Templar fortification restored by Gualdim Paes. Also noteworthy are the keep and a wall, listed as National Monuments, the pillory, the main church, and the chapel of Nossa Senhora do Torrão, built into the rocks. This location boasts numerous historical elements of Romanesque, Manueline, and Baroque styles. Its sulfurous mineral-medicinal waters are worth mentioning.

This Gothic building has undergone several modifications over time and, therefore, has Romanesque, Gothic, Manueline, Mannerist, Renaissance, Baroque and modern features. On the main façade are visible images of Saint Mark, Saint Luke, Saint John, Saint Matthew, Saint Teotónio and Nossa Senhora da Assunção. Highlight for the choir stalls, the 18th century gilded carvings, the 16th and 18th century cloister and the tomb chapels.

This building was built in the 19th century by the Counselor Dr. José Maria de Sousa Macedo. It had different owners until, in 1989, it bacame a bank. It has a rectangular plan, with two floors, a mansard and symmetrical façades. The main façade has a more elaborated ornamention, of vegetalist Art Nouveau. Tha mansard has spans that are circular for the most part in contrast with the square lines of the other two floors.

The most important worship space, dedicated to our Lady of graces, is flanked by the old cemetery of the village. The main façade has a rectangular portal, flanked by two horizontal slots, surmounted by an oculus, the stretching of the gable has a bell tower with a Bell, crowned by a cross flanked by triangular pinnacles with ball. Inside this Chapel stands the high altar in gilded and marbled wood that houses local devotions religious imaginary.

The current Chapel of Our Lady of Deliverance is what remains of the main church of São Martinho, a significant testament to the itinerant work of artistic teams during the Romanesque period. The crevices and capitals reflect a design also adopted in the churches of Cabeça Santa, Águas Santas, and Cedofeita. The nave of the Church of São Martinho, in ruins, was demolished in 1873, and its stone was reused in the expansion of the current parish church of São Clemente.

This Chapel belonged to leprosaria 12TH century, having been abandoned in 1292 with the change from the hospital. In the 16th century was restored in Renaissance molds. The chapel reveals in its architecture the artistic moments that passed: Lancet arches, images from the 16th century and 17TH century tiles. The artistic wealth of this temple comes mainly from 16th-century campaign of restoration. The colonnaded porch in the main and South facades.

The chapel of Vilarinho da Mó, dedicated to Saint Mamede, is a granite building East\/West oriented, deployed on the highest of the village, within a walled courtyard where you will find the old cemetery. The main façade has a rectangular portal and in the elongation of the gable, a Bell Tower surmounted by a cross. Inside this Chapel stands the high altar, in gilt, which occupies the central part of the wall of the headboard, and imaginary religious houses.

In this space, dating back to the 12th century, a special note to the main retable, the tubes organ, the magnificent set of chairs, located in the central nave, the sacristy, with tile covered walls, of the 17th century, paintings from the 1500s, namely the painting of Saint Peter, by Grão Vasco or Gaspar Vaz, both from the "School of Viseu", the granite statue of the Virgin with Jesus as a Child, of the 14th century, and the tomb of Dom Pedro.

The artistic patronage of the Monastery, which owned the parish of Cuba, resulted in the donation of liturgical artefacts that enriched the building's ambiance, whose interior is covered in 17th-century tiles. The brotherhoods and sisterhoods based in the building also competed in commissioning works, demonstrating the land's richness. The collection thus assembled became the treasure of the main church of São Vicente, which later incorporated pieces from other churches in the town.