Commissioned by King Afonso II in 1215, this church was destroyed by an earthquake in 1429 and rebuilt from 1433 onwards. In the last quarter of the 15th century, the tombs of Don Diogo and Don Lopo were built here. Of particular note are the Gothic triumphal arch, the 16th-century tombs, the Mudéjar tile panels, and part of the original altarpiece. In 1921, the Abrantes Regional Museum was established here.

This monument was built outside the city walls on the place where it used to be an ancient – Christian basilica; the exact date of its foundation is unknown. Its present configuration is the result from the alterations and transformations operated, mostly during the 15th and 16th century. This church shelters the Visigoth Museum Queen Dona Leonor. Here it is possible to admire the biggest ensemble of Visigoth capitals existing in Portugal.

Dating from the Late Neolithic, is in excellent condition. It is well signposted and has excellent access. This dolmen was classified as a National Monument and is protected by a fiber cement covering. It has a polygonal chamber with nine pillars, a corridor over seven meters long and well-preserved tombs. Furthermore, the atrium and the monumental roof slab on which dates and religious symbols are inscribed are clearly visible.

Built on the occasion of the Portuguese World Exhibition, the ostentatious Padrão, a work by Leopoldo de Almeida, rests on a compass rose and its design in the form of a caravel is imaginative. Inside the monument, an elevator goes up to the sixth floor, where you have access to a terrace from which you can get a fantastic panorama of the Tagus River and Belém. The attics house temporary exhibitions.

18th century building, built by João Cardoso Moniz de Castelo Branco, Alderman of the Town Hall. This was more a family that made a fortune at the time thanks to the production and marketing of wine. This House follows the architecture of the houses from this era in Borba, where on the ground floor was the production of wine and, on the top floor was the housing area. Today this space is meant for Turismo de Habitação.

This church was a convent built in the century XIII, by order of Saint Elizabeth Queen of Portugal. The edification is composed by church, infirmary and cloister, with semi attached columns and decorated capitals. Inside the building it is worth to mention the images, the paintings, the baroque altars, the panels and tiles from the XVIII century. It is important to enhance the Chapter Room, the cloister fountain made in 1625 and St. Pedro fountain.

Although the first buildings date back to the 9th century, the remains that are visible today belong to buildings from the 17th and 18th centuries. The majestic Johannine-style church of Mafra and the Mannerist cloister are a special highlight of the monastery. Also, noteworthy are the tombs of Santa Teresa and Santa Sancha, the imposing baroque chair, the neoclassical organs and their grille, the paintings by Pasquale Parente and the stone and gilded altarpieces.

There are still, in some points of the historic centre, remains of the Primitive Wall, which remounts to the year 400. This wall had four doors or entrances. The main door was the Vandoma Arch that was east of the borough, between the Largo da Sé and the Rua Chã. From here, the wall surrounded the hill following closely the Escadas das Verdades (stairs), where the Mentiras Arch or Door used to be.

Located just eight miles from Elvas, this area of great beauty and architectural richness is ideal to rest and to enjoy moments of great tranquility, comfort, hospitality and good cooking, besides missing the recreational activities for all ages. A Fifth tour is essential, because it will find little treasures such as chapels, courtyards, fountains and lakes, vast gardens, balconies, among others secrets.

This pillory has a base composer by two square and flat steps in which the first one is covered by the floor. The prismatic shaft fits directly on the superior step. The section is square, slightly chamfered on the inferior part narrowing towards the top. The finish is composed by a cube above which settles another parallelepiped with lower faces encircled by rectilinear frames with traces from spherical finishing.