O Despacho-Régio, promulgado pelo rei D. Carlos, foi subscrito por dois ministros do governo de Hintze Ribeiro: João Chagas, ministro do Reino, e Bernardino Machado, ministro das Obras Públicas, Comércio e Indústria, patrono político da ideia. A relação de amizade e de colaboração entre Bernardino Machado e Leite de Vasconcelos é anterior à data da criação do Museu e vai manter-se até à morte deste último, em 1941.
Em mais de um século de existência, este Museu afirmou-se como a instituição de referência da arqueologia portuguesa, com correspondência regular com museus, universidades e centros de investigação em todo o mundo. O acervo do Museu reúne as coleções iniciais do fundador e de Estácio da Veiga. A estas, somaram-se numerosas outras, umas provenientes de outros departamentos do Estado (coleções de arqueologia da antiga Casa Real Portuguesa, incorporadas no Museu após a implantação da República; coleções de arqueologia do antigo Museu de Belas Artes), outras por doação ou legado de colecionadores e amigos do Museu (doações Bustorff Silva, Luís Bramão, Samuel Levy, etc.), outras mercê da intensa atividade de campo do próprio Museu ou de arqueólogos; outras ainda por despachos governamentais, ao abrigo da legislação aplicável, sempre que se considere o valor nacional de bens arqueológicos descobertos no país.
Concebido por Leite de Vasconcelos para ser uma espécie de Museu do Homem Português, o Museu Nacional de Arqueologia continua hoje com a mesma vocação: contar a história do povoamento do nosso território, desde as origens até à Idade Média, lato sensu, muito embora as suas coleções possuam bens culturais e documentos que cronologicamente vêm até ao século XX. É a única instituição em Portugal capaz de o fazer, pelas coleções de que dispõe, pelos recursos técnicos que possui, pelo próprio espaço que ocupa no Mosteiro dos Jerónimos, verdadeiro centro de confluência de visitantes nacionais e estrangeiros.
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T +351 213 620 000
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Site: www.museunacionalarqueologia.gov.pt
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The relationship of friendship and collaboration between Bernardino Machado and Leite de Vasconcelos predates the creation of the Museum and continued until the latter died in 1941.
In more than a century of existence, this Museum has established itself as the reference institution of Portuguese archaeology, with regular interactions with museums, universities and research centres around the world. The Museum's collection brings together the initial collections of its founder and of Estácio da Veiga. The museum has several collections acquired over time. These include collections from other departments of the State such as the archaeology collections of the former Portuguese Royal House, which were incorporated into the museum after the establishment of the Republic, and the archaeology collections of the former Museum of Fine Arts. Additionally, the museum received donations or legacies from collectors and friends of the museum such as Bustorff Silva, Luís Bramão, and Samuel Levy. Some of the collections were obtained through the museum's field activities or through archaeologists. Others were obtained through government orders, according to the applicable legislation, whenever archaeological assets discovered in the country were considered of national value.
Designed by Leite de Vasconcelos to be a kind of Museum of the Portuguese Man, the National Museum of Archaeology has the same vocation today: to tell the story of the settlement of our territory, from the origins to the Middle Ages, lato sensu, although its collections have cultural assets and documents that chronologically go back to the twentieth century. This is the only institution in Portugal capable of doing so, given the collections it hosts, its technical resources and considering its location in the Jerónimos Monastery attracting a large number of national and foreign visitors.
","ContactoseLocalizacao":"Jerónimos Monastery , Praça do Império · 1400-206 Lisboa
T +351 213 620 000
E-mail: geral.mnarqueologia@museusemonumentos.pt
Site: www.museunacionalarqueologia.gov.pt
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Herança da História (com realce para as incorporações dos bens eclesiásticos e dos provenientes dos palácios reais), a coleção do Museu Nacional de Arte Antiga foi sendo engrandecida por generosas doações e importantes compras, ilustrando, em patamar de objetiva excelência, o que de melhor se produziu ou acumulou em Portugal, nos domínios acima enunciados, entre a Idade Média e os alvores da contemporaneidade.
Parceiro incontornável na atividade museológica internacional, ao Museu Nacional de Arte Antiga pertence, historicamente, a dignidade de museu nacional normal: o que define a norma, as boas práticas, de acordo com os padrões internacionais, seja em matéria de conservação e de museografia, seja no âmbito do seu Serviço de Educação, pioneiro no país.
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T +351 213 912 800
E-mail: geral.mnaa@museusemonumentos.pt
Site: www.museudearteantiga.pt
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Descubra o Museu pelo Google Arts and Culture
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It also, includes, reference works of the world's artistic heritage from several fields. Some of the most remarkable works on display include Os Painéis de São Vicente, by Nuno Gonçalves, a masterpiece of European painting of the fifteenth century, a Custódia de Belém, by Gil Vicente, commissioned by D. Manuel I and dated 1506, the Biombos Namban, from the late sixteenth century, a testimony of the presence of the Portuguese in Japan, As Tentações de Santo Antão, by Bosch, a striking example of Flemish painting of the early sixteenth century, Saint Jerome, by Dürer, an innovative representation of the saint, and important works by Memling, Rafael, Cranach or Piero della Francesca.
Heritage of History (with emphasis on the incorporation of ecclesiastical goods and from royal palaces), the collection of the National Museum of Ancient Art was magnified by generous donations and important purchases, showcasing, through clear and objective, the best that was produced or accumulated in Portugal, in the aforementioned fields, between the Middle Ages and the dawn of contemporaneity.
The National Museum of Ancient Art is an important partner in international museum activity. It is a normal national museum that adheres to good practices defined by international standards. The museum excels in conservation and museography and offers pioneering Educational Services in the country.
Rua das Janelas Verdes · 1249-017 Lisboa
T +351 213 912 800
E-mail: geral.mnaa@museusemonumentos.pt
Site: www.museudearteantiga.pt
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Closed for renovation works
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O núcleo de tapeçaria flamenga, tecida em Bruxelas na primeira metade do século XVI, os painéis que Vasco Fernandes (Grão Vasco) pintou para a catedral de Lamego, na mesma época, os painéis de azulejos do século XVII e uma arca tumular medieval, classificados como “tesouros nacionais”, fazem parte do conjunto de maior relevância, numa coleção que é cronologicamente mais abrangente, com exemplares datados entre os séculos I e XX. Diversa e plural, a coleção permite um percurso de descoberta da evolução da cidade de Lamego e dos homens e mulheres que a habitaram ao longo dos séculos.
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T +351 254 600 230
E-mail: mlamego@museusemonumentos.pt
Site: www.museudelamego.gov.pt
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Encerrado ao público para obras de requalificação no âmbito do PRR a partir de 24 de maio de 2025.
Alexandra Falcão
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The section on Flemish tapestry, woven in Brussels in the first half of the 16th century, the panels painted by Vasco Fernandes (Grão Vasco) for the cathedral of Lamego, in the same period, the glazed tile panels of the 17th century and a medieval tomb ark, classified as “national treasures”, are part of the most relevant section, a collection chronologically more comprehensive, with items dating back to the 1st and 20th centuries. Diverse and plural, the collection allows for a path of discovery into the evolution of the city of Lamego and the people who have lived there for centuries.
Largo de Camões · 5100-147 Lamego
T +351 254 600 230
E-mail: mlamego@museusemonumentos.pt
Site: www.museudelamego.gov.pt
","Horario":"Monday to Sunday 10am - 12:00 | 4pm - 6pm
Closed for construction works
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Online Ticket Office
Alexandra Falcão
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A exposição permanente foi pensada em onze núcleos, integrados em três pisos da caixa-forte, numa abordagem aprofundada sobre a origem e percurso das peças que os compõem: Ouro e Diamantes do Brasil, Moedas e Medalhas da Coroa, Joias, Ordens Honoríficas, Insígnias Régias, Prata de Aparato da Coroa, Coleções Particulares, Ofertas Diplomáticas, Capela Real, Mesa Real e Viagens do Tesouro.
","ContactoseLocalizacao":"Palácio Nacional da Ajuda · 1349-021 Lisboa
T +351 211 163 425
E-mail: geral@tesouroreal.com
Site: www.tesouroreal.pt
","Horario":"Todos os dias 10h00-18h00
Encerrado: 25 de dezembro
Normal: 11,00 €
A bilheteira do Museu, assim como restantes serviços, são geridos pela Associação de Turismo de Lisboa, aplicando-se um preçário e descontos próprios. Para mais informações, consultar por favor www.tesouroreal.pt
","Isencoes":null,"Descontos":null,"Recursos":"
Loja, Serviço Educativo, Cedência de espaços
Para mais informações sobre a loja e outros serviços do Museu, consultar www.tesouroreal.pt
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Comboios: Estação de Belém
Barco: Estação Fluvial de Belém
José Alberto Ribeiro
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These symbols of power and personal luxury objects represent one of the most important collections in the world, due to their size, rarity and quality. They tell the story of Portugal experienced from the Ajuda National Palace, the home of the last kings of Portugal. The Royal Treasure Museum is housed in one of the largest vaults in the world.
The permanent exhibition was designed in eleven nuclei, integrated in three floors of the vault, in an in-depth approach to the origin and journey of the items that compose them: Gold and Diamonds from Brazil, Crown Coins and Medals, Jewels, Honorary Orders, Royal Insignia, Crown Apparatus Silver, Private Collections, Diplomatic Offers, Royal Chapel, Royal Table and Treasure Journeys.
Palácio Nacional da Ajuda · 1349-021 Lisboa
T +351 211 163 425
E-mail: geral@tesouroreal.com
Site: www.tesouroreal.pt
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Train: Estação de Belém
Boat: Estação Fluvial de Belém
José Alberto Ribeiro
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• Efetuar ou promover a realização, através de serviços próprios ou em colaboração com outras entidades nacionais ou estrangeiras, de projetos de investigação na área da conservação e restauro, das técnicas de produção artística e da ciência dos materiais; desenvolver estudos sobre as causas de degradação dos materiais constituintes dos bens culturais e estabelecer metodologias e métodos para a sua salvaguarda;
• Propor medidas no âmbito da conservação preventiva e da avaliação e gestão de riscos, e conceber e divulgar as normas e orientações técnicas relativas à conservação e restauro do património cultural móvel e integrado;
• Desenvolver a realização de estudos técnicos de peritagem aplicados aos bens culturais. Promover a formação através de estágios curriculares (mestrados, doutoramentos e pós-doutoramentos) e profissionais integrados nas diversas áreas de especialização;
• Fomentar a realização de ações de conservação preventiva e de sensibilização para as boas práticas na conservação e restauro de bens culturais;
• Creditar a qualificação de entidades públicas ou privadas, coletivas ou individuais, que exerçam atividades de conservação e restauro do património cultural móvel e integrado;
• Promover as parcerias necessárias ao cumprimento dos seus objetivos, designadamente com estabelecimentos de ensino superior, centros de investigação e laboratórios públicos e privados, nacionais ou estrangeiros, bem como prestar assistência técnica e científica a outras entidades e a profissionais nas suas áreas de competência.
Arquivo de Conservação e Restauro
O Arquivo de Conservação e Restauro teve a sua origem no Laboratório de Exame de Obras de Arte, constituído nas primeiras décadas do século XX no Museu Nacional de Arte Antiga, impulsionado por José de Figueiredo e João Couto, primeiros diretores do MNAA, e foi sendo continuado, integrando-se formalmente no Instituto José de Figueiredo, após a sua constituição formal em 1965. Cada peça analisada ou intervencionada nos seus ateliês, assim como as obras de arte observadas ou tratadas in situ em todas as regiões do país, foram objeto de um relatório escrito.
Biblioteca de Conservação e Restauro
O núcleo bibliográfico que esteve na origem da Biblioteca de Conservação e Museus está intimamente ligado aos legados dos restauradores Fernando Mardel e Abel de Moura, nos anos 30 a 60 do século XX. Em 1967, é oficialmente criada a Biblioteca e o Gabinete de Documentação e Consulta. O acervo inicial incluía as diferentes áreas de especialidade do Laboratório: investigação laboratorial e conservação e restauro de pintura, pintura mural, escultura, têxteis, documentos gráficos/papel, mobiliário, talha e ourivesaria/metal.
Rua das Janelas Verdes · 1200-000 Lisboa
T + 213 934 200
Rui Luís Perry da Câmara Borges
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• To issue an opinion on proposals for conservation and restoration of cultural assets both classified or undergoing classification, and to engage in conservation and restoration interventions on movable cultural assets of national interest and of public interest, or, exceptionally, on unclassified assets, but of acknowledged historical, artistic, technical or scientific value and which may become a reference as regards safeguard and preservation of the movable cultural heritage;
• Carry out or promote, through its services or in collaboration with other national or foreign entities, research projects in the field of conservation and restoration, artistic production techniques and materials science; develop studies on the causes of degradation of cultural assets materials and establish methodologies and methods to safeguard them;
• Propose measures within the context of preventive conservation and risk assessment and management, and design and disseminate technical standards and guidelines for the conservation and restoration of mobile and integrated cultural heritage;
• Develop technical expert studies applied to cultural assets. Promote training through curricular internships (masters, doctorates and post-doctorates) and integrated professionals in several areas of specialization;
• Encourage preventive conservation actions and to raise awareness of good practices in the conservation and restoration of cultural assets;
• Credit the qualification of public or private entities, collective or individual, performing conservation and restoration activities of mobile and integrated cultural heritage;
• Promote the necessary partnerships to achieve its objectives, namely with higher education institutions, research centres and public and private laboratories, national or foreign, and provide technical and scientific assistance to other entities and professionals in their relevant areas of expertise.
Preservation and Restoration Archive
The Preservation and Restoration Archive started in the Laboratory of Analysis of Works of Art, established in the first decades of the twentieth century at the National Museum of Ancient Art (MNAA), promoted by José de Figueiredo and João Couto, first directors of the MNAA. This work continued and was formally integrated into the José de Figueiredo Institute after it was formally established in 1965. Each item analysed or worked out in their studios, as well as the works of art analysed or treated in situ in all regions of the country, were the subject of a written report.
Conservation and Restoration Library
The bibliographic acquis that led to the creation of the Conservation and Museums Library is closely linked to the legacy of restorers Fernando Mardel and Abel de Moura, from the 1930s to the 1960s. In 1967, the Library and the Documentation and Consultation Office were officially created. The initial collection included the different areas of expertise of this Laboratory: laboratory research and conservation and restoration of paintings, mural painting, sculpture, textiles, graphic documents/paper, furniture, carving and jewellery/metal.
Rua das Janelas Verdes · 1200-000 Lisboa
T + 213 934 200
Rui Luís Perry da Câmara Borges
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É igualmente da sua competência elaborar as normas e regulamentos de cedência de imagens, procedimentos relativos ao processo de recolha, processamento e digitalização, bem como a conservação da documentação fotográfica.
O Arquivo de Documentação Fotográfica presta serviços de caráter técnico a outras entidades, publicas e privadas, quando a sua intervenção se justifique, e apoio à investigação sobre os bens culturais móveis e os acervos de fotografia histórica. Tem também desenvolvido parcerias com instituições de ensino da conservação e com autores de diferentes áreas de conhecimento, no sentido de desenvolver o estudo e a divulgação dos seus espólios.
Todos os pedidos de utilização de imagens devem ser dirigidos através do email geral.adf@museusemonumentos.pt
Arquivo de Documentação Fotográfica
Forte de Sacavém
Rua do Forte do Monte de Cintra · 2685-141 Sacavém
T +351 219427782
E-mail: geral.adf@museusemonumentos.pt
Como chegar
Comboio: Linha da Alcântara/Azambuja e Sintra/Alverca (Estação de Sacavém)
Autocarro: Rodoviária de Lisboa – Carreira 313 – Lisboa (Campo Grande) via Sacavém
Forte de Sacavém, Rua do Forte do Monte Cintra · 2685-141 Sacavém
T +351 219 427 782
E-mail: geral.adf@museusemonumentos.pt
Comboio: Linha da Alcântara/Azambuja e Sintra/Alverca (Estação de Sacavém)
Autocarro: Rodoviária de Lisboa – Carreira 313 – Lisboa (Campo Grande) via Sacavém
Coordenadora: Alexandra Encarnação
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It is also in charge of preparing rules and regulations for the provision of images, procedures for collection, processing and digitisation, and preservation of photographic documentation.
The Photographic Documentation Archive provides technical services to other bodies, public and private, when their intervention is needed, and supports research on movable cultural property and historical photography collections. This entity established also partnerships with conservation educational institutions and authors from different fields of knowledge, in order to develop the study and dissemination of their acquis.
A significant sample of the work carried out so far is available online through the Raiz application, the platform, heir to Matriz, intended for the inventory, management and dissemination of cultural assets, developed by Museus e Monumentos de Portugal.
To request the use of such images please send email to geral.adf@museusemonumentos.pt or use the Raiz platform.
Photographic Documentation Archive
Sacavém Fort
Rua do Forte do Monte de Cintra · 2685-141 Sacavém
T +351 219427782
E-mail: geral.adf@museusemonumentos.pt
Transport
Train: Linha da Alcântara/Azambuja e Sintra/Alverca (Estação de Sacavém)
Bus: Rodoviária de Lisboa – Carreira 313 – Lisboa (Campo Grande) via Sacavém
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Train: Linha da Alcântara/Azambuja e Sintra/Alverca (Estação de Sacavém)
Bus: Rodoviária de Lisboa – Carreira 313 – Lisboa (Campo Grande) via Sacavém
Alexandra Encarnação
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A origem da Biblioteca da Ajuda remonta ao século XV, como Biblioteca Real, a sua antiga designação. Instalada desde o século XVI no torreão poente do Paço da Ribeira, foi substancialmente enriquecida por D. João V, vindo a perder a maior parte do seu riquíssimo espólio no terramoto de 1755, após o que se procedeu à sua reinstalação em casas anexas ao Paço de Madeira (Real Barraca), na Ajuda.
Em 1811, na sequência das invasões francesas, a Biblioteca é transferida para o Rio de Janeiro, para junto da Corte, aí formando o núcleo inicial da atual Biblioteca Nacional do Brasil. Em 1821, regressa a Portugal o núcleo de manuscritos da Casa Real, ao qual se incorporam mais tarde as livrarias da Companhia de Jesus (Casa Professa de São Roque e Colégio Santo Antão), além das da Congregação do Oratório e Palácio das Necessidades.
Administrada diretamente pela Casa Real até à proclamação da República, os seus bibliotecários eram de nomeação régia, escolhidos de entre os secretários do rei, como Alexandre Herculano (1839-77), ou da sua inteira confiança, como Magalhães Coutinho (1877-95) e Ramalho Ortigão (1895-1911). Após a proclamação da República, o primeiro diretor a ser nomeado foi Jordão de Freitas (1918-36).
O catálogo da Biblioteca da Ajuda, atualizado diariamente, reúne para cima de 19 mil registos bibliográficos, das diferentes coleções do seu acervo (manuscritos e impressos), tais como fotografia, iconografia, cartografia, folhetos (portugueses e estrangeiros), genealogias, obras de medicina, arquitetura, entre outros. O catálogo pode ser consultado em: http://bibliotecas.patrimoniocultural.pt/.
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T 213 638 592
E-mail: biblioteca.pnajuda@museusemonumentos.pt
Investigadores: de segunda a sexta-feira 10h30-17h15.
Visitantes: sujeito a marcação prévia, para o seguinte endereço de email: bibajuda@pnajuda.dgpc.pt.
Encerrado: fins de semana, feriados nacionais, feriado municipal de Lisboa
Leitura Presencial, Serviço de Referência, Serviço de Informação Bibliográfica, Serviço de Reprodução
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The library features different glass displays showcasing a documentary selection of valuable handwritten and printed species is displayed. It also includes a set of pieces and artefacts from the 18th and 19th centuries from the former binding workshop of the Royal Library.
The origin of the Ajuda Library dates back to the 15th century, like the designation Royal Library, its ancient name. Installed after the 16th century in the west tower of Paço da Ribeira, it was substantially enriched by D. João V and lost most of its rich assets in the 1755 earthquake and was reinstalled in houses attached to the Paço de Madeira (Royal Barracks), in Ajuda.
In 1811, following the French invasions, the Library was transferred to Rio de Janeiro, close to the Court, forming the initial nucleus of the current National Library of Brazil. In 1821, the nucleus of manuscripts of the Royal Household returned to Portugal and included also the library of the Society of Jesus (Casa Professa de São Roque and Colégio Santo Antão), and of the Congregation of the Oratory and Necessidades Palace.
Administered directly by the Royal House until the proclamation of the Republic, its librarians were appointment by the king, chosen from among his secretaries, such as Alexandre Herculano (1839-77), or trusted persons, such as Magalhães Coutinho (1877-95) and Ramalho Ortigão (1895-1911). After the proclamation of the Republic, Jordão de Freitas (1918-36) was appointed the first director.
The Ajuda Library catalogue, updated daily, brings together up to 19 thousand bibliographic records, from the different collections of its acquis (manuscripts and printed), such as photography, iconography, cartography, leaflets (Portuguese and foreign), genealogies, works of medicine, architecture, among others. The catalogue can be found at: http://bibliotecas.patrimoniocultural.pt/.
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T 213 638 592
E-mail: biblioteca.pnajuda@museusemonumentos.pt
Researchers: Monday to Friday 10h30-17h15.
Visitors: By appointment, to the following email address: bibajuda@pnajuda.dgpc.pt.
Closed: weekends, national holidays, Lisbon municipal holiday
Face-to-face Reading, Reference Service, Bibliographic Information Service, Reproduction Service
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Train: Estação de Belém
Boat: Terminal de Belém
Cristina Pinto Basto
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Afastada esta linha de interpretação, a atual Igreja é um edifício do século XIII, construído durante as primeiras três décadas desta centúria e em condições particularmente difíceis para os seus promotores. Longe de qualquer época de pretenso esplendor condal, a sua edificação aconteceu por iniciativa da Colegiada de Guimarães, quando da querela entre esta instituição e o poderoso arcebispo de Braga.
Manuel Monteiro, um dos nossos principais estudiosos da Arte Românica, ao realçar a simplicidade da Igreja, concluiu que se trataria de uma construção, em certa medida, ilegal. Aparelho de silhares pouco cuidados, quase total ausência de decoração, aspeto demasiado compacto dos muros, iluminação escassa, proporcionada por estreitas frestas, e planta muito simples, composta unicamente por nave única e capela-mor justaposta, são indicadores desse carácter ilegal, à margem da ação promotora e normalizadora do arcebispado de Braga. Tal facto, contudo, não impediu que o templo tenha sido sagrado pelo próprio arcebispo em 1239.
Em ruína quase total nos anos 70 do século XIX, uma comissão de habitantes notáveis de Guimarães, reunidos em torno da Sociedade Martins Sarmento, procedeu a uma ação de restauro, que manteve as características essenciais que adquiriu ao longo da época moderna. Entre 1938 e 1940, a Direção Geral dos Edifícios e Monumentos Nacionais empreendeu aqui uma das suas primeiras ações de restauro, de acordo com as teorias de unidade de estilo então em voga. Todos os elementos não-medievais foram suprimidos, especialmente os altares barrocos da nave. De entre as numerosas obras então efetuadas, salienta-se ainda a supressão do campanário, o entaipamento de portas e de janelas aleatoriamente abertas no século XIX, ou a colocação dos modilhões que suportam o tímpano do portal principal.
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Afonso Henriques was baptised. This very same legend praised its ancestry and went back in time as regards the date when this temple was built and such information still persists. Hence, the late Romanesque Church of São Miguel would have been part of the primitive palatine complex of D. Mumadona Dias, at the turn of the 9th century to the 10th, and was the main temple of the city of Guimarães in D. Henrique and D. Teresa's time.
Setting this line of interpretation aside, the current Church is a 13th century building, built during the first three decades of that century and at a time when its promoters experienced particularly harsh conditions and were far from the alleged Condal splendour. Its biding took place on the initiative of the Collegiate of Guimarães, during the conflict between this institution and the powerful archbishop of Braga.
Manuel Monteiro, one of our main scholars of Romanesque Art, when highlighting the simplicity of the Church, concluded that this must have been somehow an illegal construction. The little cared ashlars, the almost total absence of decoration, too compact walls, scarce lighting given the existence of small openings, and a very simple floor plan, composed only of a single nave and juxtaposed chancel, point to its eventual illegal nature, despite de later promoting and normalizing action of the archbishop of Braga. And despite its illegal nature, this did not prevent, however, the temple from being consecrated by the archbishop himself in 1239.
In almost total ruin in the 1870s, a commission of prominent inhabitants of Guimarães, from the Martins Sarmento Society, commissioned its renovation, preserving its essential characteristics throughout the modern era. Between 1938 and 1940, the General Directorate of National Buildings and Monuments undertook one of its first restoration actions here, according to the theories of unity of style in vogue at the time. All non-medieval elements were suppressed, especially the baroque altars of the nave. Among the several works carried out at the time, it is worth mentioning the suppression of the bell tower, the fitting of doors and windows randomly opened in the nineteenth century, or the placement of the cantilevers that support the eardrum of the main portal
Rua Conde Dom Henrique · 4800-412 Guimarães
T +351 253 412 273
E-mail: pduques@museusemonumentos.pt
Site: pacodosduques.gov.pt
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Fundado com a designação de Real Mosteiro de Nossa Senhora da Conceição na segunda metade do século XV pelos Infantes D. Fernando e D. Brites, pais de D. Leonor e de D. Manuel I, o Convento beneficiou de proteção real, tornando-se um dos mais ricos e sumptuosos do reino.
No edifício, subsistem alguns elementos característicos ou de influência do período tardo-gótico em Portugal, nomeadamente o portal gótico flamejante da igreja, as janelas de duplo arco, tipicamente mudéjar, ou a platibanda rendilhada. Mas encontramos também traços da transição para o período manuelino.
No final do século XIX, com o intuito de reordenar e reorganizar o centro da cidade de Beja, uma grande parte do antigo convento foi demolida, restando do edifício original a Igreja, o Claustro e a Sala do Capítulo. Esta tendência de suposta modernização urbana, inspirada nas ideias de Georges-Eugène Haussmann, não foi exclusiva de Beja, aconteceu um pouco por toda a Europa.
O Convento, classificado como Monumento Nacional desde 1922, é motivo bastante para visita, tanto para observação do exterior, como para desfrute do interior. Refira-se a imponente decoração barroca da igreja, a luminosidade do claustro, com os seus revestimentos azulejares, a Sala do Capítulo, de cariz quinhentista, ou a Janela de Mariana Alcoforado, popularizada pela obra Cartas Portuguesas, publicada em França no século XVII.
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T +351 284 323 351
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Leonor Museum","createdAt":"2024-03-22T01:06:11.423Z","updatedAt":"2026-03-20T11:29:27.488Z","publishedAt":"2026-03-20T11:29:27.532Z","locale":"en","Mapa":{"id":"address.8062685424110024","text":"Largo Da Conceição","type":"Feature","center":[-7.863366,38.014341],"context":[{"id":"postcode.1575227066","text":"7800-131","mapbox_id":"dXJuOm1ieHBsYzpYZVFPdWc","text_en-US":"7800-131"},{"id":"place.4253882","text":"Beja","language":"en","wikidata":"Q213251","mapbox_id":"dXJuOm1ieHBsYzpRT2k2","text_en-US":"Beja","language_en-US":"en"},{"id":"region.124090","text":"Beja","language":"en","wikidata":"Q321455","mapbox_id":"dXJuOm1ieHBsYzpBZVM2","short_code":"PT-02","text_en-US":"Beja","language_en-US":"en"},{"id":"country.8890","text":"Portugal","language":"en","wikidata":"Q45","mapbox_id":"dXJuOm1ieHBsYzpJcm8","short_code":"pt","text_en-US":"Portugal","language_en-US":"en"}],"geometry":{"type":"Point","coordinates":[-7.863366,38.014341]},"relevance":0.782593,"place_name":"Largo Da Conceição, 7800-131 Beja, Beja, Portugal","place_type":["address"],"properties":{"accuracy":"street"},"text_en-US":"Largo Da Conceição","place_name_en-US":"Largo Da Conceição, 7800-131 Beja, Beja, Portugal","matching_place_name":"Largo Da Conceição, 7800-131 Beja, Beja, Portugal"},"slug":"queen-leonor-museum-1","TextIntroducao":"The Beja Regional Museum was created by decree dated December 1917, which determined that it would be housed in the old Convent of the Conception and would integrate, as its first collection, the assets of the extinct Asylum of the city, and all the artistic and archaeological collections of the \"Municipal Archaeological Museum\". But it opened to the public only on October 5, 1927, after the works of adapting the building and organising the collections were completed.
Established under the name \"Royal Monastery of the Conception\" in the second half of the 15th century, by Prince D. Fernando and Princess D. Brites, parents of D. Leonor and D. Manuel I, this convent enjoyed royal protection and became one of the richest and most sumptuous in the kingdom.
The building retains some elements characteristic of or influenced by the late Gothic period in Portugal, namely, the flamboyant-gothic portal of the church, the double-arched windows, typically Mudéjar, or the carved platbands. But we also find traces of the transition to the Manueline style period.
At the end of the 19th century, to rearrange and reorganise the centre of the city of Beja, a large part of the old convent was demolished and from the original building only the Church, the Cloister and the Chapter Room remain. This trend of supposed urban modernization, inspired by the ideas of Georges-Eugène Haussmann, was not exclusive to Beja and happened all over Europe.
The convent itself, classified as a National Monument since 1922, is worth a visit to admire the outer and inner areas of the building. It is worth mentioning the impressive baroque decoration of the church, the luminosity of the cloister with its glazed tiles, the Chapter Room's sixteenth-century nature, or the \"Mariana Alcoforado Window\", a nun who became popular after the publication of her work \"Cartas Portuguesas\" (Portuguese Letters) in France in the 17th century.
","ContactoseLocalizacao":"Largo da Conceição · 7800-131 Beja
T +351 284 323 351
E-mail: mrdl@museusemonumentos.pt
Site: under construction
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O conjunto de peças agora em exposição foi recolhido sobretudo na área do concelho de Beja. Dele sobressaem, pelo seu número e riqueza decorativa, os elementos arquitetónicos, com destaque para os que podem ser classificados como tendo pertencido a edifícios religiosos. Um primeiro conjunto faz a necessária ligação ao mundo tardo-romano dos séculos IV e V, onde já se adivinham algumas características que perduram e se afirmam nos séculos posteriores; o discurso prossegue com as mutações formais e decorativas que deram origem à definição de “visigótico” para um período (séculos VI e VII) em que a evolução arquitetónica se processou sem grandes ruturas.
A espada de um guerreiro encontrada no princípio do século XX numa sepultura da cidade de Beja (acompanhada por joias adquiridas pelo Museu Nacional de Arqueologia, em Lisboa, cujas fotografias se reproduzem) é testemunho de uma arte – a ourivesaria – que conheceu nesta época um período de apogeu.
No final da exposição, procura-se o enquadramento possível para os espécimes expostos, quer no contexto restrito do sul de Portugal, quer no campo mais vasto do mundo mediterrânico, onde o visigótico floresceu e se afirmou até ao século VIII, quando cede caminho, na Península Ibérica, à islamização.
","ContactoseLocalizacao":"Largo de Santo Amaro · 7800-263 Beja
T +351 284 407 765
E-mail: mrdl@museusemonumentos.pt
Site: www.museuregionaldebeja.pt
","Horario":"A partir de 24 de março de 2026, a Igreja de Santo Amaro/Núcleo Visigótico do Museu Rainha Dona Leonor encontra-se encerrada ao público.
De terça-feira a domingo 10h00-12h30 | 14h00-17h30
Encerrado: segundas-feiras, 1 de janeiro, domingo de Páscoa, 1 de maio, feriado municipal de Beja (quinta feira d’Ascensão) e 25 de dezembro
Entrada livre
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of Santo Amaro, Visigoth Nucleus of Queen Leonor Museum ","createdAt":"2024-03-19T23:27:37.862Z","updatedAt":"2025-06-27T13:24:58.388Z","publishedAt":"2024-03-19T23:44:50.263Z","locale":"en","Mapa":{"id":"address.304713986515884","text":"Largo De Santo Amaro","type":"Feature","center":[-7.866154,38.017854],"address":"28","context":[{"id":"postcode.1137520314","text":"7800-298","mapbox_id":"dXJuOm1ieHBsYzpRODB1dWc"},{"id":"place.4253882","text":"Beja","wikidata":"Q213251","mapbox_id":"dXJuOm1ieHBsYzpRT2k2"},{"id":"region.124090","text":"Beja","wikidata":"Q321455","mapbox_id":"dXJuOm1ieHBsYzpBZVM2","short_code":"PT-02"},{"id":"country.8890","text":"Portugal","wikidata":"Q45","mapbox_id":"dXJuOm1ieHBsYzpJcm8","short_code":"pt"}],"geometry":{"type":"Point","coordinates":[-7.866154,38.017854]},"relevance":1,"place_name":"Largo De Santo Amaro 28, 7800-298 Beja, Beja, Portugal","place_type":["address"],"properties":{"accuracy":"point","mapbox_id":"dXJuOm1ieGFkcjpiMTYwOWM2OC1mMDM3LTQ0MmQtYjcyMS1mNWJjNTJhNDAwMzE"}},"slug":"church-of-santo-amaro-visigoth-nucleus-of-queen-leonor-museum","TextIntroducao":"The museum project of this nucleus aimed at recovering the inner rooms of the Church of Santo Amaro, one of the most significant in Beja from the historical and architectural point of view, and displaying the Museum's Visigoth collection in a systematized way, establishing an integration between the items and the remains of the old paleochristian basilica.
The items now on display were collected mainly around the municipality of Beja. Some architectural elements stand out for both their number and decorative richness, particularly those which may be classified as coming from religious buildings. A first set established the necessary connection to the late-Roman world of the fourth and fifth centuries and some characteristics that persisted and stood out in later centuries were already there; this discourse continues with the formal and decorative mutations that originated the definition “Visigothic” referring to a period (sixth and seventh centuries) when architectural evolution occurred without major breaks.
The sword of a warrior found at the beginning of the twentieth century in a grave in the city of Beja (together with jewels which were acquired by the National Museum of Archaeology, in Lisbon and whose photographs are reproduced here) is a testimony of an art form – goldsmithing – which lived its glorious days at that time.
The final leg of the exhibition seeks to establish a possible framework for the exhibited items, both in the restricted context of southern Portugal and the wider field of the Mediterranean world, where the Visigothic flourished and was implemented until the eighth century after losing to Islamisation in the Iberian Peninsula.
","ContactoseLocalizacao":"Largo de Santo Amaro · 7800-263 Beja
T +351 284 407 765
E-mail: mrdl@museusemonumentos.pt
Site: www.museuregionaldebeja.pt
","Horario":"Tuesday to Sunday 10am-12:30 | 2pm-5:30pm
Closed: Monday, 1st january, Easter, 1st may, (quinta feira d’Ascensão) e December 25
Free entrance
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Estudos recentes indicam que a decoração fixa da casa corresponde à época da sua construção, entre 1893 e 1908, incluindo lambris de madeira entalhada, de fabrico moderno ou restaurada, tetos de caixotão, espelhos, mobiliário, papéis de parede, lustres e lanternas. Este revestimento original parece resultar de um verdadeiro projeto de interiores, concebido com ostentação e dentro de um gosto atualizado seguido pelo fundador da casa, Fernando António de Castro. É de notar que este negociante da Rua das Flores provinha de um ambiente instruído, sendo filho de um tabelião e membro da família Campos Melo, próspera nos lanifícios da Covilhã.
Tendo vivido na freguesia da Sé, o empreendedor decidiu mudar-se para a zona das Antas em 1893. Esta é a data de aprovação da casa que mandou construir com dois pisos na rua de Costa Cabral, a que se sucedeu uma ampliação em 1908, incluindo uma cozinha junto à sala de jantar no primeiro piso e a construção de um terceiro piso para quatro quartos e duas salas. Após a sua morte, questões familiares conduziram à ocultação de todos os documentos referentes à herança, transmitida em 1918 aos seus dois filhos, Maria da Luz e Fernando de Castro, o herdeiro da casa.
O acervo da Casa-Museu Fernando de Castro é constituído por diferentes coleções reunidas ao longo de várias décadas. É constituído, maioritariamente, por arte religiosa com representações eruditas e de cariz popular, pintura naturalista portuguesa e artes decorativas. Destaca-se, ainda, um interessante núcleo de caricaturas e alguns livros da autoria de Fernando de Castro, colecionador, artista e poeta. No essencial, a disposição dos objetos pelas salas é bastante fiel à deixada pela sua irmã, Maria da Luz.
","ContactoseLocalizacao":"Rua de Costa Cabral, 716 · 4200-211 Porto
T. +351 930 506 351
Site: https://museusoaresdosreis.gov.pt/agenda/visitas-a-casa-museu-fernando-de-castro/
","Horario":"O acesso à Casa-Museu Fernando de Castro faz-se com visita guiada por marcação online e sujeita a confirmação de disponibilidade.
Em visitas de grupo, o número máximo é de 10 participantes.
Normal: 5,00 €
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Metro: Estação dos Combatentes
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de Castro House-Museum ","createdAt":"2024-03-27T10:50:48.341Z","updatedAt":"2026-04-01T14:09:11.042Z","publishedAt":"2026-04-01T14:09:11.198Z","locale":"en","Mapa":{"id":"address.6160844692826416","text":"Rua De Costa Cabral","type":"Feature","center":[-8.595817,41.166446],"address":"702","context":[{"id":"postcode.608964282","text":"4200-211","mapbox_id":"dXJuOm1ieHBsYzpKRXdPdWc"},{"id":"locality.371386","text":"Paranhos","wikidata":"Q1973541","mapbox_id":"dXJuOm1ieHBsYzpCYXE2"},{"id":"place.21571770","text":"Porto","wikidata":"Q36433","mapbox_id":"dXJuOm1ieHBsYzpBVWtvdWc"},{"id":"region.132282","text":"Porto","wikidata":"Q322792","mapbox_id":"dXJuOm1ieHBsYzpBZ1M2","short_code":"PT-13"},{"id":"country.8890","text":"Portugal","wikidata":"Q45","mapbox_id":"dXJuOm1ieHBsYzpJcm8","short_code":"pt"}],"geometry":{"type":"Point","coordinates":[-8.595817,41.166446]},"relevance":1,"place_name":"Rua De Costa Cabral 702, 4200-211 Porto, Porto, 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This imparts an antiquarian spirit to the surroundings that is in line with the late nineteenth-century trend of revering national styles and antiques. It is therefore one of the rare environments of late romanticism in the city of Porto.
Recent studies indicate that the fixed decoration of the house corresponds to the time of its construction, between 1893 and 1908, including carved wood wainscot, of modern or restored manufacture, coffered ceilings, mirrors, furniture, wallpapers, chandeliers and lanterns. This original cladding appears to be a result of an interior design that was created with ostentation and followed updated taste by the house's founder, Fernando António de Castro. It is worth mentioning that this businessman from Rua das Flores came from an educated environment, the son of a notary and a member of the Campos Melo family who prospered in the woolwork business in Covilhã.
This entrepreneur lived in the parish of Sé and decided to move to the Antas neighbourhood in 1893. This is the date of approval of the house he had built with two floors on the rua de Costa Cabral which was expanded in 1908, including a kitchen next to the dining room on the first floor and the building of a third floor to accommodate four bedrooms and two rooms. After his death, family issues led to the concealment of all documents relating to the inheritance, transferred in 1918 to his two children, Maria da Luz and Fernando de Castro, the heir of the house.
The Fernando de Castro House-Museum collection consists of different collections gathered over several decades. It includes mainly religious art items with erudite and popular representations, Portuguese naturalist painting and decorative arts. Also noteworthy is an interesting nucleus of caricatures and some books by Fernando de Castro, a collector, artist and poet. The arrangement of objects in the rooms remains true to the arrangement at the time of his sister, Maria da Luz.
Rua de Costa Cabral, 716 · 4200-211 Porto
Site: https://museusoaresdosreis.gov.pt/agenda/visitas-a-casa-museu-fernando-de-castro/
","Horario":"Access to the Fernando de Castro House-Museum with a guided tour by online appointment and subject to confirmation and availability. In group visits, the maximum number is 10 participants.
","Bilheteira":"Regular: 5,00 €
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Metro: Estação dos Combatentes
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No processo de criação do Museu de Arte Popular, o projeto contou igualmente com a colaboração de uma extensa equipa de decoradores-pintores, incluindo Carlos Botelho, Eduardo Anahory, Estrela Faria, Manuel Lapa ou Paulo Ferreira. Neste contexto, o museu apresenta um significativo conjunto de composições murais, caracterizando as diversas regiões do país. Esta valia patrimonial do edifício fundamentou a sua classificação como Monumento de Interesse Público em 2012.
O seu acervo surge na sequência de várias exposições que contribuíram para a organização de coleções, completadas mais tarde por aquisições e doações. É constituído por objetos de cerâmica, ourivesaria popular, instrumentos musicais, cestaria, têxteis, trajos e bordados, alfaias agrícolas e miniaturas de barcos e carros de tração animal.
Em 2000, a exposição permanente do museu foi encerrada, para profundas obras de requalificação do edifício e, em 2006, após o anúncio de extinção do Museu de Arte Popular, o seu espólio foi transferido para o Museu Nacional de Etnologia. A ligação entre estas duas instituições é um projeto que já tinha sido equacionado nas últimas quatro décadas, mas que só em 2016 se concretizou plenamente, com a atividade do Museu de Arte Popular, circunscrita a exposições temporárias, vinculada à missão e programa do Museu Nacional de Etnologia.
","ContactoseLocalizacao":"Avenida Brasília · 1400-038 Lisboa
T +351 213 011 282
E-mail: geral.map@museusemonumentos.pt
Site: www.museuartepopular.wordpress.com
","Horario":"Quarta a sexta-feira 10h00-18h00 | sábado e domingo 10h00-13h00 | 14h00-18h00
Encerrado: 1 de janeiro, domingo de Páscoa, 1 de maio, 13 de junho, 25 de dezembro
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O Museu encontra-se temporariamente encerrado para obras de requalificação.
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Autocarros: 113, 149, 714, 727, 751, 729
Elétricos: 15
Barco: Estação Fluvial de Belém
Gonçalo de Carvalho Amaro
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Art Museum ","createdAt":"2024-04-15T08:46:40.995Z","updatedAt":"2025-06-03T09:50:06.803Z","publishedAt":"2024-04-15T08:50:28.426Z","locale":"en","Mapa":{"id":"address.8849904523752644","text":"Avenida Da Índia","type":"Feature","center":[-9.20621,38.694883],"context":[{"id":"postcode.24940218","text":"1300-598","mapbox_id":"dXJuOm1ieHBsYzpBWHlPdWc"},{"id":"locality.461498","text":"Santa Maria de Belém","wikidata":"Q376866","mapbox_id":"dXJuOm1ieHBsYzpCd3E2"},{"id":"place.14674106","text":"Lisboa","wikidata":"Q597","mapbox_id":"dXJuOm1ieHBsYzozK2k2"},{"id":"region.9402","text":"Lisbon","wikidata":"Q207199","mapbox_id":"dXJuOm1ieHBsYzpKTG8","short_code":"PT-11"},{"id":"country.8890","text":"Portugal","wikidata":"Q45","mapbox_id":"dXJuOm1ieHBsYzpJcm8","short_code":"pt"}],"geometry":{"type":"Point","coordinates":[-9.20621,38.694883]},"relevance":1,"place_name":"Avenida Da Índia, 1300-598 Lisboa, Lisbon, 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In the process of creating the Popular Art Museum, the project also relied on the work of an extensive team of decorator-painters, including Carlos Botelho, Eduardo Anahory, Estrela Faria, Manuel Lapa or Paulo Ferreira. The museum features a significant amount of mural compositions, representing the many regions of the country. This patrimonial value of the building led to its classification as a Monument of Public Interest in 2012.
Its acquis is the result of items from several exhibitions which led to the establishment of assorted collections, later completed by acquisitions and donations. It contains ceramic objects, popular jewellery, musical instruments, wickerwork, textiles, costumes and embroidery, agricultural implements and miniatures of boats and carts.
In 2000, the museum's permanent exhibition was closed, for profound works of re-qualification of the building and, in 2006, after the announcement of the extinction of the Popular Art Museum, its collection was transferred to the National Museum of Ethnology. The link between these two institutions had already been considered in the last four decades, but only fully materialised in 2016, when the activity of the Popular Art Museum was limited to temporary exhibitions, linked to the mission and program of the National Museum of Ethnology.
Avenida Brasília · 1400-038 Lisboa
T +351 213 011 282
E-mail: geral.map@museusemonumentos.pt
Site: www.museuartepopular.wordpress.com
","Horario":"Wednesday to Friday 10am-6pm | Saturday and Sunday 10am-1pm | 2pm-6pm
Closed: 1st january, Easter sunday, 1st may, 13th june, 25th december
Regular: 5,00 €
Online Ticket Office
Bus: 113, 149, 714, 727, 751, 729
Tram: 15
Boat: Estação Fluvial de Belém
Gonçalo de Carvalho Amaro
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Entre 2000 e 2019, a CACE permaneceu como uma coleção fechada, no sentido de que as instituições que a tinham à sua guarda não adquiriram ou incorporaram novas obras. Assim, a história recente da CACE é indissociável da criação, em 2019, do mais ambicioso, participado e significativo projeto público de aquisição de arte contemporânea alguma vez criado em Portugal. Trata-se de um programa anual, cujas propostas são da responsabilidade da Comissão para Aquisição de Arte Contemporânea, coletivo que reúne diferentes agentes, curadores, docentes universitários e artistas, tendo como missão identificar obras de artistas plásticos contemporâneos para futura integração na CACE.
Entre 2019 e 2022, foram integradas 239 obras de 209 artistas, num investimento global de 2 milhões e 250 mil euros, o que permitiu reforçar e dinamizar a Coleção e apoiar de forma significativa o nosso ecossistema artístico. Em 2023, foram propostas 50 obras de 35 artistas, num investimento de 800 mil euros. A esse valor somam-se as recentes aquisições das obras O Impostor, de Paula Rego, e O Bordel, de Graça Morais. Para além da Coleção Miró e da Coleção BPN, foram anunciadas no final de 2022 as incorporações na CACE da Coleção Ellipse (858 obras) e da Coleção BPP (385 obras).
Importa referir que a CACE cedeu inúmeras obras do seu acervo a instituições nacionais e internacionais, nomeadamente o Museu Nacional de Arte Contemporânea do Chiado (no contexto das celebrações do centenário do nascimento de José Saramago, promovendo um diálogo natural entre a CACE e a coleção do MNAC), Museu de Serralves, Casa das Histórias Paula Rego, MAAT – Museu de Arquitetura, Arte e Tecnologia, Culturgest, Museu Nadir Afonso, Centro de Cultura Contemporânea de Coimbra, Fundação Eugénio de Almeida, Fundação Calouste Gulbenkian, MAC/CCB, Kunsthalle Recklinghausen (Alemanha), Museu Picasso (Barcelona), Beaux-Arts Mons (Bélgica), entre outras.
É esta visibilidade que dá sentido ao reforço significativo da CACE desde 2019, viabilizando a circulação nacional e internacional de obras da Coleção e o desenvolvimento de um ambicioso programa expositivo próprio, concebido em diálogo com uma rede vasta de instituições culturais distribuídas pelo território português.
António Olaio, Fernanda Fragateiro e Luísa Abreu (artistas)
Luís Silva e Miguel von Hafe Pérez (curadores)
Emília Tavares (representante da Secretária de Estado da Cultura)
David Teles Pereira (representante do Ministério da Cultura)
Sandra Vieira Jürgens (curadora da CACE)
Site: https://colecaodoestado.pt
","ContactoseLocalizacao":"CACE – CENTRO
Alameda das Fisgas, 79 | 2645-117 Alcabideche | Cascais | Portugal
T: (+351) 930 488 318
E: cace@museusemonumentos.pt
www.colecaodoestado.pt
Horário (mediante marcação prévia)
2ª a 6ª, 10h00 às 12h30 e 14h00 às 17h00
Encerrado: fins-de-semana, feriados nacionais, feriado municipal de Cascais e 24 e 31 de Dezembro
Agendamento de visitas ao CACE – CENTRO (exposição e reservas visitáveis)
T: (+351) 930 488 318
E: cace@museusemonumentos.pt
Fins-de-semana
No primeiro sábado de cada mês, o CACE – CENTRO abre sem a necessidade de marcação entre as 10h00 e as 17h00.
Acessibilidade física
No CACE – CENTRO todas as zonas abertas ao público permitem o acesso com cadeiras de rodas, existindo estacionamento, rampas, elevadores, plataformas elevatórias inclinadas e casas de banho adaptadas.
","Homepage":false,"barInfo":null,"edicoesmuseu":null,"Classificacao":"Outras entidades","comochegar":"Autocarro:
MobiCascais
M06 CASCAIS TERMINAL – ESTORIL ESTAÇÃO VIA FISGAS e ESTORIL ESTAÇÃO – CASCAIS TERMINAL VIA FISGAS
Paragem: Alameda das Fisgas
Carris Metropolitana
Linha 1625
Paragem: Rua das Fisgas (Baviera)
Curadora: Sandra Vieira Jürgens
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State's Contemporary Art Collection","createdAt":"2024-04-01T13:27:57.690Z","updatedAt":"2026-08-13T10:37:26.423Z","publishedAt":"2026-08-13T10:37:26.992Z","locale":"en","Mapa":{"id":"address.812584763145914","text":"Rua Do Forte De Monte 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Portugal","place_type":["address"],"properties":{"accuracy":"street","mapbox_id":"dXJuOm1ieGFkci1zdHI6NWUwNDlmNjEtMGZjYS00ZTY3LWFlZmUtOWRjNzcwMjExODdi"},"text_pt-PT":"Rua Do Forte De Monte Cintra","place_name_pt-PT":"Rua Do Forte De Monte Cintra, 2685-141 Sacavém, Lisboa, Portugal","matching_place_name":"Rua Do Forte De Monte Cintra, 2685-141 Sacavém, Lisboa, Portugal"},"slug":"the-state-s-contemporary-art-collection","TextIntroducao":"Throughout more than four decades of existence, CACE, taken as an instrument for valuing Portuguese artistic contemporaneity, assisted the promotion of several initiatives and played a major role in providing a structure and securing the feasibility of cultural projects of national scope.
Between 2000 and 2019, CACE remained a closed collection, meaning that institutions under its custody did not acquire or incorporate new works. The recent history of CACE is therefore inseparable from the creation, in 2019, of the most ambitious, participated and significant public project for the acquisition of contemporary art ever created in Portugal. This is an annual program, whose proposals are analysed by the Commission for the Acquisition of Contemporary Art, a group of people bringing together different agents, curators, university professors and artists, with the mission of identifying works by contemporary visual artists for future integration into CACE.
Between 2019 and 2022, 239 works by 209 artists were integrated, a global investment of 2 million and 250 thousand euros, thus reinforcing and streamlining the Collection and significantly supporting the Portuguese artistic ecosystem. In 2023, 50 works by 35 artists were proposed, a €800 thousand investment. Adding up to this amount are the recent acquisitions of the works \"O Impostor\", by Paula Rego, and \"O Bordel\", by Graça Morais. In addition to the Miró Collection and the BPN Collection, incorporations into CACE of the Ellipse Collection (858 works) and the BPP Collection (385 works) were announced at the end of 2022.
It is worth mentioning that CACE has lent several works from its collection to national and international institutions, namely to the National Museum of Contemporary Art of Chiado (for the occasion of the celebrations of the centenary of the birth of writer José Saramago, thus promoting a natural dialogue between CACE and the MNAC collection), Serralves Museum, Casa das Histórias Paula Rego, MAAT – Museum of Architecture, Art and Technology, Culturgest, Nadir Afonso Museum, Contemporary Culture Center of Coimbra, Eugénio de Almeida Foundation, Calouste Gulbenkian Foundation, MAC/CCB, Kunsthalle Recklinghausen (Germany), Picasso Museum (Barcelona) and Beaux-Arts Mons (Belgium), among others.
This visibility is behind the significant reinforcement of CACE since 2019, enabling the national and international circulation of works from its Collection and the development of an ambitious exhibition program of its own, designed in dialogue with a vast network of cultural institutions scattered across the Portuguese territory.
António Olaio, Fernanda Fragateiro e Luísa Abreu (artists)
Luís Silva e Miguel von Hafe Pérez (curators)
Emília Tavares (representative of the Secretary of State for Culture)
David Teles Pereira (representative of the Secretary of State for Culture)
Sandra Vieira Jürgens (curator da CACE)
Site: https://colecaodoestado.pt
","ContactoseLocalizacao":"CACE – CENTRO
Alameda das Fisgas, 79 | 2645-117 Alcabideche | Cascais | Portugal
T: (+351) 930 488 318
E: cace@museusemonumentos.pt
www.colecaodoestado.pt
","Horario":"Opening hours (by appointment):
Monday to Friday, 10:00 AM – 12:30 PM and 2:00 PM – 5:00 PM
Closed: weekends, national holidays, Cascais municipal holiday, and December 24 and 31
Scheduling visits to CACE – CENTRO (exhibition and accessible storage areas)
T: (+351) 930 488 318
E: cace@museusemonumentos.pt
Weekends
On the first Saturday of each month, CACE – CENTRO is open without an appointment from 10:00 AM to 5:00 PM.
Train: Estação de Sacavém
Bus: Rodoviária de Lisboa – Carreira 313 – Lisboa (Campo Grande) via Sacavém
Curator: Sandra Vieira Jürgens
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A atual Casa-Museu Dr. Anastácio Gonçalves, um projeto do arquiteto Norte Júnior datado de 1904-05, foi mandada construir pelo pintor José Malhoa para sua casa de habitação e ateliê de trabalho. A primeira casa-de-artista da capital, Prémio Valmor em 1905, integrava-se urbanisticamente no plano de crescimento da cidade de Lisboa. A “Casa-Malhoa” foi adquirida em 1932 pelo Dr. Anastácio Gonçalves (1889-1965), que ali viveu e organizou a sua coleção. Em 1969, por vontade expressa do colecionador, o edifício é legado ao Estado português para aí se criar um Museu que abre ao público em 1980.
Em 1996, com projeto dos arquitetos Frederico e Pedro George, foram realizadas obras de ampliação e beneficiação, anexando-se ao edifício original uma moradia contígua também assinada por Norte Júnior. O novo espaço proporcionou o alargamento da área de acolhimento do visitante com loja e zona para exposições temporárias. A Casa-Museu Dr. Anastácio Gonçalves reabriu em dezembro de 1997 com a sua configuração atual.
","ContactoseLocalizacao":"Avenida 5 de Outubro, 6-8 · 1050-055 Lisboa
T + 351 213 540 823/09
E-mail: geral.cmag@museusemonumentos.pt
De terça-feira a domingo, entre as 10h00 e as 18h00. (Última entrada às 17h00)
As visitas são sempre acompanhadas.
Visitas em grupo necessitam de marcação prévia e estão sujeitos ao preçário vigente.
Encerrado: 1 de janeiro, domingo de Páscoa, 1 de maio, 13 de junho, 25 de dezembro.
Aos dias feriados poderá haver alterações de horário.
Normal: 5,00 €
Bilheteira online
Loja, Centro de Documentação/Biblioteca, Serviço Educativo, Cedência de espaços
Visitas
Visitas Acompanhadas – Visita generalista acompanhada pela equipa de Acolhimento, com uma breve introdução à história da Casa-Museu e suas coleções, ao longo do percurso pela área expositiva.
10h30 11h30 13h30 15h00 16h00 17h00
11h00 12h30 14h30 15h30 16h30
Os horários podem ter alteração em função da atividade da casa.
Dirigido ao público em geral.
Número máximo: 10 elementos.
Duração aproximada: 45 minutos
Marcação: Não necessita marcação.
Visitas Orientadas – Visitas orientadas a grupos por especialistas a espaços, exposição permanente e temporária.
Dirigido a público escolar: 2º e 3º ciclos do Ensino Básico, Ensino Secundário e Universitário (gratuito); e para o público em geral (60€).
Número máximo: 10 elementos. Grupos maiores serão divididos.
Duração aproximada: 1 hora
Marcação: marcar.cmag@museusemonumentos.pt
Visita-Jogo – Visitas pensadas para famílias com crianças, sob a forma de um divertido jogo, onde ficará a conhecer mais sobre a história desta Casa.
Dirigido a famílias.
Número máximo: 10 elementos.
Duração aproximada: 1h
Marcação: Para o público em geral aos sábados das 11h00 às 12h00, por ordem de chegada. Para grupos organizados é necessária marcação prévia: marcar.cmag@museusemonumentos.pt Em inglês a visita-jogo deve ser agendada.
Gabriela Cavaco
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6-8, 1050-165 Lisboa, Lisbon, Portugal"},"slug":"dr-anastacio-goncalves-house-museum","TextIntroducao":"The group of about 3,000 works of art comprises three major groups: Portuguese painting from the 19th and 20th centuries, Chinese porcelain, and Portuguese and foreign furniture. This museum features also an important section with civil and sacred jewellery, European painting, Portuguese sculpture, European ceramics, textiles, numismatics, medals, glassware and pocket watches of Swiss and French manufacture. In addition to the works gathered by the collector, this House-Museum contains a significant documentary collection and a number of drawings, watercolours and small artefacts belonging to the estate of the painter Silva Porto.
The current Dr. Anastácio Gonçalves House-Museum, a project by the architect Norte Júnior dated 1904-05, was built by the painter José Malhoa to serve as both his home and work studio. This was the artist's first house in the capital, awarded with a Prémio Valmor in 1905 and was integrated urbanistically into the development plan of the city of Lisbon. The “Casa-Malhoa” was acquired in 1932 by Dr. Anastácio Gonçalves (1889-1965), who lived there and organized his collection. In 1969, at the collector's express will, the building was bequeathed to the Portuguese State in order to create a Museum that would be opened to the public in 1980.
In 1996, under a project of the architects Frederico and Pedro George, works of expansion and improvement were carried out and the adjoining house, also signed by Norte Júnior, was attached to the original building The new space provided the extension of the visitor's reception area with a shop and space to accommodate temporary exhibitions. The Dr. Anastácio Gonçalves House-Museum reopened in December 1997 with its current configuration.
Avenida 5 de Outubro, 6-8 · 1050-055 Lisboa
T + 351 210 117 178
E-mail: geral.cmag@museusemonumentos.pt
Tuesday to Sunday, between 10 am and 6 pm. (Last entry at 5 pm)
Visits are always accompanied.
Group visits require prior scheduling and are subject to the current price list.
Closed: January 1st, Easter Sunday, May 1st, June 13th, December 25th.
There may be changes to the schedule on holidays.
Regular: 5,00 €
Online Ticket Office
Shop, Documentation Center/Library, Educational Service, Cession of spaces
Visits
Guided Visits – General visit accompanied by the Welcome team, with a brief introduction to the history of the House-Museum and its collections, along the route through the exhibition area.
10:30 AM 11:30 AM 1:30 PM 3:00 PM 4:00 PM 5:00 PM
11:00 AM 12:30 PM 2:30 PM 3:30 PM 4:30 PM
Times may change depending on the activity of the house.
Aimed at the general public.
Maximum number: 10 people.
Approximate duration: 45 minutes
Booking: No booking required.
Guided Tours – Guided tours for groups by specialists to spaces, permanent and temporary exhibitions.
Aimed at school audiences: 2nd and 3rd cycles of Elementary School, High School and University (free); and for the general public (R$ 60).Maximum number: 10 people. Larger groups will be divided.
Approximate duration: 1 hour
Booking: marcar.cmag@museusemonumentos.pt
Game-Visit – Visits designed for families with children, in the form of a fun game, where you will learn more about the history of this House.
Aimed at families.
Maximum number: 10 people.
Approximate duration: 1 hour
Scheduling: For the general public on Saturdays from 11 am to 12 pm, on a first-come, first-served basis. For organized groups, prior booking is required: marcar.cmag@museusemonumentos.pt In English, the game-visit must be booked.
Gabriela Cavaco
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Nos finais do século XI, durante o governo dos condes D. Henrique e D. Teresa, o Castelo sofreu uma reforma profunda, de que restam vestígios sobretudo na fachada Norte, voltada ao Campo de S. Mamede, onde a base dos muros apresenta uma fase diferente, com pedras de grande dimensão. Esses vestígios documentam um recinto com planta arredondada. Foi esse Castelo que enfrentou as forças de Afonso VII de Leão e Castela, quando o monarca levantou cerco ao infante D. Afonso Henriques.
No século XII, no tempo do nosso primeiro monarca, passou a abranger o perímetro atual, mas ainda sem as suas oito torres. No reinado de D. Afonso III ou de D. Dinis, foram-lhe acrescentados os oito torreões do seu perímetro e a sua torre de menagem. Foi na segunda metade do século XIII, com as reformas góticas, que o Castelo de Guimarães adquiriu a sua forma atual. Por essa altura, a fronteira do reino já estava demasiado arredada, conferindo-lhe um papel cada vez mais secundário.
No século XV ainda manteve alguma relevância, mas a partir dos finais de quatrocentos foi-se esvaziando de importância militar e estratégica. As fronteiras estavam muito afastadas e as armas tinham evoluído para a pirobalística (as “armas de fogo”). A partir dos primeiros anos do século XVI, sem função militar, passou a ser utilizado como cárcere. Foi apenas no século XIX que os portugueses se reconciliaram com o Castelo de Guimarães, passando a ser reconhecido como estrutura emblemática da Idade Média portuguesa. Classificado como Monumento Nacional em 1881, adquiriu um valor emblemático incontornável, muito fomentado pelo Estado Novo, responsável por uma profunda intervenção de restauro, iniciada em 1936 e concluída em 1940.
Rua Conde Dom Henrique · 4800-412 Guimarães
T +351 253 412 273
E-mail: pduques@museusemonumentos.pt
Site: pacodosduques.gov.pt
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This primitive castle, tucked between large granite rocks, must have been erected in wood, but little traces of this remain.
At the end of the 11th century, during the government of Count D. Henrique and D. Teresa, this Castle underwent a profound renovation, of which some traces remain, mainly on the North façade facing the Field of S. Mamede. and where the base of the walls, with large stones, point to a different building phase. These traces point to a rounded floor plan as regards the castle grounds. This is the Castle that fought the forces of King Alfonso VII of León and Castile when this monarch laid siege to D. Afonso Henriques.
In the 12th century, at the time of our first monarch, it covered the current perimeter but did not have the eight towers yet. In the reign of D. Afonso III or D. Dinis, the eight turrets of its perimeter and its keep were added. The Castle of Guimarães acquired its current form in the second half of the 13th century, with the Gothic reforms. By then, the border of the kingdom was already too far away and its role was increasingly secondary.
In the fifteenth century, it still had some relevance, but at the end of 1400, it became devoid of military and strategic importance. The borders were too far apart and weapons had evolved into pyroballistics (“firearms”). From the first years of the 16th century, without a military function, it was used as a prison. The Portuguese only reconciled with the Castle of Guimarães in the 19th century when it was acknowledged as an iconic structure of the Portuguese Middle Ages. It was classified National Monument in 1881 and was granted an undeniable iconic value, much promoted by the Estado Novo, which commissioned a profound restoration, which began in 1936 and was completed in 1940.
The Castle of Guimarães is partially closed for re-qualification works of the building. However, it is still possible to visit the Armoury Square.
Rua Conde Dom Henrique · 4800-412 Guimarães
T +351 253 412 273
E-mail: pduques@museusemonumentos.pt
Site: pacodosduques.gov.pt
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Restrited access
Regular 5,00
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Tudo o mais não vai além do século XVI: a Igreja de Nossa Senhora da Graça, edifício cujas reconstruções incluem a porta, ali tardiamente aplicada; a muralha abaluartada, remodelada em finais do século XVIII; a antiga casa do governador da praça; e um curioso edifício, reconstruído no local onde alguns sugerem, sem fundamento, que poderia ter estado a casa do Infante D. Henrique.
Mas é a carga mítica do lugar que apela ao lado mais obscuro e irracional da nossa memória coletiva. Comprovam-no as polémicas em torno da intervenção arquitetónica de João Carreira na década de 1990, que procurou transformar a parcela construída em centro útil do grande monumento que é todo o promontório, com respeito pelo lugar mas sem subserviências de estilo ou poses historicistas. Na Correnteza (parcialmente destruída no final dos anos 50), e mantendo a ideia de praça entre os edifícios e a muralha, dispôs-se um centro de exposições e serviços de apoio aos visitantes, de modo a tornar mais útil a estada neste lugar de memória.
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T +351 282 620 140/2
E-mail: geral.fsagres@museusemonumentos.pt
Site: https://fortalezadesagres.pt/
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Everything else does not go beyond the sixteenth century: the Church of Our Lady of Grace, a building whose reconstructions include the door, which was belatedly applied there; the bulwarked wall, refurbished at the end of the eighteenth century; the old house of the governor of the fort; and a curious building, rebuilt on the site where some suggest, without grounds, was the house of Henry the Navigator.
But it is the mythical nature of the place that appeals to the darker, irrational side of our collective memory. This is evidenced by the controversies surrounding the architectural intervention of João Carreira in the 1990s, who sought to transform the erected area into a useful centre of the great monument which is the entire promontory, respecting the place but without surrendering to to style or historicist poses. In the Correnteza (partially destroyed in the late 1950s), and maintaining the idea of a square between the buildings and the wall, an exhibition centre and visitor support services were arranged, to make the stay in this place of memory more useful.
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T +351 282 620 140/2
E-mail: geral.fsagres@museusemonumentos.pt
Site: https://fortalezadesagres.pt/
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Situado no centro da vila da Batalha, a construção do Mosteiro de Santa Maria da Vitória, também designado Mosteiro da Batalha, resultou do cumprimento de uma promessa feita pelo rei D. João I, em agradecimento pela vitória em Aljubarrota, em 14 de agosto de 1385, que lhe assegurou o trono e garantiu a independência de Portugal.
As obras prolongaram-se por mais de 150 anos, através de várias fases de construção. Esta duração justifica a existência, nas suas propostas artísticas, de soluções góticas predominantemente manuelinas e um breve apontamento renascentista. Vários acrescentos foram introduzidos no projeto inicial, daí resultando um vasto conjunto monástico que atualmente apresenta uma igreja, dois claustros com dependências anexas e dois panteões reais: a Capela do Fundador e as Capelas Imperfeitas. D. João I doou-o à ordem de S. Domingos, doação a que não foram alheios os bons ofícios do Doutor João das Regras, chanceler do reino, e de Frei Lourenço Lampreia, confessor do monarca.
Na posse dos dominicanos até à extinção das ordens religiosas em 1834, o monumento foi depois incorporado na Fazenda Pública, estando hoje na dependência da Museus e Monumentos de Portugal, assumindo-se como um espaço cultural, turístico e devocional.
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T +351 244 765 497
E-mail: geral.mbatalha@museusemonumentos.pt
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16 de outubro a 31 de março 9h00-18h00 (última entrada às 17h30)
1 de abril a 15 de outubro 9h00-18h30 (última entrada às 18h00)
Encerrado: 1 de janeiro, domingo de Páscoa, 1 de maio, 25 de dezembro
Normal 15,00 €
Bilheteira online
Loja, Biblioteca, Serviço Educativo, Cedência de espaços
Descubra o Mosteiro pelo Google Arts and Culture
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Monastery","createdAt":"2023-12-13T21:48:19.399Z","updatedAt":"2026-08-06T10:16:45.941Z","publishedAt":"2026-08-06T10:16:46.450Z","locale":"en","Mapa":{"id":"address.7275257583810674","text":"Rua Dos Dominicanos","type":"Feature","center":[-8.825578,39.657881],"address":"2","context":[{"id":"postcode.1295871674","text":"2440-484","mapbox_id":"dXJuOm1ieHBsYzpUVDF1dWc"},{"id":"place.4171962","text":"Batalha","wikidata":"Q2652681","mapbox_id":"dXJuOm1ieHBsYzpQNmk2"},{"id":"region.42170","text":"Leiria","wikidata":"Q244512","mapbox_id":"dXJuOm1ieHBsYzpwTG8","short_code":"PT-10"},{"id":"country.8890","text":"Portugal","wikidata":"Q45","mapbox_id":"dXJuOm1ieHBsYzpJcm8","short_code":"pt"}],"geometry":{"type":"Point","coordinates":[-8.825578,39.657881]},"relevance":1,"place_name":"Rua Dos Dominicanos 2, 2440-484 Batalha, Leiria, 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This National Monument is inscribed in the UNESCO World Heritage List since 1983.
Located in the centre of the town of Batalha, the construction of the Monastery of Saint Mary of Victory, also known as the Batalha Monastery, resulted from the fulfilment of a promise made by King João I, in gratitude for the victory in Aljubarrota, on August 14, 1385, which assured him the throne and guaranteed the independence of Portugal.
The works lasted for more than 150 years, through various stages of construction. This duration justifies the existence, in its artistic proposals, of predominantly Manueline Gothic solutions and a slight Renaissance traits. Several additions were introduced in the initial project, resulting in a vast monastic ensemble that currently features a church, two cloisters with attached houses, and two royal pantheons: the Founder's Chapel and the Imperfect Chapels. D. João I donated it to the order of S. Domingos, a donation to which the good offices of Dr. João das Regras, chancellor of the kingdom, and Friar Lourenço Lampreia, confessor of the monarch, were not unrelated.
In the possession of the Dominicans until the extinction of the religious orders in 1834, this monument was later incorporated into the Public Treasury and is currently managed by Museus e Monumentos de Portugal and takes on the triple role of cultural, tourist and devotional space.
Largo Infante D. Henrique – 2440-109 Batalha
T +351 244 765 497
Email: geral.mbatalha@museusemonumentos.pt
Website: www.mosteirobatalha.pt
October 16-March 31 9:00 am - 6:00 pm (last entry 5:30pm)
April 1-October 15 9:00 am - 6:30 pm (last entry 6pm)
Closed: January 1, Easter Sunday, May 1, December 25
Regular: 15.00€
Online Ticket Office
Shop, Library, Educational Services, Cession of spaces.
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A fundação da Abadia de Santa Maria de Alcobaça e respetiva Carta de Couto datam de 8 de abril de 1153. Os domínios da Ordem de Cister ficam assim consagrados. Os do Reino de Portugal, com a conquista das cidades de Santarém e de Lisboa, em 1147, avançaram para sul em direção à Linha do Tejo. Este facto obrigava a um povoamento rápido e eficaz para que a expansão cristã continuasse para sul. A proteção dos Coutos foi entregue à milícia da Ordem do Templo, isentando-os, tanto quanto possível, das investidas militares dos mouros. O ponto fulcral e irradiador de toda esta dinâmica era a própria abadia. A respetiva construção foi iniciada em 1178. Esta data está envolta em grande significado estratégico: quatro anos depois, São Bernardo foi canonizado. Será, decerto, uma das primeiras abadias da Ordem a ser construída já com esta intenção.
A importância do Mosteiro de Alcobaça evoluiu num crescendo cultural, religioso e ideológico. A sua monumentalidade é tanto mais evidente quanto mais límpida e austera é a sua arquitetura. Trata-se do primeiro ensaio de arquitetura gótica em Portugal, um modelo que ficou sem imediata continuidade e que não foi reproduzido a não ser muito mais tarde, funcionando como um polo quase isolado, uma joia branca na paisagem.
Mosteiro de Alcobaça · 2460-018 Alcobaça
T +351 262 505 120
E-mail: geral.malcobaca@museusemonumentos.pt
Site: www.mosteiroalcobaca.pt
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Horário de Verão: de 1 de abril a 31 de outubro, das 9h00 às 18h30 (última entrada às 18h00)
Encerrado: 1 de janeiro, domingo de Páscoa, 1 de maio, 20 de agosto, 25 de dezembro
Normal: 15,00 €
Bilheteira online
Loja, Cedência de espaços
Descubra o Mosteiro pelo Google Arts and Culture
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preserved medieval rooms make the Alcobaça Monastery a unique complex in the world, adding up to the later buildings, from the 16th to the 18th centuries, important testimonies of the evolution of Portuguese architecture. It is inscribed on the UNESCO World Heritage List since 1989.
The foundation of the Abbey of Santa Maria de Alcobaça and its Religious Charter date from April 8, 1153. The domains of the Cistercian Order were thus consecrated. The domains of the Kingdom of Portugal, after the conquest of the cities of Santarém and Lisbon in 1147 expanded towards the Tagus Line in the south. This required rapid and effective settlement for Christian expansion to continue southward. The protection of the religious locations was entrusted to the militia of the Order of the Temple, exempting them, as much as possible, from the military onslaughts of the Moors. The focal point was the abbey itself. Its construction began in 1178. This date is shrouded in great strategic significance: four years later, Saint Bernard was canonized. This was most probably one of the first abbeys of the Order to be built with this intention.
The importance of the Alcobaça Monastery evolved in cultural, religious and ideological crescendo. The more simple and clear the architecture, the more evident its grandeur becomes. It is the first example of Gothic architecture in Portugal, and while it had no immediate successors and was later reproduced, served as a unique landmark in the landscape. as an almost isolated pole, a white jewel in the landscape.
Mosteiro de Alcobaça · 2460-018 Alcobaça
T +351 262 505 120
E-mail: geral.malcobaca@museusemonumentos.pt
Site: www.mosteiroalcobaca.pt
","Horario":"November 1st to March 31st, 9:00 AM to 5:30 PM (last entry at 5:00 PM);
April 1st to October 31st, 9:00 AM to 6:30 PM (last entry at 6:00 PM).
Closed: 1st january, Easter sunday, 1st may, 20th august, 25th december
","Bilheteira":"
Regular: 15,00 €
Online Ticket Office
Shop, Cession of spaces
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D. Manuel I mandou construir a Torre de Belém com a finalidade de proteger, não apenas o porto de Lisboa, a barra do Tejo, mas também o Mosteiro dos Jerónimos, então em construção. Na época, a configuração da barra do Tejo proporcionava efetiva proximidade e ligação visual entre os dois empreendimentos régios – a Torre construiu-se no rio, a 250 metros da margem, sobre um afloramento basáltico, e o Mosteiro foi erigido na margem, em frente da praia do Restelo.
A excelência do edificado é devedora da experiência do primeiro mestre, Diogo de Boytac, e de outros notáveis arquitetos e escultores provenientes de diferentes regiões da Europa. Entre estes, destacam-se o biscainho João de Castilho, que dirigiu as obras a partir de 1517, após ter concluído o portal sul da igreja – ricamente decorado, onde se destacam as imagens do Santo Patrono de Portugal, Arcanjo S. Miguel (ao cimo), e a imagem de Santa Maria de Belém (ao centro) –, e o escultor francês Nicolau Chanterene, a quem se deve o portal ocidental. Este portal ostenta com visível aparato os retratos dos reis patronos, D. Manuel I e D. Maria de Castela, referidos pelos cronistas como sendo “tirados do natural”.
O conjunto monástico conserva, além da igreja manuelina, grande parte das magníficas dependências conventuais que contribuíram para a sua fama internacional, incluindo o claustro quinhentista, o antigo refeitório dos monges e a sala da antiga livraria.
","ContactoseLocalizacao":"Praça do Império · 1400-206 Lisboa
T +351 213 620 034
E-mail: geral.mjeronimos@museusemonumentos.pt
Website: https://mosteirojeronimos.torrebelem.gov.pt/
","Horario":"Claustro
Terça-feira a domingo 9h30-17h30 (última entrada às 17h00)
Igreja
Terça-feira a sábado 10h30-17h00
Domingos e feriados religiosos 14h00-17h00
Bilheteiras encerram às 16h30
Encerrado: Segundas-feiras, 1 de janeiro, domingo de Páscoa, 1 de maio, 13 de junho, 25 de dezembro
Normal: 18,00 €
Bilheteira online
Descubra o Mosteiro pelo Google Arts and Culture
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Elétricos: 15
Comboios: Estação de Belém
Barco: Estação Fluvial de Belém
Margarida Donas Botto
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Portugal"},"slug":"jeronimos-monastery","TextIntroducao":"The building was commissioned by King Manuel I, whose reign lasted between 1495 and 1521, and required large financial resources and very demanding artistic resources, made available by the powerful patron. It is located in one of the most qualified areas of Lisbon, a historical and monumental setting next to the Tagus River, where the ships and caravels departed at the time of the Discoveries.
D. Manuel I ordered the construction of the Tower of Belém in order to protect not only the port of Lisbon, the Tagus estuary, but also the Jerónimos Monastery, then under construction. At the time, the configuration of the Tagus estuary provided effective proximity and visual connection between the two royal developments – the Tower was built in the river, 250 meters from the bank, on a basaltic outcrop, and the Monastery was erected on the bank, in front of Restelo beach.
The excellence of the building is due to the experience of the first master, Diogo de Boytac, and other notable architects and sculptors from different regions of Europe. Among these, we highlight the work of João de Castilho, from Biscaye, who directed the works from 1517, after completing the south portal of the church – richly decorated, where the images of the Patron Saint of Portugal, Archangel S. Miguel (at the top), and the image of Santa Maria de Belém (at the centre) stand out –, and the French sculptor Nicolau Chanterene who designed the western portal. This portal bears with visible apparatus the portraits of the patron kings, D. Manuel I and D. Maria of Castile, referred to by chroniclers as being “taken from the natural”.
The monastic ensemble preserves, in addition to the Manueline church, a large part of the magnificent conventual dependencies that contributed to its international fame, including the 16th-century cloister, the old monks' refectory and the room of the old bookstore.
Praça do Império – 1400-206 Lisbon
T +351 213 620 034
Email: geral.mjeronimos@museusemonumentos.pt
Website: https://mosteirojeronimos.torrebelem.gov.pt/
","Horario":"
Cloister
Tuesday to Sunday 9:30am-5:30pm (last entry at 5:00pm)
Church
Tuesday to Saturday 10:30am-5:00pm
Sundays and religious holidays 2pm-5pm
Ticket office closes at 4:30 pm
Closed: Mondays, January 1, Easter Sunday, May 1, June 13, December 25
Regular: 18.00 €
Online Ticket Office
Cession of Spaces, Shop
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As coleções são o resultado de uma recolha sistemática levada a cabo por uma equipa liderada por António Maria Mourinho, o seu fundador, e são provenientes dos municípios de Miranda do Douro, Vimioso e Mogadouro. Encontram-se divididas em diferentes categorias: arqueologia, armas, artes e ofícios, caça, cerâmica, equipamento de uso doméstico, instrumentos musicais, numismática, objetos de uso ritual, pastoreio, cestaria, traje, transportes e vestuário.
É sobretudo no âmbito da etnografia que o Museu se propõe materializar uma abordagem à cultura da Terra de Miranda, remetendo o visitante para a ancestralidade e para o quotidiano da vida mirandesa.
","ContactoseLocalizacao":"Rua do Paço · 5210-000 Miranda do Douro
T +351 273 417 288
E-mail: mtm@museusemonumentos.pt
Site: www.museuterrademiranda.gov.pt
","Horario":"Terça-feira 14h00-17h30 | quarta-feira a domingo 9h30-13h00 | 14h00-17h30
Encerrado: 1 de janeiro, domingo de Páscoa, 10 de julho (Dia da Cidade), 1 de maio, 25 de dezembro
Transferido temporariamente para as instalações do antigo Paço Episcopal devido a obras de requalificação.
Entrada gratuita.
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de Miranda Museum, the archaeological and historical objects refer the visitor to the long hours of the Miranda do Douro region, to the specific nature of the Mirandese language and the role it plays in the creation and external acknowledgement of the cultural identity of this region.
Collections result from a systematic selection of items carried out by a team led by António Maria Mourinho, its founder, and come from the municipalities of Miranda do Douro, Vimioso and Mogadouro. They are divided into different categories: archaeology, weaponry, arts and crafts, hunting, ceramics, household equipment, musical instruments, numismatics, objects of ritual use, herding, wickerwork, costume, transportation and clothing.
This Museum proposes the materialisation of an approach to the culture of the Land of Miranda, particularly in the field of ethnography, referring the visitor to the ancestry and daily life of the people from Miranda.
Temporarily transferred to the premises of the former Bishop's Palace due to re-qualification works.
Rua do Paço · 5210-000 Miranda do Douro
T +351 273 417 288
E-mail: mtm@museusemonumentos.pt
Site: www.museuterrademiranda.gov.pt
","Horario":"Tuesday 2pm-5:30pm | Wedneday to Sunday 9:30am-1pm | 4pm-5:30pm
Closed: January 1st, Easter Sunday, May 1st,July 10th December 25th
Temporarily transferred to the facilities of the former Episcopal Palace due to renovation works.
Ticket 5€
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O acervo é quase todo de proveniência local e de arte sacra, integrando-se perfeitamente nos espaços arquitetónicos em que se encontra exposto. José Saramago, em Viagem a Portugal, dedicou-lhe estas palavras: “O que vale é acenar-lhe o guia com outras formosuras lá dentro das salas, e realmente não faltam, tantas que seria necessário um livro para descrevê-las: o altar de prata de D. João I e o loudel que vestiu em Aljubarrota, as Santas Mães, a setecentista Fuga para o Egipto, a Santa Maria, a Formosa, de Mestre Pêro, a Nossa Senhora e Menino, de António Vaz, com o livro aberto, a maçã e as duas aves, a tábua de Frei Carlos representando S. Martinho, S. Sebastião e S. Vicente, e mil outras maravilhas de pintura, escultura, cerâmica e prataria. É ponto assente para o viajante que o Museu de Alberto Sampaio contém uma das mais preciosas coleções de imaginária sacra existentes em Portugal, não tanto pela abundância, mas pelo altíssimo nível estético da grande maioria das peças, algumas verdadeiras obras-primas. Este Museu merece todas as visitas, e o visitante faz jura de cá voltar de todas as vezes que em Guimarães estiver.”
","ContactoseLocalizacao":"Rua Alfredo Guimarães · 4800-407 Guimarães
T +351 253 423 910
E-mail: masampaio@museusemonumentos.pt
Site: www.museualbertosampaio.gov.pt
","Horario":"Terça-feira a domingo, das 10h00 às 24h00 (durante os meses de julho e agosto)
Encerrado: 1 de janeiro, domingo de Páscoa, 1 de maio, 25 de dezembro
Claustro a ser intervencionado no âmbito das obras do PRR.
","Bilheteira":"Normal 5,00 €
Bilheteira online
Loja, Centro de Documentação/Biblioteca, Auditório, Sala de Conferências, Serviço Educativo
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Among the most noteworthy items in his collections are the gambeson (military vest) worn by D. João I during the Battle of Aljubarrota, and the Triptych of the Nativity made of golden silver, which he offered to Nossa Senhora da Oliveira as a token of gratitude for the victory achieved. It features fascinating collections, in particular: sculpture, represented by statues in limestone and wood from the 13th to the 18th centuries; the carving section, with emphasis on the 17th-century altarpiece that belonged to the Brotherhood of St. Peter and the baroque sides of the church of the Convent of Saint Claire; paintings, represented by frescoes and painting on wood-board; ceramics, consisting of examples of tiles and faïence; the textile collection, composed of liturgical clothing and a significant core of fabric samples; the jewellery collection, composed of liturgical implements – chalices, patenas, custodies, crosses and reliquaries –, of varied typology and function, which allow us to follow the evolution of taste from the 12th century to the 19th century.
The collection is composed almost entirely of works of local origin and sacred art, matching perfectly the architectural spaces it is displayed in. José Saramago, in his travel book Journey to Portugal, referred to this acquis in the following manner: “The visitor is lucky enough to have a guide pointing to the beauties, and there are so many, inside the many rooms. It would take a whole book to describe them: the silver altar of D. João I and the gambeson he wore in the battle of Aljubarrota, the Holy Mothers, the eighteenth-century Escape from Egypt, Santa Maria, Formosa, by Mestre Pêro, Nossa Senhora e Menino, by António Vaz, with the open book, the apple and the two birds, the tablet of Friar Carlos representing S. Martin, S. Sebastian and S. Vincent, and a thousand other wonders in the field of painting, sculpture, ceramics and silverware. The traveller acknowledges the fact that the Alberto Sampaio Museum contains one of the most precious collections of sacred imagery in Portugal, not so much for the abundance, but for the very high aesthetic level of the vast majority of items, some of them true masterpieces. This Museum is worth every visit, and the visitor swears to come back every time he is in Guimarães.\"
Rua Alfredo Guimarães · 4800-407 Guimarães
T +351 253 423 910
E-mail: masampaio@museusemonumentos.pt
Site: www.museualbertosampaio.gov.pt
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A Sala da Arqueologia Pré-Romana a e Sala da Romanização transportam-nos aos tempos mais remotos das comunidades humanas, mostrando-nos a forma como evoluíram ao longo de milénios.
O segundo piso convida-nos a conhecer a magnífica capela do antigo Paço Episcopal, desdobrando-se numa sucessão de salas que nos permitem observar os legados do Coronel Ramires (numismática) e da Família Sá Vargas (ourivesaria e mobiliário), bem como a coleção Cagigal (faiança portuguesa) e os bens adquiridos em hasta pública quando da criação do Museu, constituindo uma verdadeira memória patrimonial e artística da Diocese de Bragança-Miranda.
As últimas salas apresentam-nos as coleções de pintura. Reunidas em boa medida por intervenção de Raul Teixeira, constituem uma das mais significativas amostras da pintura naturalista em Portugal, com obras de Silva Porto ou Marques de Oliveira, mas também com a presença de obras de artistas tão significativos como Veloso Salgado, Aurélia de Souza, José Malhoa ou Sarah Affonso. Destaque também para uma significativa coleção de pintura de Abel Salazar, e para as magníficas ilustrações de Almada Negreiros para as obras Fábulas e O Pórtico e a Nave, de Joaquim Manso.
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The Territorial Room provides an overall picture and establishes a first contact with this region of the country through ethnographic, historical and artistic elements. Here, we can watch the charters of the main settlements of Trás-os-Montes or the papal bull that marks the creation of the Diocese of Miranda do Douro. The Abbot's Room plays tribute to the Museum's founders.
The Pre-Roman Archaeology Room and Romanization Room take us back to the most remote times of human communities, showing us how they have evolved over millennia.
The second floor invites us to visit the magnificent chapel of the old Episcopal Palace, unfolding in a succession of rooms where we can admire the legacies of Colonel Ramires (numismatics) and the Sá Vargas Family (jewellery and furniture), as well as the Cagigal collection (Portuguese faïence) and the assets acquired in public auctions when the Museum was created, a true patrimonial and artistic memory of the Diocese of Bragança-Miranda.
The last rooms introduce us to the painting collections. Gathered to a large extent by the intervention of Raul Teixeira, they are one of the most significant samples of naturalist painting in Portugal, with works by Silva Porto or Marques de Oliveira, but also given the existence of works by artists as significant as Veloso Salgado, Aurélia de Souza, José Malhoa or Sarah Affonso. It is also worth mentioning the significant collection of paintings by Abel Salazar, and the magnificent illustrations by Almada Negreiros for the works Fábulas and O Pórtico e a Nave, by Joaquim Manso.
Rua Abílio Beça, 27 · 5300-011 Bragança
T +351 273 331 595
E-mail: mabadebacal@museusemonumentos.pt
Site: www.museuabadebacal.gov.pt
","Horario":"Tuesday to Sunday 9:30am-12:30pm | 2pm-6pm
Closed: 1st january, Easter sunday, 1st may, 13th june, 22nd august, 25th december
Regular: 5,00 €
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No século XVII, a Casa foi propriedade de Constantino Ribeiro do Lago, uma grande figura bracarense da época, seguido no século seguinte pelos seus filhos, Diogo de Sousa e Silva e o Deão D. Francisco Pereira da Silva, cujos descendentes foram Condes de Bertiandos. O Palácio foi adquirido pela Assembleia Distrital de Braga em 1963 e, após significativas obras de restauro, abriu ao público como Museu em 1978.
O imóvel organiza-se em dois níveis distintos, que serviram de base ao desenvolvimento do Programa Museográfico: o piso térreo, que acolhe espaços funcionais como o Pátio de Honra Coberto, a Cavalariça, a Cocheira e a Cozinha; e o Andar Nobre, que reúne os espaços de aparato, destinados à sociabilização e à representação, incluindo a Escadaria Monumental, a Sala de Espera, o Salão Nobre, a Sala da Torre, a Sala do Concílio dos Deuses, a Sala de Música, a Sala dos Azulejos, a Sala de Jantar e o Pátio-Jardim Interior.
Neste contexto, o Programa assenta na valorização do próprio edifício — a sua mais expressiva componente —, que se assume como o cenário privilegiado para a apresentação de coleções de Arte, Artes Decorativas, Instrumentos Musicais e Meios de Transporte, entre outras.
Rua dos Biscainhos · 4700-415 Braga
T +351 253 204 650
E-mail: mbiscainhos@museusemonumentos.pt
Site: https://palaciodosbiscainhos.gov.pt/
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Última entrada às 12h15 e 17h15
Encerrado: 1 de janeiro, domingo de Páscoa, 1 de maio, 25 de dezembro
Normal (incluindo jardim) 7,5 €
Bilheteira online
Loja/Livraria, Biblioteca de jardim (Verão), Jardins históricos, Centro de Documentação/Biblioteca, Auditório, Serviço Educativo
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Braga dispõe de uma rede de transportes urbanos (TUB – Transportes Urbanos de Braga). Várias linhas (2, 43, 87, 74) para a poucos minutos a pé do museu. As principais paragens a considerar são “Rua dos Biscainhos” ou “Praça Conde de Agrolongo”, de onde poderá caminhar facilmente até ao Palácio dos Biscainhos.
De comboio
Caso opte pelo comboio, a Estação Ferroviária de Braga fica a cerca de 5 minutos a pé do Palácio.
De carro
Se viajar de carro, siga pela A3 ou A11 em direção a Braga. Uma vez na cidade, dirija-se ao centro histórico, seguindo as indicações para o “Centro”. O Palácio situa-se entre o Campo das Hortas e Campo da Vinha, tendo outras atratividades próximas como o Arco da Porta Nova e a Sé Catedral. Devido à localização em zona histórica, o acesso direto pode estar condicionado, sendo recomendada a utilização de parques de estacionamento públicos nas proximidades e a continuação do percurso a pé.
Fátima Pereira Rolim
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The Palace was acquired by the Braga District Assembly in 1963 and, after substantial restoration work, opened its doors to the public as a museum in 1978.
The property is organized in two distinct levels, which served as the basis for the development of the Biscainhos Musicographic Program: the ground floor, which houses functional spaces such as the Covered Court of Honour, the Horse Stable, the Coach House, and the Kitchen; and the Main Floor, which features the stately spaces intended for social gatherings and the display of status, including the Monumental Staircase, the Waiting Room, the Great Hall, the Tower Room, the ‘Divine Council’ Room, the Music Room, the Tiled Room, the Dining Room, and the Inner Courtyard-Garden.
In this context, our Program is based on the enhancement of the building itself — its most significant component — which serves as the privileged setting for the presentation of the Museum’s collections of Art, Decorative Arts, Musical Instruments, and Means of Transportation, among others.
Rua dos Biscainhos · 4700-415 Braga
T +351 253 204 650
E-mail: mbiscainhos@museusemonumentos.pt
Site: https://palaciodosbiscainhos.gov.pt/
","Horario":"Tuesday to Monday 10am-12:30pm | 4pm-5:30pm
Last Entry 12:30pm | 5:15pm12h15 e 17h15
Closed: 1st january, Easter sunday, 1st may, 25th december
Normal 7,5,00 €
Online Ticket Office
Shop, Bookshop, Cafeteria/Restaurant, Documentation Center/Library, Auditorium, Educational Services, Historical Gardens.
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Além das obras do artista que lhe dá nome, a coleção do Museu José Malhoa inclui trabalhos de Maria Helena Vieira da Silva, Columbano, Rafael Bordalo Pinheiro, Delfim Maya, entre outros artistas. A este acervo da exposição de longa duração somam-se várias exposições temporárias que o conectam a temáticas e artistas contemporâneos.
Classificado como Imóvel de Interesse Público em 2002, o Museu José Malhoa possui salas de impressionantes dimensões, com iluminação natural, cujo primeiro projeto arquitetónico data de 1940, realizado por Paulino Montês e Eugénio Correia.
A coleção transborda os limites do edifício e inclui uma exposição de esculturas no Parque D. Carlos I, onde se situa o Museu. Entre as árvores e os jardins do Parque, os visitantes podem conhecer trabalhos de vários artistas e gerações, como Leopoldo de Almeida, Leonor de Albuquerque Bettencourt e João Fragoso.
De forma a dinamizar as suas coleções e exposições temporárias, realiza as mais diversas atividades culturais, como visitas guiadas, concertos, palestras ou sessões de cinema. A instituição também possui uma biblioteca, com mais de cinco mil volumes, especializada em arte e cultura portuguesas.
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E-mail: mjosemalhoa@museusemonumentos.pt
De 1 de abril a 30 de setembro: das 10h00 às 12h30 e das 14h00 às 18h00.
De 1 de outubro a 31 de março: das 10h00 às 12h30 e das 14h00 às 17h30.
Terça-feira a domingo
Encerrado: Segunda-feira,1 de janeiro, domingo de Páscoa, 1 de maio, 15 de maio, 25 de dezembro
Normal 5,00 €
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In addition to the works of the artist who grants it its name, the collection of the José Malhoa Museum includes works by Maria Helena Vieira da Silva, Columbano, Rafael Bordalo Pinheiro, Delfim Maya, among other artists. Adding up to the long-term exhibition several temporary exhibitions are held establishing a link between this museum and contemporary themes and artists.
Classified as a Property of Public Interest in 2002, the José Malhoa Museum has rooms of impressive dimensions, with natural lighting. Its first architectural project dates back to 1940 and was designed by Paulino Montês and Eugénio Correia.
The collection goes beyond the limits of the building and includes an exhibition of sculptures in Park D. Carlos I, where the Museum is located. Among the trees and gardens of the Park, visitors can admire works by several artists and generations, such as Leopoldo de Almeida, Leonor de Albuquerque Bettencourt and João Fragoso.
To boost collections and temporary exhibitions this museum offers assorted cultural activities, such as guided tours, concerts, lectures or film screenings. The institution also has a library, with more than five thousand volumes, specialised in Portuguese art and culture.
Parque D. Carlos I · 2500-109 Caldas da Rainha
E-mail: mjosemalhoa@drcc.gov.pt
From April 1st to September 30th: 10:00 AM to 12:30 PM and 2:00 PM to 6:00 PM.
From October 1st to March 31st: 10:00 AM to 12:30 PM and 2:00 PM to 5:30 PM.
Tuesday to Sunday
Closed: 1st january, Easter sunday, 1st may, 15th may, 13th june, 25th december
Regular 5,00 €
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Pela sua raridade e importância, alguns dos instrumentos musicais da sua coleção encontram-se classificados como \"tesouros nacionais\". Destacam-se o cravo de Joaquim José Antunes, datado de 1758, o cravo de Pascal Taskin, construído em 1782 para a corte de Luís XVI de França, o piano Boisselot & Fils, que o virtuoso Franz Liszt trouxe para Lisboa durante a sua digressão ibérica de 1844-1845, ou o violoncelo stradivarius, datado de 1725, que pertenceu ao rei D. Luís.
A ideia de um museu de música aberto ao público tornou-se realidade em 1905, quando a coleção de instrumentos musicais de Alfredo Keil, compositor do hino nacional A Portuguesa, passou a ser visitável. À época, o projeto de criação de um museu de instrumentos musicais foi energicamente impulsionado pelo musicólogo Michel’angelo Lambertini, que promoveu a recolha de espécimes raros de diversas proveniências. Com apoio do melómano António Augusto de Carvalho Monteiro, o \"Monteiro dos Milhões\", este trabalho culminou em 1916 na criação do Museu Instrumental de Lisboa, onde Lambertini pôde juntar a sua própria coleção à de Alfredo Keil. Mais tarde, este legado é em grande parte incorporado no Museu Instrumental do Conservatório Nacional. Na década de 1970, por falta de espaço, o Museu Instrumental é obrigado a abandonar o Conservatório, e inicia-se uma fase atribulada na qual o seu acervo seria instalado, sucessivamente, no Palácio Pimenta, na Biblioteca Nacional e no Palácio-Convento de Mafra. Numa iniciativa conjunta de Lisboa 94 — Capital Europeia da Cultura, do Metropolitano de Lisboa e do Instituto Português de Museus, seria assinado um protocolo para o acolhimento temporário da coleção na estação de metro do Alto dos Moinhos, onde permaneceu até à inauguração das novas instalações no Real Edifício de Mafra, em 2025. Pelo meio, e até aos dias de hoje, a coleção continua a crescer graças à aquisição e à doação de testemunhos extraordinários da história da música em Portugal e no mundo.
Geral
Email: geral@museunacionaldamusica.pt
T. (+351) 91 349 16 10
Site: https://www.museunacionaldamusica.gov.pt/
Visitas guiadas: mediacao@museunacionaldamusica.pt
Propostas de programação: AQUI
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Encerrado: Terças-feiras, 1 de janeiro, Domingo de Páscoa, 1 de maio, Quinta-feira da Ascensão (Feriado Municipal) e 25 de dezembro
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Acessibilidades
O Museu Nacional da Música oferece soluções de acessibilidade para públicos com mobilidade reduzida, cegos ou com baixa visão, s/Surdos, com transtornos do espectro autista ou mais genericamente com algum tipo de hipersensibilidade. Mais informações em breve.
Descubra o Museu pelo Google Arts and Culture
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O concelho de Mafra integra a rede de transportes públicos da Carris Metropolitana que abrange toda a Área Metropolitana de Lisboa. Ir de autocarro direto desde Lisboa (Campo Grande) é provavelmente mais prático, pois há linhas de autocarro que vão até Mafra parando perto do museu, como o 2802 (Mafra) ou 2803 (Ericeira). Os autocarros 2740, 2804 ou o 2805 são uma alternativa um pouco mais demorada.
De comboio
A Estação de Mafra que serve a cidade, na Linha do Oeste, fica a 8 km do Real Edifício de Mafra. Esta linha é usada pelos serviços Regionais e InterRegionais. Depois de sair da estação, é possível apanhar um autocarro da rede local até uma paragem junto ao Museu. Para mais informações consultar Comboios de Portugal cp.pt e carrismetropolitana.pt
De carro
Vindo de Lisboa pela A8: Calçada de Carriche, A8, Saída 5 — Malveira/Mafra, A21 - Vindo de Lisboa pelo IC19: Siga em direção a Sintra, Saia na indicação de Ericeira/Praias - Vindo da A1 (Porto-Lisboa): Sair da A1 para a CREL em direção a Torres Vedras (A8), Saída 5 — Malveira/Mafra, A21
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museum open to the public became a reality in 1905, when the collection of musical instruments belonging to Alfredo Keil, composer of the national anthem A Portuguesa, was opened to visitors. At the time, the project to create a museum of musical instruments was energetically promoted by musicologist Michel'angelo Lambertini, who encouraged the collection of rare specimens from various sources. With the support of music lover António Augusto de Carvalho Monteiro, known as “Monteiro dos Milhões,” this work culminated in 1916 with the creation of the Lisbon Instrumental Museum, where Lambertini was able to add his own collection to that of Alfredo Keil. Later, this legacy was largely incorporated into the Instrumental Museum of the National Conservatory. In the 1970s, due to lack of space, the Instrumental Museum was forced to leave the Conservatory, and a troubled period began in which its collection was successively housed in the Pimenta Palace, the National Library, and the Mafra Palace-Convent. In a joint initiative between Lisbon 94 — European Capital of Culture, Lisbon Metro, and the Portuguese Institute of Museums, a protocol was signed for the temporary housing of the collection at the Alto dos Moinhos metro station, where it remained until the inauguration of the new facilities at the Royal Building of Mafra in 2025. In the meantime, and to this day, the collection continues to grow thanks to the acquisition and donation of extraordinary testimonies to the history of music in Portugal and around the world.
With around five hundred pieces on display, the National Music Museum also houses a collection of over a thousand musical instruments in its reserves, as well as instrument-making tools, audio equipment, various accessories, sheet music, phonograms, iconography, and varied documentation.
Due to their rarity and importance, some of the musical instruments in its collection are classified as “national treasures.” Highlights include the harpsichord by Joaquim José Antunes, dated 1758, Pascal Taskin's harpsichord, built in 1782 for the court of Louis XVI of France, the Boisselot & Fils piano, which the virtuoso Franz Liszt brought to Lisbon during his Iberian tour of 1844-1845, and the Stradivarius cello, dated 1725, which belonged to King Luís.
General Information
Email: geral@museunacionaldamusica.pt
T. (+351) 91 349 16 10
Website: https://www.museunacionaldamusica.gov.pt/
Guided Tours: mediacao@museunacionaldamusica.pt
Programming proposals: Here
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Regular 10,00 €
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O MNAC nasce da divisão do antigo Museu Nacional de Belas-Artes e Arqueologia em dois museus distintos: o Museu Nacional de Arte Antiga, que herdou daquele as obras realizadas até 1850 e continuou instalado no Palácio Alvor, e o Museu Nacional de Arte Contemporânea, constituído por todas as obras posteriores a esta data, ficando instalado no Convento de São Francisco, num espaço vizinho da Academia de Belas-Artes.
As exposições apresentam pintura, escultura e desenho do período entre 1850 e 1975, através de obras e autores de referência do século XIX, do romantismo ao simbolismo, e do século XX, entre as ruturas do início do século, o modernismo e a arte conceptual. As obras entre 1975 e a atualidade são objeto de exposições temporárias, segundo eixos temáticos e uma programação regular que, embora percorrendo todo o período das coleções, se centra na produção contemporânea, com especial atenção à fotografia e ao multimédia.
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T +351 213 432 148
E-mail: geral.mnac@museusemonumentos.pt
Site: www.museuartecontemporanea.gov.pt
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Loja, Cafetaria, Centro de Documentação/Biblioteca, Jardim de Escultura Portuguesa
Descubra o Museu pelo Google Arts and Culture
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In 2015, it also occupied the building of the former Civil Government of Lisbon, at Rua Capelo.
The National Museum of Contemporary Art of Chiado was born from the division of the former National Museum of Fine Arts into two distinct museums: the National Museum of Ancient Art, which inherited the works made until 1850 and continued to be installed in the Alvor Palace, and the National Museum of Contemporary Art, consisting of all works after this date, and is now located in the Convent of São Francisco, in building close to the Academy of Fine Arts.
Its exhibitions feature paintings, sculptures and drawings from the period between 1850 and 1975, through works and authors of reference from the 19th century, from romanticism to symbolism, and from the 20th century, between the ruptures of the beginning of the century, modernism and conceptual art. The works between 1975 and the present day are the focus of temporary exhibitions, according to thematic axes and a regular schedule that, although covering the entire period of the collections, focuses rather on contemporary production, with a particular focus on photography and multimedia.
Rua Serpa Pinto, 4 · 1200-444 Lisboa
T +351 213 432 148
E-mail: geral.mnac@museusemonumentos.pt
Site: www.museuartecontemporanea.gov.pt
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O Museu Nacional de Conímbriga tem como missão tutelar as ruínas, promover a sua exposição ao público e prosseguir a investigação arqueológica. O acervo é composto pelos materiais arqueológicos recolhidos na cidade e a atual exposição permanente apresenta os objetos de uso quotidiano, evoca o fórum monumental, a riqueza das domus, a pujança do seu comércio, a religião e crendices da população romanizada e a presença suevo-visigótica. Destacam-se os mosaicos preservados in situ e a Casa dos Repuxos, que possui uma área pavimentada de mosaico, importantes vestígios de pintura mural e um peristilo central ajardinado com um lago e jogos de água.
As ruínas da cidade romana de Conímbriga são conhecidas desde o século XVI. Em 1873, o Instituto de Coimbra criou uma secção e um Museu de Arqueologia e deu início ao estudo de Conímbriga. Em 1899, concretizaram-se as primeiras sondagens de vulto, o desenho da planta do oppidum e os primeiros levantamentos de mosaicos. A partir de 1929, iniciaram-se em Conímbriga escavações sistemáticas, impulsionadas pela realização do XI Congresso Internacional de Antropologia e Pré-História. Os resultados motivaram o Estado a adquirir em 1930 a maioria dos terrenos. Nos anos 40 e 50 do século XX, foram realizadas obras de reconstituição e consolidação das ruínas, especialmente dos mosaicos.
Rua Professor Vergílio Correia · 3150-220 Condeixa-a-Velha
T +351 239 949 110
E-mail: geral.mnconimbriga@conimbriga.pt
Site: https://www.conimbriga.pt
","Horario":"Segunda-feira a domingo 10h00-18h00 (encerramento da bilheteira 17h15)
Encerrado: 1 de janeiro, domingo de Páscoa, 1 de maio, 24 de julho, 24 e 25 de dezembro
Normal 10,00 €
Bilheteira online
Loja, Restaurante, Centro de Documentação/Biblioteca, Serviço Educativo, Auditório
Descubra o Museu pelo Google Arts and Culture
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National Museum","createdAt":"2024-04-09T10:36:10.920Z","updatedAt":"2026-08-06T10:33:18.038Z","publishedAt":"2026-08-06T10:33:19.057Z","locale":"en","Mapa":{"id":"address.2272605083485646","text":"Rua Professor Vergílio 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Portugal","place_type":["address"],"properties":{"accuracy":"street","mapbox_id":"dXJuOm1ieGFkci1zdHI6ZjUwMGY4MjUtMzVlYy00MWI1LTk3NDUtMjc0NTg4ZDUxNmU2"},"text_en-US":"Rua Professor Vergílio Correia","place_name_en-US":"Rua Professor Vergílio Correia, 3150-220 Condeixa-A-Velha, Coimbra, Portugal","matching_place_name":"Rua Professor Vergílio Correia, 3150-220 Condeixa-A-Velha, Coimbra, Portugal"},"slug":"conimbriga-national-museum","TextIntroducao":"Archaeological research preceded the creation of the Museum. A long research process began in the nineteenth century and was consolidated in the twentieth century, especially after the classification of the archaeological site as a National Monument in 1910.
The Conimbriga National Museum mission is to protect the ruins, promote their exposure to the public and continue archaeological research. The collection consists of archaeological materials collected in this town and the current permanent exhibition features objects of daily use, evokes the monumental forum, the richness of the several domus, the strength of their trade, and the religion and beliefs of the Romanized population and the Suevo-Visigothic presence. The mosaics preserved in situ and Casa dos Repuxos, featuring a mosaic paved area, important traces of mural painting and a central landscaped peristyle with a lake and water games stand out here.
The ruins of the Roman town of Conímbriga have been known since the 16th century. In 1873, the Institute of Coimbra created a section and a Museum of Archaeology and started studying Conímbriga. In 1899, the first major surveys, the design of the oppidum plan and the first mosaic surveys were carried out. From 1929, systematic excavations began in Conímbriga, driven by the hosting of the XI International Congress of Anthropology and Prehistory. The results motivated the State to acquire most of the land in 1930. In the 1940s and 1950s, works were carried out to rebuild and consolidate the ruins, especially the mosaics.
Rua Professor Vergílio Correia · 3150-220 Condeixa-a-Velha
T +351 239 941 177
E-mail: geral.mnconimbriga@conimbriga.pt
Site: https://www.conimbriga.pt
","Horario":"Monday to Sunday 10am-6pm (ticket office closes at 5:15pm)
Closed: 1st january, Easter sunday, 1st may, 24th july, 25th december
Regular: 10,00 €
Online Ticket Office
Shop, Restaurant, Documentation Center/Library, Educational Service, Auditorium.
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Do diversificado acervo do museu, importa referir a preocupação que acompanhou a constituição sistemática das suas principais coleções. Assim foi com aquelas que se referem ao domínio da cultura material em contexto português, que corresponde a campos de investigação traduzida em monografias que fornecem o quadro de interpretação para os objetos coletados. São disso exemplo os estudos sobre os arados, os sistemas de atrelagem, os equipamentos associados às atividades agro-marítimas, a tecnologia têxtil, a generalidade da alfaia agrícola. Outras coleções foram resultado de campanhas conduzidas de modo a representar outras áreas do globo, no sentido da afirmação universalista do museu, o que aconteceu, por exemplo, com a Amazónia brasileira ou a Indonésia, entre meados dos anos 60 e o começo dos anos 70.
São duas as principais ideias que afirmam o programa museológico do Museu Nacional de Etnologia: a ausência de exposição permanente, privilegiando as exposições temporárias que permitem problematizar, aprofundar o conhecimento e divulgar junto do público coleções e temas específicos; e a organização de reservas de modo a facultar o seu acesso aos investigadores e uma perceção visual da totalidade do seu acervo.
Uma das vertentes do trabalho do grupo de antropólogos que criou o Museu Nacional de Etnologia foi o recurso à imagem. Com eles, começa a constituição de um fundo documental de capital importância para o conhecimento do país, constituído por fotografia em todo o tipo de suporte, por filme em película e, a partir dos anos 90, por gravações vídeo. Além destes arquivos de imagem, também os arquivos sonoros são um campo de conservação patrimonial e de consulta parcialmente acessíveis na Biblioteca/Mediateca do Museu.
","ContactoseLocalizacao":"Avenida da Ilha da Madeira · 1400-203 Lisboa
T +351 213 041 160/ 9
E-mail: geral.mnetnologia@museusemonumentos.pt
Site: https://mnetnologia.wordpress.com/
","Horario":"Quarta-feira a segunda-feira 10h00-18h00
Encerrado: terça-feira, 1 de janeiro, domingo de Páscoa, 1 de maio, 13 de junho, 25 de dezembro
Normal: 10,00 €
Bilheteira online
Cafetaria/Restaurante, Biblioteca/Mediateca, Serviço Educativo, Cedência de espaços
Descubra o Museu pelo Google Arts and Culture
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Museum of Ethnology","createdAt":"2023-12-12T16:09:14.419Z","updatedAt":"2026-09-28T16:02:50.133Z","publishedAt":"2026-09-28T16:02:50.824Z","locale":"en","Mapa":{"id":"address.288361930468236","text":"Rua Rui Pereira","type":"Feature","center":[-9.20814,38.704095],"context":[{"id":"postcode.1261440698","text":"1400-376","mapbox_id":"dXJuOm1ieHBsYzpTekFPdWc"},{"id":"locality.551610","text":"São Francisco Xavier","wikidata":"Q972747","mapbox_id":"dXJuOm1ieHBsYzpDR3E2"},{"id":"place.14674106","text":"Lisbon","wikidata":"Q597","mapbox_id":"dXJuOm1ieHBsYzozK2k2"},{"id":"region.9402","text":"Lisbon","wikidata":"Q207199","mapbox_id":"dXJuOm1ieHBsYzpKTG8","short_code":"PT-11"},{"id":"country.8890","text":"Portugal","wikidata":"Q45","mapbox_id":"dXJuOm1ieHBsYzpJcm8","short_code":"pt"}],"geometry":{"type":"Point","coordinates":[-9.20814,38.704095]},"relevance":1,"place_name":"Rua Rui Pereira, 1400-376 Lisbon, Lisbon, Portugal","place_type":["address"],"properties":{"accuracy":"street"}},"slug":"national-museum-of-etnology","TextIntroducao":"The building where the Museum currently stands was inaugurated in 1976 and was designed by architect António Saragga Seabra. In 2000, architect Eduardo Trigo de Sousa shaped the project to expand the building, creating a library/media library space, two reserve areas and the surrounding garden. The new reserves, which can now be visited – Galeries of Rural Life and Galleries of the Amazon – were inaugurated in 2000 and 2006, respectively.
From the museum's diverse collection, it is important to mention the concern that accompanied the systematic constitution of its main collections. The same goes for those that refer to the domain of material culture in the Portuguese context, which corresponds to fields of investigation translated into monographs that provide the framework of interpretation of the collected objects. Examples include studies on ploughs, coupling systems, equipment associated with agro-maritime activities, textile technology, and the most agricultural implements. Other collections were the result of campaigns conducted to represent other areas of the globe, in line with the universalist nature of the museum as was the case with the Brazilian Amazon or Indonesia representations, between the mid-1960s and the beginning of the 1970s.
There are two main ideas that affirm the museological program of the National Museum of Ethnology: the absence of a permanent exhibition, privileging temporary exhibitions to problematize, deepen knowledge and disseminate specific collections and themes to the public; and the organization of reserves to provide researchers access to them and visual perception of the entire collection.
Behind the work of the group of anthropologists who created the National Museum of Ethnology was the use of image. With them, the establishment of a documentary fund of capital importance for the knowledge of the country began, consisting of photography in all types of media, film and, after the 1990s, video recordings. In addition to these image archives, the sound archives are also a field of heritage conservation and partially accessible for consultation in the Library/Mediatheque of the Museum.
Avenida da Ilha da Madeira 1400-203 Lisboa
GPS: Lat: 38.704894018168346 Long: -9.208519055433726
T+351 213 041 160/ 9
E-mail: geral.mnetnologia@museusemonumentos.pt
Site: https://mnetnologia.wordpress.com/
Wednesday to monday, from 10am to 6pm (last entry 5:30pm).
Closed: Tuesday, 1st january, Easter sunday, 1st may, 13th june, 25th december
Regular: 10,00
Online Ticket Office
Shop, Educational Services, Library, Cession of spaces, Auditorium
Gonçalo de Carvalho Amaro
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A coleção do Museu Nacional do Azulejo abrange a produção azulejar da segunda metade do século XV até à atualidade. Além do azulejo, a coleção integra peças de cerâmica, porcelana e faiança dos séculos XVI a XXI. No início da exposição permanente encontra-se um pequeno núcleo que ilustra os materiais e técnicas de manufatura do azulejo. A partir desta introdução, o percurso expositivo segue uma organização cronológica.
No seu vasto e precioso acervo, encontramos alguns dos nossos “tesouros nacionais”, como os painéis Caça ao Leopardo (1650-1655), Cortejo de Galateia com Sileno e Triunfo de Anfitrite e Neptuno (c. 1670), História do Chapeleiro António Joaquim Carneiro (c. 1800), Lição de Dança (c. 1707), de Willem van der Kloet, ou o monumental Grande Panorama de Lisboa, atribuído a Gabriel del Barco (1649-1703), um mestre espanhol que retratou a cidade antes do terramoto de 1755. Destaque ainda para o Retábulo de Nossa Senhora da Vida (1580), atribuído ao pintor português Marçal de Matos, uma das peças mais importantes da história da azulejaria portuguesa, e para o Presépio do Convento da Madre de Deus (c. 1750), de António Ferreira, obra de primeira grandeza da escultura barroca em Portugal.
Fundado em 1509 pela rainha D. Leonor, o edifício do Convento da Madre de Deus sofreu transformações devido a diversas campanhas de obras, salientando-se o claustro maneirista do século XVI; a igreja, decorada com importantes conjuntos de pinturas e revestimentos azulejares; a sacristia, com um arcaz de madeira do Brasil e emolduramentos de talha integrando pinturas; o coro alto, com rica ornamentação em talha dourada; e a capela de Santo António, com decoração barroca setecentista e uma grande quantidade de telas da autoria do pintor André Gonçalves.
","ContactoseLocalizacao":"Rua Madre de Deus, 4 · 1900-312 Lisboa
T + 351 218 100 340
E-mail: geral.mnaz@museusemonumentos.pt
Site: https://www.museunacionaldoazulejo.pt/
","Horario":"Terça-feira a domingo 10h00-18h00 (última entrada às 17h15)
Encerrado: 1 de janeiro, domingo de Páscoa, 1 de maio, 13 de junho, 25 de dezembro
Encerrado ao público para obras de requalificação no âmbito do PRR.
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Loja, Restaurante e cafetaria, Centro de Documentação/Biblioteca, Serviço Educativo, Cedência de espaços
Descubra o Museu pelo Google Arts and Culture
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Metro: Estação de Santa Apolónia
Rosário Salema de Carvalho
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In addition to glazed tiles, the collection includes ceramic, porcelain and faïence items from the 16th to 21st centuries. At the start of the permanent exhibition lies a small section showcasing glazed tile materials and manufacturing techniques. After this introduction section, the exhibition is organized chronologically.
The collection holds some of Portugal's \"national treasures\", such as the Caça ao Leopardo panels from 1650-1655, Cortejo de Galateia com Sileno and Triunfo de Anfitrite and Neptuno from around 1670, História do Chapeleiro António Joaquim Carneiro from around 1800, Dance Class from 1707 by Willem van der Kloet, and the monumental Grande Panorama de Lisboa, attributed to Gabriel del Barco (1649-1703), a Spanish master who portrayed the city before the earthquake of 1755. Also worth mentioning is the Retábulo de Nossa Senhora da Vida (1580), attributed to the Portuguese painter Marçal de Matos, one of the most important items in the history of Portuguese glazed tiles, and Cena da Natividade no Convento da Madre de Deus (c. 1750), by António Ferreira, a prime work of Baroque sculpture in Portugal.
Founded in 1509 by Queen Leonor, the building of the Madre de Deus Convent underwent a number of transformations due to several campaigns of works, in particular in the 16th-century Mannerist cloister; the church, decorated with important paintings and glazed tile coverings; the sacristy, with a wooden archaic from Brazil and carving frames integrating paintings; the high choir, with rich ornamentation in gilded carving; and the chapel of Santo António, with eighteenth-century baroque decoration and a large number of canvases by painter André Gonçalves.
Rua Madre de Deus, 4 · 1900-312 Lisboa
T + 351 218 100 340
E-mail: geral.mnazulejo@museusemonumentos.pt
Site: https://www.museunacionaldoazulejo.pt/
","Horario":"Tuesday to Sunday, 10am-6pm ( Last entry 5:15pm)
Closed: 1st january, Easter Sunday, 1st may, June 13th, December 25th
Closed to the public for construction works as part of the PRR (Recovery and Resilience Plan).
","Bilheteira":"Regular 10,00 €
Shop, Restaurant, Coffe shop, Documentation Center/ Library, Educational Services, Cession of spaces.
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Metro: Estação de Santa Apolónia
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Estrada do Lumiar, 10 · 1600-495 Lisboa
Ticket office/Shop: 913 556 113
E-mail: geral.mnteatroedanca@museusemonumentos.pt
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Do acervo de vinte mil peças, destaca-se uma coleção que permite reconstituir a história da pintura antiga portuguesa, desde A Virgem com o Menino (c. 1410), de Álvaro Pires de Évora, o Tríptico do Bom Jesus de Valverde (1544), de Gregório Lopes, ou São Jerónimo, Santo António e São Dinis, de Diogo de Contreiras (século XVI), a obras de importantes pintores luso-flamengos como Francisco Henriques e Frei Carlos. Na coleção de escultura, destacam-se os elementos de arquitetura provenientes de monumentos da cidade e importantes exemplares de tumulária dos séculos XIV ao XVIII, com relevo para as obras atribuídas a Nicolau de Chanterene (primeira metade do século XVI) ou o túmulo de Fernão Gonçalves Cogominho (c. 1364).
As coleções apresentam importantes núcleos de ourivesaria, numismática, naturalia (objetos exóticos do mundo natural) e arqueologia, estas três últimas constituídas essencialmente por peças reunidas pelo arcebispo Frei Manuel do Cenáculo. Refira-se ainda a coleção Leonor Pina, com o fantástico espólio da Anta Grande do Zambujeiro, e a chamada coleção do Hospital, com achados referentes a outras antas do concelho de Évora, Herdade das Casas, Castelo da Lousa e Castelo do Geraldo.
Tem como anexo, desde 1917, a Igreja de Nossa Senhora das Mercês, edifício do século XVII que já correspondeu à secção de Artes Decorativas do Museu, encontrando-se encerrada por razões de conservação.
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T + 351 266 730 480
E-mail: geral.mnfmc@museusemonumentos.pt
Terça-feira a domingo 9h30-13h00 | 14h00-17h30 (última entrada às 17h00)
Encerrado: Domingo de Páscoa, 1 de maio, 1 de janeiro, 25 de dezembro, 29 de junho (feriado municipal)
Normal: 10,00 €
Bilheteira online
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From the collection of twenty thousand pieces, we would like to highlight a collection that allows us to trace the history of ancient Portuguese painting (c. 1410), by Álvaro Pires de Évora, the Tríptico do Bom Jesus de Valverde (1544), by Gregório Lopes, or São Jerónimo, Santo António e São Dinis, by Diogo de Contreiras (16th century), and works by important Portuguese-Flemish painters such as Francisco Henriques and Friar Carlos. In the sculpture collection, the architectural elements from the city's monuments and important examples of tombs from the 14th to the 18th centuries stand out, with emphasis on the works attributed to Nicolau de Chanterene (first half of the 16th century) or the tomb of Fernão Gonçalves Cogominho (c. 1364).
The collections showcase important nuclei of goldsmithing, numismatics, naturalia (exotic objects of the natural world) and archaeology, the latter three consisting essentially of pieces gathered by Archbishop Frei Manuel do Cenáculo. It is also worth mentioning the Leonor Pina collection, with the fantastic collection of Anta Grande do Zambujeiro, and the so-called Hospital collection, with findings referring to assorted tapirs in the municipality of Évora, Herdade das Casas, Castelo da Lousa and Castelo do Geraldo.
Since 1917, the museum expanded to the adjoined Church of Nossa Senhora das Mercês, a 17th-century building that once corresponded to the Decorative Arts section of the Museum, now closed for conservation purposes.
","ContactoseLocalizacao":"Largo do Conde de Vila Flor · 7000-804 Évora
T + 351 266 730 480
E-mail: geral.mnfmc@museusemonumentos.pt
Tuesday to Sunday 9:30am-1pm | 2pm-5:30pm (Last entry 5pm)
Closed: 1st january, Easter sunday, 1st may, 29th june (municipal holiday) , 25th december.
Regular: 10,00 €
Online Ticket Office
Sandra Leandro
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O Museu Nacional Grão Vasco expõe, como coleção principal, um conjunto notável de pinturas de retábulo da primeira metade do século XVI, da autoria de Grão Vasco, de colaboradores e contemporâneos. A estas obras executadas maioritariamente para a Catedral de Viseu juntam-se outras provenientes de igrejas da região, assim como depósitos de outros museus. O Museu expõe também coleções de pintura, escultura, ourivesaria, faiança portuguesa, porcelana oriental, mobiliário e marfins, do românico ao barroco, assim como objetos e suportes figurativos originalmente destinados a práticas litúrgicas.
A coleção de pintura portuguesa, dos séculos XIX e XX, assume um relevo especial, por integrar obras de artistas muito significativos no contexto da produção deste período, como Columbano Bordalo Pinheiro, José Malhoa, Alfredo Keil, Soares dos Reis, Silva Porto, António Ramalho ou Sousa Lopes. O Museu possui ainda importantes coleções de arte russa, arqueologia, mineralogia, numismática e desenho.
Merecem especial destaque as 24 peças classificadas como Bens Culturais Móveis de Interesse Nacional, vulgarmente conhecidos como “tesouros nacionais”, como o Antigo Retábulo da Capela-mor da Sé de Viseu, de Grão Vasco e Francisco Henriques. Pintado entre 1501 e 1506, o retábulo era nessa altura formado por 18 painéis que estavam dispostos em três filas, colocadas numa estrutura de talha dourada. Com as posteriores obras de alargamento da capela-mor, o altar de talha foi desmantelado e as pinturas colocadas noutros espaços. Para além de ser um conjunto de pintura antiga de grande mestria, o facto de a imagem do rei mago negro Baltazar, no painel da Adoração dos Magos, ser aqui substituída pela primeira representação de um índio do Brasil na arte ocidental, torna este retábulo numa peça de excecional valor iconográfico, artístico e histórico.
","ContactoseLocalizacao":"Paço dos Três Escalões, Adro da Sé · 3500-195 Viseu
T +351 232 422 049
E-mail: geral.mngv@museusemonumentos.pt
Site: www.museunacionalgraovasco.gov.pt
","Horario":"Terça feira a domingo 10h00-13h00 | 14h00-18h00
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Normal 10,00 €
Bilheteira online
Loja, Cafetaria, Centro de Documentação/Biblioteca, Auditório, Serviço Educativo, Cedência de espaços
Descubra o Museu pelo Google Arts and Culture
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During the 18th century, the second floor was built. In the 19th century, it moved from church ownership to the public domain, housing, among other services, the Museum and its valuable collections.
The Grão Vasco National Museum exhibits, as main collection, a remarkable set of altarpiece paintings from the first half of the 16th century, by Grão Vasco, collaborators and contemporaries. The works executed mainly for the Cathedral of Viseu added to others from churches in the region and items from other museums. The Museum also exhibits collections of paintings, sculpture, jewellery, Portuguese faïence, oriental porcelain, furniture and ivory, from the Romanesque to the Baroque, as well as objects and figurative supports originally intended for liturgical practices.
The collection of Portuguese paintings, from the 19th and 20th centuries, assumes a special importance, as it integrates works by very significant artists in the context of the production of this period, such as Columbano Bordalo Pinheiro, José Malhoa, Alfredo Keil, Soares dos Reis, Silva Porto, António Ramalho or Sousa Lopes. The Museum also has important collections of Russian art, archaeology, mineralogy, numismatics and drawing.
It is worth mentioning the 24 items classified as Movable Cultural Property of National Interest, commonly known as \"national treasures\", such as the Old Altarpiece of the Main Chapel of the Cathedral of Viseu, by Grão Vasco and Francisco Henriques. Painted between 1501 and 1506, the altarpiece was formed at the time by 18 panels displayed in three rows, placed in a gilded carved structure. With the subsequent enlargement works of the main chapel, the carved altar was dismantled and the paintings moved to other spaces. In addition to being a set of ancient paintings of great mastery, the fact that the image of the black wise man King Balthazar, on the panel of the Adoration of the Magi, was replaced by the first representation of an Indian from Brazil in Western art, makes this altarpiece a piece of exceptional iconographic, artistic and historical value.
Paço dos Três Escalões, Adro da Sé · 3500-195 Viseu
T +351 232 422 049
E-mail: geral.mngv@museusemonumentos.pt
Site: www.museunacionalgraovasco.gov.pt
","Horario":"Tuesday to Sunday 10am-1pm | 2pm-6pm
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Regular 10,00 €
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Shop, Cafeteria, Documentation Center/Library, Auditorium, Educational Service, Cession of spaces
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A 7 de fevereiro de 2018, foi lançado o concurso público de arquitetura, incidindo a escolha final no projeto do Atelier AR4, sob a coordenação de João Barros Matos. O projeto de arquitetura assenta na preservação e valorização dos espaços e edifícios existentes, tendo em conta a sua importância como testemunho e memória. O antigo estabelecimento prisional organizava-se em núcleos separados e independentes, cada um constituído por blocos de celas e pátio. A adaptação do conjunto a museu prevê a reorganização e sobreposição de percursos de diferentes naturezas, que permitem relacionar os edifícios e os pátios do núcleo central e as plataformas circundantes. Entre estes, destaca-se o próprio percurso museológico através dos edifícios e pátios da antiga prisão política e o percurso de visita aos elementos da fortaleza do século XVI, como matriz de arquitetura militar do conjunto.
Em 25 de abril de 2019, a Fortaleza de Peniche – classificada como Monumento Nacional desde 1938 – foi palco da exposição Por Teu Livre Pensamento e da inauguração do Memorial aos Presos Políticos. Na exposição, resgataram-se momentos marcantes da história contemporânea a partir de documentos, fotografias e objetos que integrarão o acervo do futuro Museu. No Memorial, uma peça de grandes dimensões em aço corten, estão gravados os nomes dos cerca de 3 mil presos políticos que passaram pela Cadeia de Peniche.
O Museu Nacional Resistência e Liberdade – Fortaleza de Peniche foi inaugurado oficialmente no dia 27 de abril de 2024, exatamente 50 anos depois da libertação dos presos políticos do Forte de Peniche, quando os portões das várias prisões do Estado Novo se abriram depois de 48 anos de repressão e ditadura, afirmando-se como um espaço de memória histórica e símbolo da coragem dos milhares de portugueses que sacrificaram a liberdade e a vida na luta pela democracia.
De âmbito multidisciplinar, a criação do Museu Nacional Resistência e Liberdade veio posicionar Portugal no roteiro internacional dos chamados Museus de Memória, evocativos de lutas travadas em nome da liberdade e dos direitos humanos.
","ContactoseLocalizacao":"Campo da República, 609 · 2520-607 Peniche
E-mail: geral.mnrl@museusemonumentos.pt
Site: www.mnrl.pt
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Encerrado: segundas-feiras, 1 de janeiro, Domingo de Páscoa, 1 de maio, 25 de dezembro
Normal 10,00 €
Bilheteira online
O Memorial, o Parlatório, o espaço exterior da Fortaleza, a Capela de Santa Bárbara e a Livraria são de visita gratuita.
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Museum of Resistance and Freedom","createdAt":"2024-04-08T13:37:31.835Z","updatedAt":"2026-08-06T10:41:15.773Z","publishedAt":"2026-08-06T10:41:16.262Z","locale":"en","Mapa":{"id":"address.8797599389823988","text":"Rampa Do Campo Da República","type":"Feature","center":[-9.379751,39.353843],"context":[{"id":"region.42170","text":"Leiria","wikidata":"Q244512","mapbox_id":"dXJuOm1ieHBsYzpwTG8","short_code":"PT-10"},{"id":"country.8890","text":"Portugal","wikidata":"Q45","mapbox_id":"dXJuOm1ieHBsYzpJcm8","short_code":"pt"}],"geometry":{"type":"Point","coordinates":[-9.379751,39.353843]},"relevance":1,"place_name":"Rampa Do Campo Da República, Leiria, Portugal","place_type":["address"],"properties":{"accuracy":"street"}},"slug":"national-museum-of-resistance-and-freedom","TextIntroducao":"The Council of Ministers, held in the Fortress of Peniche on May 6, 2017, by the 21st Constitutional Government, decided on the creation of a National Museum in this location to preserve the memory of 48 years of suppression of freedom in Portugal and perpetuate an essential reflection for the construction of the future.
On February 7, 2018, the public architectural tender was launched and the final decision fell on the project by Atelier AR4, coordinated by João Barros Matos. The architectural project is based on the preservation and enhancement of existing spaces and buildings, taking into account their importance as both a testimony and for the preservation of memory. The old prison was organized into separate and independent sections, each consisting of cell blocks and a courtyard. The adaptation of the building set to host a museum includes the reorganisation and establishment of pathways linking the buildings and the courtyards of the central building and the surrounding platforms. Among these, the museum pathway stands out as it crosses the buildings and courtyards of the former political prison and the pathway to visit the elements of the 16th-century fortress, a display of military architecture of the whole set of buildings.
On April 25, 2019, the Fortress of Peniche – classified National Monument since 1938 – hosted the exhibition Por Teu Livre Pensamento and the inauguration of the Memorial to Political Prisoners. In the exhibition, striking moments of contemporary history were revisted through documents, photographs and objects that will be part of the collection of the future Museum. The Memorial, a large piece in Corten steel, contains the names of the approximately 3,000 political prisoners who were incarcerated in the Peniche Jail.
With a multidisciplinary scope, the creation of the National Museum of Resistance and Freedom will position Portugal in the international itinerary of the so-called Museums of Memory, recalling the struggles fought in the name of freedom and human rights.
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T +351 262 789 150 | 262 789 028
E-mail: geral.mnrl@museusemonumentos.pt
Site: www.museunacionalresistencialiberdade-peniche.gov.pt
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Acolhe um conjunto de dez peças classificadas como Bens de Interesse Nacional, também designados de “tesouros nacionais”, como o enigmático e inquietante Autorretrato (c. 1900) de Aurélia de Souza, O Desterrado (1872) de Soares dos Reis, uma das mais importantes obras da escultura oitocentista portuguesa, o Busto Relicário de São Pantaleão (séculos XV e XVI), objeto devocional executado em prata dourada, a Senhora Vestida de Preto e Casas Brancas de Capri, duas obras-primas do pintor naturalista Henrique Pousão (1859-1884), a Crossa de Báculo Episcopal (1740), executada pelo famoso ourives italiano Antonio Arrighi, ou a Cruz Relicário e Par de Galhetas da Índia Mogol, raro testemunho de arte sacra que pertenceu à coleção privada do rei D. Luís I.
Na década de 1950, o Museu Nacional Soares dos Reis investiu na atualização das coleções de pintura e escultura com obras de artistas contemporâneos, como Amadeo de Souza-Cardoso, Júlio Resende, Ângelo de Sousa ou Álvaro Lapa, tendência que, após o 25 de Abril de 1974, tem continuidade no Centro de Arte Contemporânea, ponto de partida para o Museu Nacional de Arte Moderna, atual Fundação de Serralves. O Instituto Português de Museus marcou a remodelação do edifício em 2001 com o projeto de arquitetura do ateliê de Fernando Távora, dotando-o de novos espaços de reservas, exposições temporárias, auditório e serviço educativo.
Mais recentemente, em abril de 2023, o Museu Nacional Soares dos Reis inaugurou uma exposição de longa duração onde propõe um percurso com duas narrativas complementares: a primeira reflete a sua história e a forma como as coleções foram sendo integradas e a segunda valoriza os artistas e as suas obras. Aquele que foi o primeiro museu público de arte do país reposiciona-se e apresenta um novo olhar sobre o seu acervo, valorizando sempre o património cultural que integra e honrando a história de que é herdeiro.
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T +351 223 393 770
E-mail: geral.mnsr@museusemonumentos.pt
Site: museusoaresdosreis.gov.pt
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Loja, Centro de Documentação/Biblioteca, Auditório, Serviço Educativo, Jardim das Camélias/Cerca, Cedência de espaços
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It houses a selection of ten items classified as Assets of National Interest, also called “national treasures”, such as the enigmatic and disturbing Autorretrato (c. 1900) by Aurélia de Souza, O Desterrado (1872) by Soares dos Reis, one of the most important works of Portuguese nineteenth-century sculpture, the Bust Reliquary of Saint Pantaleon (fifteenth and sixteenth centuries), a devotional object in golden silver, A Senhora Vestida de Preto and Casas Brancas de Capri, two masterpieces of the naturalist painter Henrique Pousão (1859-1884), the Episcopal Cross (1740), by the famous Italian goldsmith Antonio Arrighi, or the Cross Reliquary and Pair of Eucharistic Cruets from Mughul India, a rare testimony to sacred art that belonged to the private collection of King D. Luís I.
In the 1950s, the Soares dos Reis National Museum invested in new paintings and sculpture for its collections with works by contemporary artists, such as Amadeo de Souza-Cardoso, Júlio Resende, Ângelo de Sousa or Álvaro Lapa, a trend that, after April 25, 1974, continued at the Center for Contemporary Art, the starting point for the National Museum of Modern Art, now Serralves Foundation. The Portuguese Institute of Museums marked the remodelling of the building in 2001 with the architectural project of Fernando Távora's studio, providing it with new spare rooms, temporary exhibitions, an auditorium and educational services.
More recently, in April 2023, the Soares dos Reis National Museum opened a long-term exhibition proposing a pathway with two complementary narratives: the first reflects its history and the way the collections were integrated and the second values the artists and their works. This was the first public art museum in the country and repositioned itself and presented a new look at its collection, mindful of the importance of the cultural heritage contained in this museum and honouring the history of which it is a rightful heir.
Rua D. Manuel II, 44 · 4050-342 Porto
T +351 223 393 770
E-mail: geral.mnsr@museusemonumentos.pt
Site: www.museusoaresdosreis.gov.pt
","Horario":"Tuesday to Sunday, 10am - 6pm
Closed: 1st january, Easter sunday, 1st may, 24th june de junho, 25th december
Regular: 10,00 €
Online Ticket Office
Shop, Documentation Center/Library, Educational Service, Cession of spaces, Camélias Garden/Fence
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Atualmente, as peças expostas, produzidas principalmente nos séculos XVII e XVIII, “mobilam” os diversos espaços da exposição permanente, criando no visitante a ideia de que está a visitar uma “casa”. Do seu espólio constam excelentes coleções de tapeçaria, porcelana, pintura, mobiliário, escultura e armas, para além de uma ou outra peça evocativa de outras artes.
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T +351 253 412 273
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Site: pacodosduques.gov.pt
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Segunda-feira a domingo 10h00-18h00
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Between 1937 and 1959, a wide and complex reconstruction intervention was carried out, based on a project by architect Rogério de Azevedo. In 1959, it was inaugurated as a National Palace and opened to the public as a museum.
Currently, the items on display, produced mainly in the seventeenth and eighteenth centuries, \"furnish\" the various spaces of the permanent exhibition, as if the visitor was visiting a \"house\". This acquis includes excellent collections of tapestry, porcelain, painting, furniture, sculpture and weaponry, in addition to assorted items from other arts and crafts.
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T +351 253 412 273
E-mail: pduques@museusemonumentos.pt
Site: pacodosduques.gov.pt
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Closed: January 1, May 1, Easter Sunday, June 13, December 25
Ticket 5,00€
OnlineTicket office
Shop, Library, Educational services
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Edifício neoclássico da primeira metade do século XIX, foi residência oficial da família real portuguesa a partir do reinado de D. Luís I (1861-89) e, de uma forma continuada, até ao final da Monarquia, em 1910. Após 1862, com a rainha D. Maria Pia de Saboia (1847-1911), o Palácio ganha uma vida renovada. A disposição e decoração das salas, a cargo do arquiteto Joaquim Possidónio da Silva (1806-96), acompanhou as novas normas de conforto e higiene, características da segunda metade de oitocentos. Nasceram neste palácio os príncipes D. Carlos (1863-1908) e D. Afonso (1865-1920); aqui reunia-se o Conselho de Estado e realizavam-se cerimónias de corte, grandes bailes e banquetes.
Em 1910, instaurada a República e exilada a família real, o Palácio foi encerrado. Aberto ao público como museu, em 1968, o palácio conserva ainda hoje a disposição e a decoração dos aposentos tipicamente oitocentistas.
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T + 351 213 637 095 | 213 620 264
E-mail: geral.pnajuda@museusemonumentos.pt
Site: www.palacioajuda.gov.pt
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Normal 15,00 €
Bilheteira online
Serviço Educativo, Cedência de espaços.
Descubra o Palácio pelo Google Arts and Culture
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Comboios: Estação de Belém
Barco: Terminal de Belém
José Alberto Ribeiro
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A neoclassical building from the first half of the 19th century, it was the official residence of the Portuguese royal family after the reign of D. Luís I (1861-89) up until the end of the Monarchy, in 1910. After 1862, the Palace gained a new life with Queen Maria Pia of Savoy (1847-1911). The layout and decoration of the rooms, by architect Joaquim Possidónio da Silva (1806-96), followed the new standards of comfort and hygiene of the second half of the nineteenth century. Prince D. Carlos (1863-1908) and D. Afonso (1865-1920) were born in this palace; the Council of State gathered here and court ceremonies, balls and banquets were also held here.
In 1910, when the Republic was established and the royal family went into exile, the Palace was closed. The palace opened as a museum in 1968 and still preserves the layout and decoration of the typically nineteenth-century rooms.
Largo da Ajuda · 1349-021 Lisboa
T + 351 213 637 095 | 213 620 264
E-mail: geral.pnajuda@museusemonumentos.pt
Site: www.palacioajuda.gov.pt
","Horario":"Thursday to Tuesday 10am-6pm
Closed: Wednesday, 1st january, Easter sunday, 1st may, 13th june de junho, 25th december
Regular 15,00 €
Online Ticket office
Educational Service, Cession of spaces.
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Bus: 18, 60, 729, 732, 742
Train: Estação de Belém
Boat: Terminal de Belém
José Alberto Ribeiro
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Para este Palácio, encomendou o rei D. João V esculturas e pinturas a mestres italianos e portugueses, paramentos italianos e tapeçarias francesas e, na Flandres, dois carrilhões com 92 sinos – o maior carrilhão do seu tempo. Integra ainda um conjunto de seis órgãos históricos na basílica, uma importante biblioteca com cerca de 30 mil volumes, sendo a maior livraria numa só sala em toda a Europa. Do núcleo conventual destaca-se a enfermaria, única sobrevivente da época.
Foi residência de Estado durante a regência do príncipe D. João VI, desde as invasões napoleónicas recebeu aquartelamento militar e serviu de residência sazonal à família real. Foi a partir deste palácio que D. Manuel II, último monarca português, seguiu para o exílio, a 5 de outubro de 1910.
","ContactoseLocalizacao":"Terreiro D. João V · 2640-492 Mafra
T +351 261 817 550
E-mail: geral.pnmafra@museusemonumentos.pt
Website: https://www.palacionacionaldemafra.gov.pt/
Quarta a segunda-feira 9h30-17h30 (última entrada às 16h30)
Encerrado: terças-feiras, 1 de janeiro, domingo de Páscoa, 1 de maio, quinta-feira da Ascensão (feriado municipal), 25 de dezembro
A partir de 9 de janeiro de 2025, a Basílica do Palácio Nacional de Mafra encontra-se encerrada ao público para obras de restauro no âmbito do PRR, com a duração prevista de, pelo menos, um ano
","Bilheteira":"
Normal 15,00€
Bilheteira online
Loja, Biblioteca, Serviço Educativo, Cedência de espaços
Descubra o Palácio pelo Google Arts and Culture
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João V to fulfil a vow for the birth of a firstborn son and is the most important monument of the Portuguese Baroque. The former royal estate covers more than 1200 hectares and the Palace has a floor area of about 38,000 m2, making this monument one of the largest in Europe.
For this Palace, King D. João V commissioned sculptures and paintings from Italian and Portuguese masters, Italian vestments and French tapestries and two carillons with 92 bells, in Flanders – the largest carillon of its time. It also includes a set of six historical organs in the basilica, an important library with about 30,000 books, the largest bookstore in a single room in Europe. The infirmary stands out in this convent, the only remaining room of that time.
It was a state residence during the reign of Prince D. João VI, and since the Napoleon invasions accommodated military barracks and was also a seasonal residence for the royal family. D. Manuel II, the last Portuguese monarch was staying in this palace when he was forced to move into exile on October 5, 1910.
Terreiro D. João V · 2640-492 Mafra
T +351 261 817 550
E-mail: geral.pnmafra@museusemonumentos.pt
Website: https://palaciodemafra.pt/
Wednesday to monday, 9:30am-5:30pm (last entry 4:30pm)
Closed: Tuesdays January 1st, Easter Sunday, May 1st, Ascension Thursday, December 25th
Regular 15,00 €
Online Ticket Office
Shop, Library, Educational Service, Cession of spaces
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A fachada principal da igreja concilia exemplarmente a novidade do barroco italiano com a prática arquitetónica mais notável de Portugal. Na galilé, deparamo-nos com os três portais, animados por um trabalho decorativo de grande relevo, atribuída ao escultor francês Claude Laprade (1687-1740). No escudo nacional que encima o riquíssimo portal central, encontramos explícito o carácter nacional da igreja. Embora nunca chegasse a abrir ao culto, conserva, sob a cúpula moderna, o espaço majestoso da nave, animada pela decoração de mármores coloridos, característica da arquitetura barroca portuguesa.
Elemento de referência no perfil da cidade e oferecendo uma vista privilegiada sobre a zona histórica de Lisboa e sobre o rio Tejo, está classificado como Monumento Nacional desde 1910.
","ContactoseLocalizacao":"Campo de Santa Clara · 1100-471 Lisboa
T +351 218 854 820
E-mail: geral.panteao@museusemonumentos.pt
Encerrado ao público entre os dias 15 e 24 de junho, devido à realização de trabalhos de requalificação e melhoria das condições de acolhimento e visita. Reabre dia 25 de junho.
Abril a setembro | Terça-feira a domingo 10h00-18h00 (última entrada às 17h30)
Outubro a março | Terça-feira a domingo 10h00-17h00
Encerrado: 1 de Janeiro, domingo de Páscoa, 1 de maio, 13 de junho, 24 e 25 de dezembro
Normal: 10,00 €
Bilheteira online
Cedência de espaços, Loja
Descubra o monumento pelo Google Arts and Culture
Autocarros: 704, 712, 728, 734, 735, 745, 759, 781, 782
Elétricos: 28
Metro e comboios: Estação de Santa Apolónia
Santiago Macias
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Pantheon","createdAt":"2023-12-22T15:13:23.866Z","updatedAt":"2026-08-06T10:46:20.837Z","publishedAt":"2026-08-06T10:46:21.383Z","locale":"en","Mapa":{"id":"address.7766984096366664","text":"Campo De Santa Clara","type":"Feature","center":[-9.124447,38.714562],"address":"44","context":[{"id":"postcode.8122042","text":"1100-470","mapbox_id":"dXJuOm1ieHBsYzplKzY2"},{"id":"locality.658106","text":"São Vicente de Fora","wikidata":"Q1026664","mapbox_id":"dXJuOm1ieHBsYzpDZ3E2"},{"id":"place.14674106","text":"Lisboa","wikidata":"Q597","mapbox_id":"dXJuOm1ieHBsYzozK2k2"},{"id":"region.9402","text":"Lisbon","wikidata":"Q207199","mapbox_id":"dXJuOm1ieHBsYzpKTG8","short_code":"PT-11"},{"id":"country.8890","text":"Portugal","wikidata":"Q45","mapbox_id":"dXJuOm1ieHBsYzpJcm8","short_code":"pt"}],"geometry":{"type":"Point","coordinates":[-9.124447,38.714562]},"relevance":1,"place_name":"Campo De Santa Clara 44, 1100-470 Lisboa, Lisbon, Portugal","place_type":["address"],"properties":{"accuracy":"rooftop","mapbox_id":"dXJuOm1ieGFkcjo4YjEwNTcwZC01NWMzLTRjNDQtOTUzOC04MDEwMjFkNDFhNDQ"}},"slug":"national-pantheon","TextIntroducao":"Founded in the second half of the 16th century, the building was totally rebuilt at the end of the 16th century with a design by the architect João Antunes. The building remained had no roof until the early 1960s, when the Estado Novo regime decided to finish the building, following a law from 1916 stating this temple should be adapted to serve as the National Pantheon. Between 1964 and 1966, a double concrete dome was designed, covered in lioz marble, the interior built with different types of stone was restored, and the remains of the personalities to be honoured were transferred to this place. It was inaugurated in 1966, on the occasion of the fortieth anniversary of the Estado Novo regime.
The main façade of the church reconciles to perfection the novelty of Italian Baroque with the most remarkable architectural practice in Portugal. At the entrance to the temple we come across the three portals, animated by a decorative work of great relief, attributed to the French sculptor Claude Laprade (1687-1740). In the national shield above the very rich central portal, we find the clear national trait of the church. Although it never opened to worship, it preserves, under the modern dome, the majestic space of the nave, animated by the decoration of colourful marbles, characteristic of Portuguese Baroque architecture.
A reference element in the profile of the city and offering a privileged view of the historic area of Lisbon and the Tagus River, it has been classified as a National Monument since 1910.
","ContactoseLocalizacao":"Campo de Santa Clara – 1100-471 Lisbon
T +351 218 854 820
E-mail: geral.panteao@museusemonumentos.pt
Closed to the public from 15 to 24 June due to refurbishment works and improvements to visitor facilities and services. Reopens on 25 June.
April-September | Tuesday-Sunday 10:00 am - 6:0 pm (last entry at 5:30pm)
October-March | Tuesday-Sunday 10:00 am - 5:00 pm
Closed: January 1, Easter Sunday, May 1, June 13, December 25
Regular: 10,00 €
Online ticket Office
Cession of Spaces, Shop
","Homepage":false,"barInfo":"Tuesday-Sunday 10am - 6pm · Regular ticket: 10,00€","edicoesmuseu":null,"Classificacao":"Monumentos","comochegar":"","cidade":"Lisboa","diretor":"Santiago Macias
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O sucesso foi grande, mas logo de início a falta de espaço fez-se sentir e é a própria rainha que em 1906 encomenda um novo projeto para ampliar o Museu e poder expor as restantes viaturas da Casa Real guardadas nas cocheiras de diversos palácios.
Após a implantação da República a 5 de outubro de 1910, a coleção do Museu aumenta com a chegada de um conjunto de coches e berlindas da extinta Casa Real e de viaturas provenientes dos bens da igreja. Em 1911, o museu passa a designar-se Museu Nacional dos Coches. Em 1944, é inaugurado um novo salão projetado pelo arquiteto Raul Lino, que veio permitir expor mais viaturas, mas ainda não a totalidade da coleção, uma vez que a falta de espaço continuou a fazer-se sentir. Em memória do excelente trabalho de proteção e divulgação deste património hipomóvel, iniciado pela rainha D. Amélia, permanece no espaço do Picadeiro Real um núcleo expositivo visitável com coches e berlindas, a galeria de pintura da família real, assim como um conjunto de acessórios de cavalaria.
","ContactoseLocalizacao":"Praça Afonso de Albuquerque · 1300-004 Lisboa
T+351 213 610 850
E-mail: geral.mncoches@museusemonumentos.pt
Site: www.museudoscoches.gov.pt (em reestruturação)
","Horario":"De terça-feira a domingo 10h00-18h00 (última entrada às 17h30).
Encerrado: segundas-feiras, 1 de janeiro, 1 de maio, domingo de Páscoa, 13 de junho, 25 de dezembro
Encontra-se encerrado para obras de requalificação no âmbito do PRR, desde 29 de setembro de 2025
","Bilheteira":"","Isencoes":null,"Descontos":null,"Recursos":"Loja, Cedência de espaços
Autocarros: 28, 714, 727, 729, 751
Elétricos: 15
Comboios: Estação de Belém
Barco: Estação Fluvial de Belém
Ana Rita Dargent
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Riding School","createdAt":"2024-04-01T13:35:06.527Z","updatedAt":"2026-08-06T10:46:51.040Z","publishedAt":"2026-08-06T10:46:51.617Z","locale":"en","Mapa":{"id":"address.8849904523752644","text":"Avenida Da Índia","type":"Feature","center":[-9.199713,38.697811],"address":"136","context":[{"id":"postcode.21302970","text":"1300-006","mapbox_id":"dXJuOm1ieHBsYzpBVVVPdWc"},{"id":"locality.461498","text":"Santa Maria de Belém","wikidata":"Q376866","mapbox_id":"dXJuOm1ieHBsYzpCd3E2"},{"id":"place.14674106","text":"Lisboa","wikidata":"Q597","mapbox_id":"dXJuOm1ieHBsYzozK2k2"},{"id":"region.9402","text":"Lisbon","wikidata":"Q207199","mapbox_id":"dXJuOm1ieHBsYzpKTG8","short_code":"PT-11"},{"id":"country.8890","text":"Portugal","wikidata":"Q45","mapbox_id":"dXJuOm1ieHBsYzpJcm8","short_code":"pt"}],"geometry":{"type":"Point","coordinates":[-9.199713,38.697811]},"relevance":1,"place_name":"Avenida Da Índia 136, 1300-006 Lisboa, Lisbon, Portugal","place_type":["address"],"properties":{"accuracy":"rooftop","mapbox_id":"dXJuOm1ieGFkcjphNmNjYTc1Zi1hM2Q0LTQ1MGUtODgzYi0xNjY0MTVjZjM3ODY"}},"slug":"royal-riding-school","TextIntroducao":"The location selected to install the first carriage museum in the world was the hall of the former Royal Riding School, built by the Italian architect Giacomo Azzolini in 1787. It was adapted to this new function by the court architect Rosendo Carvalheira with the collaboration of the painters José Malhoa and Conceição e Silva, who together achieved an almost perfect harmony between the space and the exhibition of the gala carts.
It was a huge success, but the lack of space was felt right from the start and the queen herself commissioned in 1906 a new project to expand the Museum to accommodate the remaining Royal House carts stored in the stables of several palaces.
After the establishment of the Republic on October 5, 1910, the Museum's collection was expanded with the arrival of a set of coaches and berlins from the extinct Royal House and carts from the Church's assets. In 1911, the museum was renamed the National Coach Museum. In 1944, a new hall designed by architect Raul Lino was inaugurated, accommodating more carts, but not the entire collection, for lack of enough room. In memory of the excellent work of protection and dissemination of this hippomobile heritage, started by Queen D. Amélia, the Royal Riding Hall displays a small number of coaches and berlins and a gallery with paintings of the royal family and a number of riding accessories.
Praça Afonso de Albuquerque · 1300-004 Lisboa
T+351 213 610 850
E-mail: geral.mncoches@museusemonumentos.pt
Site: www.museudoscoches.gov.pt (under restructuring)
","Horario":"Tuesday to Sunday 10am-6pm (last entry 7:30pm)
Closed: Monday, January 1, May 1, Easter Sunday, June 13, December 25
Closed for renovation works.
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Bus: 28, 714, 727, 729, 751
Tram: 15
Train: Estação de Belém
Boat: Estação Fluvial de Belém
Mário Antas
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Além da estrutura do edifício, é a sobrecarga ornamental, a decoração festiva na modalidade portuguesa de tardo-gótico “manuelino”, que denuncia a sua construção no reinado de D. Manuel I (1495-1521). A heráldica régia, obsessivamente presente, mistura-se com motivos ornamentais diversos, como cordas, nós e animais, não faltando elementos de alusão mourisca. Saliente-se a presença, na fachada sul da torre alta, da extensa varanda, uma loggia, pensada para acolher o aparatoso cerimonial de corte que, decerto, se intensificaria na chegada e na largada das embarcações.
A construção de uma fortaleza na margem norte do Tejo, para defender a barra, estava prevista desde o tempo de D. João II. No entanto, foi no reinado de D. Manuel I que Francisco de Arruda, um arquiteto experiente em estruturas defensivas, projetou e dirigiu as obras de execução da Torre dedicada a São Vicente, desde cedo designada por Torre de Belém.
No mesmo período e no mesmo território, frente à Praia do Restelo, edificava-se o Mosteiro dos Jerónimos – a grande casa monástica fundada por D. Manuel I, entregue à Ordem de São Jerónimo, cujas obras se iniciaram em 1501-02.
São muitas as fontes escritas e visuais que testemunham a relação entre estes dois grandes empreendimentos. A título de exemplo, na Chronica do Felicissimo Rei Dom Emanuel (1566-67), escreve Damião de Góis: “Defronte deste edifício mandou el Rei fazer a torre de S. Vicente, que se chama de Belém, fundada dentro na água, para guarda deste Mosteiro, e do porto de Lisboa, edifício que ainda que em si não seja grande em quantidade, contudo a estrutura dele é magnífica. A qual torre se vela de noite, e de dia, de modo que nenhuma vela pode passar sem ser vista, e obedece às salvas que lhe dela fazem com a artilharia.”
","ContactoseLocalizacao":"
Torre de Belém, Av. Brasília · 1400-038 Lisboa
T +351 213 620 034
E-mail: geral.mjeronimos@museusemonumentos.pt
Website: https://mosteirojeronimos.torrebelem.gov.pt/
Terça a Domingo, das 9h30 às 17h30
Encerrado: Segundas-feiras, 1 de janeiro, domingo de Páscoa, 1 de maio, 13 de junho, 25 de dezembro
","Bilheteira":"Normal: 15,00 €
","Isencoes":null,"Descontos":null,"Recursos":"
Descubra a Torre de Belém pelo Google Arts and Culture
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Elétricos: 15, 18
Comboios: Estação de Belém
Barco: Estação Fluvial de Belém
Margarida Donnas-Botto
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Tower","createdAt":"2023-12-23T19:39:26.537Z","updatedAt":"2026-08-06T10:47:48.830Z","publishedAt":"2026-08-06T10:47:49.348Z","locale":"en","Mapa":{"id":"poi.498216269271","text":"Belém Tower","type":"Feature","center":[-9.215882,38.6914725],"context":[{"id":"postcode.27438778","text":"1400-038","mapbox_id":"dXJuOm1ieHBsYzpBYUt1dWc","text_en-US":"1400-038"},{"id":"locality.461498","text":"Santa Maria de Belém","language":"en","wikidata":"Q376866","mapbox_id":"dXJuOm1ieHBsYzpCd3E2","text_en-US":"Santa Maria de 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Índia, Lisbon, Lisbon 1400-038, Portugal","matching_place_name":"Belem Tower, Av. da Índia, Lisbon, Lisbon 1400-038, Portugal"},"slug":"belem-tower","TextIntroducao":"In addition to the building's structure, the festive \"Manueline\" late Gothic decoration style points to the fact that it was built during the reign of D. Manuel I (1495-1521). The royal heraldry, obsessively present, mixes with various ornamental motifs, such as ropes, knots and animals, along with several Moorish elements. It is worth mentioning the presence, on the south facade of the tall tower, of a large balcony, a loggia, designed to accommodate the ceremonial of the court apparatus that would certainly intensify upon the arrival and departure of the vessels.
The construction of a fortress on the north bank of the Tagus river, to defend the estuary had been planned since the time of King D. João II. However, it was during the reign of D. Manuel I that Francisco de Arruda, an architect experienced in defensive structures, designed and directed the execution works of the Tower dedicated to Saint Vincent, called Belém Tower since its early days.
During the same period and in the same area, the Jerónimos Monastery was constructed in front of Restelo Beach. It was a grand monastic house that was founded by D. Manuel I and was handed over to the Order of São Jerome. The construction work of the monastery began in 1501-02.
Many written and visual sources that testify the relationship between these two great enterprises. In the Chronica do Felicissimo Rei Dom Emanuel (1566-67), Damião de Góis describes how the King commissioned the building of the tower of S. Vicente, also known as Belém. This tower was founded within the water, in front of the building, to guard the Monastery and the port of Lisbon. Although the tower is not particularly large in size, its structure is magnificent. In whose tower one keeps watch night and day, so that no one can sail past it without being seen, and obeys the warning shots from the artillery.
Torre de Belém, Av. Brasília – 1400-038 Lisboa
T +351 213 620 034
E-mail: geral.mjeronimos@museusemonumentos.pt
Website: https://mosteirojeronimos.torrebelem.gov.pt/
Tuesday to Sunday 9:00am-5:30pm
Closed: Mondays, January 1, Easter Sunday, May 1, June 13, December 25
Regular: 15,00 €
Online Ticket Office
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O acervo do Museu Nacional de Machado de Castro procede maioritariamente da região de Coimbra, dos conventos, mosteiros e igrejas extintos politicamente em 1834, mas também dos colégios universitários e bispados, tendo sido enriquecido ao longo dos anos com aquisições pontuais e doações diversas, totalizando vários milhares de peças de arqueologia, escultura, ourivesaria, joalharia, pintura, desenho, cerâmica, têxteis e mobiliário.
A coleção inclui o núcleo mais representativo da produção escultórica de Coimbra dos séculos XIV a XVI, frequentemente em pedra de Ançã, destacando-se o Cristo no Túmulo (proveniente do Mosteiro de Santa Clara-a-Velha) e o Cristo Negro (proveniente do Mosteiro de Santa Cruz), ambos de autor desconhecido.
O acervo inclui uma importante coleção de ourivesaria sacra dos séculos XII a XVIII, incluindo algumas das obras-primas da ourivesaria portuguesa, como o cálice de D. Gueda Mendes (século XII), o tesouro da Rainha Santa Isabel, a Custódia manuelina da Sé de Coimbra (1527) e a Custódia do Sacramento (século XVIII). No que respeita à joalharia, o acervo é essencialmente constituído por peças dos séculos XVI a XVIII provenientes de casas religiosas, onde deram entrada enquanto dote de noviça, oferenda, doação régia ou legado. Expõe-se ainda uma coleção maioritariamente de pintura portuguesa dos séculos XV a XX, incluindo um interessante núcleo de pinturas flamengas do século XVI, onde se destaca o Tríptico da Paixão de Cristo (c. 1514-17), de Quentin Metsys.
","ContactoseLocalizacao":"Largo Dr. José Rodrigues · 3000-236 Coimbra
T +351 239 853 070
E-mail: comunicacao@mnmachadocastro.pt
Para contactar o Serviço Educativo: se@mnmachadocastro.pt
Encerrado temporariamente para obras de conservação no âmbito de PRR
A equipa do Museu continua empenhada na concretização de diferentes iniciativas e projetos inovadores dentro e fora de portas.
Fique atento à nossa programação!
Terça-feira a domingo | 10h00-18h00*
Última entrada: 17h30
Encerramento da loja: 17h45
*Horário sujeito a alterações, face à progressão das obras
Encerrado: 1 de janeiro, domingo de Páscoa, 1 de maio, 4 de julho, 25 de dezembro
Serviço Educativo.
Descubra o Museu pelo Google Arts and Culture
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3000-470 Coimbra, Coimbra, Portugal"},"slug":"machado-de-castro-national-museum","TextIntroducao":"In 2006, the museum closed for an extensive renovation that included the construction of a new building and reopened at the end of 2012. The current facilities comprise three interconnected units: the Roman cryptoporticus, dating from the mid-1st century, is part of the visit pathway to the Museum and is one of its most important attractions; the old Bishop's Palace, whose first buildings date back to the 11th or 12th centuries, classified as a National Monument since 1910; and the new building, a project by architect Gonçalo Byrne awarded the Piranesi/Prix de Rome prize in 2014, one of the most relevant international prizes granted to projects in buildings of heritage importance, with a particular focus on the relationship between \"architectural design and archaeological heritage\".
The collection of the Machado de Castro National Museum comes mostly from the region of Coimbra, from the convents, monasteries and churches politically extinct in 1834, but also from the university colleges and bishoprics, and was enriched over the years with occasional acquisitions and several donations, totalling several thousand items of archaeology, sculpture, goldsmithing, jewellery, painting, drawing, ceramics, textiles and furniture.
The collection includes the most representative nucleus of the sculptural production of Coimbra from the 14th to the 16th centuries, often in Ançã stone, in particular the Christ in the Tomb (from the Monastery of Santa Clara-a-Velha) and the Black Christ (from the Monastery of Santa Cruz), both by an unknown author.
The collection includes an important collection of sacred jewellery from the 12th to the 18th centuries, including some of the masterpieces of Portuguese jewellery, such as the chalice of D. Gueda Mendes (12th century), the treasure of Queen Saint Elisabeth, the Manueline Custody of the Cathedral of Coimbra (1527) and the Custody of the Sacrament (18th century). With regard to jewellery, the collection consists essentially of items from the 16th to 18th centuries from religious houses, where they were admitted as novice dowry, offerings, royal donations or legacy. This museum displays also a collection mostly of Portuguese paintings from the 15th to the 20th centuries, including an interesting set of Flemish paintings from the 16th century, including the Triptych of the Passion of Christ (c. 1514-17), by Quentin Metsys.
","ContactoseLocalizacao":"Largo Dr. José Rodrigues · 3000-236 Coimbra
T +351 239 853 070
E-mail: comunicacao@mnmachadocastro.pt
Closed for conservation work.
Tuesday to Sunday | 10:00 AM - 6:00 PM | Last entry: 5:30 PM
Shop closing: 5:45 PM
Closed: 1st january, Easter Sunday, 1st may, 4th july, 25th december
Research Office, Library, Educational Services, Shop, Space Rental, Cafeteria/Restaurant
","Homepage":true,"barInfo":"Closed for conservation work.","edicoesmuseu":null,"Classificacao":"Museus","comochegar":null,"cidade":"Coimbra","diretor":"Sandra Ferreira da Costa Saldanha Quadros
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O Museu Nacional dos Coches reúne uma coleção única no mundo de viaturas de gala e de passeio dos séculos XVI a XIX, na sua maioria provenientes da Casa Real Portuguesa, a que se acrescentaram veículos vindos dos bens da Igreja e de coleções particulares. Apresenta um excelente conjunto que permite ao visitante a compreensão da evolução técnica e artística dos meios de transporte de tração animal, utilizados pelas cortes europeias até ao aparecimento do automóvel.
Estão expostas 70 viaturas, sendo a mais antiga datada do século XVI e a mais recente uma mala-posta do século XIX. Entre as peças encontra-se o Coche dos Oceanos, um dos nossos “tesouros nacionais”, que fez parte, em 1716, da embaixada enviada por D. João V ao papa Clemente XI.
Para além da coleção de viaturas hipomóveis, o Museu detém ainda um conjunto de peças que foram utilizadas no serviço das viaturas e cortejos de gala e outras ligadas à arte da cavalaria e aos jogos equestres, assim como uma coleção de retratos da família real portuguesa.
O novo edifício do Museu dos Coches é constituído por um pavilhão principal com uma nave suspensa e um anexo, com uma ligação aérea, que assegura a circulação entre os dois edifícios. A disposição espacial destes corpos cria uma espécie de pórtico que configura uma praça interna, zona de acesso livre e que se constitui também como um lugar de fruição pública.
","ContactoseLocalizacao":"Avenida da Índia, 136 · 1300-300 Lisboa
T +351 210 732 319
E-mail: geral.mncoches@museusemonumentos.pt
","Horario":"
Terça-feira a domingo 10h00-18h00
Encerrado: 1 de janeiro, 1 de maio, domingo de Páscoa, 13 de junho, 25 de dezembro
O Picadeiro Real encontra-se encerrado ao público para obras de requalificação no âmbito do PRR.
","Bilheteira":"Museu Nacional dos Coches - Normal: 15,00 €
Bilheteira online
Loja, Centro de Documentação/Biblioteca, Auditório, Cedência de espaços
Descubra o Museu pelo Google Arts and Culture
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Elétricos: 15
Comboios: Estação de Belém
Barco: Estação Fluvial de Belém
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Coach Museum ","createdAt":"2024-04-02T12:34:08.409Z","updatedAt":"2026-08-25T09:47:41.617Z","publishedAt":"2026-08-25T09:47:42.201Z","locale":"en","Mapa":{"id":"address.5652673449033500","text":"Rua Do Cais Da Alfândega Velha","type":"Feature","center":[-9.196862,38.697045],"address":"41","context":[{"id":"postcode.21917370","text":"1300-111","mapbox_id":"dXJuOm1ieHBsYzpBVTV1dWc"},{"id":"locality.461498","text":"Santa Maria de Belém","wikidata":"Q376866","mapbox_id":"dXJuOm1ieHBsYzpCd3E2"},{"id":"place.14674106","text":"Lisboa","wikidata":"Q597","mapbox_id":"dXJuOm1ieHBsYzozK2k2"},{"id":"region.9402","text":"Lisbon","wikidata":"Q207199","mapbox_id":"dXJuOm1ieHBsYzpKTG8","short_code":"PT-11"},{"id":"country.8890","text":"Portugal","wikidata":"Q45","mapbox_id":"dXJuOm1ieHBsYzpJcm8","short_code":"pt"}],"geometry":{"type":"Point","coordinates":[-9.196862,38.697045]},"relevance":1,"place_name":"Rua Do Cais Da Alfândega Velha 41, 1300-111 Lisboa, Lisbon, 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These vehicles were mostly used by the Portuguese Royal Household. Additionally, the collection includes vehicles from Church assets and private collections. It is a unique and fascinating collection that offers a glimpse into the past. The exhibit provides a comprehensive display of the technical and artistic evolution of animal-drawn transportation used by European courts up to the emergence of motor vehicles.
Seventy vehicles are on display, the oldest dating from the 16th century and the most recent a 19th-century mounted courrier. Among the items on display is the Coach of the Oceans, one of our “national treasures”, which was part, in 1716, of the embassy sent by D. João V to Pope Clement XI.
In addition to the collection of hipppomobile vehicles, the Museum features also carts used as vehicles and gala processions and others related to the art of chivalry and equestrian games, as well as a collection of portraits of the Portuguese royal family.
The new Coach Museum building consists of a main pavilion with a suspended nave and an adjoining building, with an overhead connection ensuring movement between the two buildings. The spatial arrangement of these buildings creates a kind of portico that forms an internal square, a free access area for public enjoyment also.
","ContactoseLocalizacao":"Avenida da Índia, 136 · 1300-300 Lisboa
T +351 210 732 319
E-mail: geral.mncoches@museusemonumentos.pt
https://www.mncoches.gov.pt/en
","Horario":"Tuesday to Sunday: 10am-6pm (last entry 5:30pm).
Closed: January 1st, May 1st, Easter Sunday, June 13rd, December 24th and 25th
National Coach Museum - Regular: 15,00 €
Online Ticket Office
Shop, Documentation Center/Library, Auditorium, Cession of spaces.
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Tram: 15
Train: Belém Station
Boat: Belém Boat Station
Ana Rita Ezequiel Dargent
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Merece destaque a notável coleção de peças de Rafael Bordalo Pinheiro, executadas na Fábrica de Faianças das Caldas da Rainha, bem como a produção Arte Nova de Costa Motta Sobrinho. Mostram-se ainda núcleos de azulejaria, assim como de miniatura, com destaque para as obras de Francisco Elias.
A Quinta Visconde de Sacavém, conjunto arquitetónico revivalista de final do século XIX, é constituída por um palacete tardo-romântico que abriga a exposição permanente assim como áreas anexas, remodeladas, onde se situam a sala de exposições temporárias, a loja, olaria e centro de documentação. Os jardins da Quinta, de traçado romântico, constituem um interessante conjunto evocativo do gosto do final do século XIX, com as suas alamedas, canteiros, floreiras e um auditório ao ar livre.
São de realçar as decorações cerâmicas que ornamentam todo o conjunto, onde se podem encontrar azulejos dos séculos XVI ao XX, estatuária, elementos arquitetónicos cerâmicos, como as gárgulas em forma de dragão ou de javali que se veem nas fachadas do palacete e se aliam aos painéis de azulejo, friso e cercaduras. Estas decorações favorecem a fruição de um importante património cerâmico, tornando-o também um local privilegiado de lazer.
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E-mail: mceramica@museusemonumentos.pt
Encerrado temporariamente para obras de renovação
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Ceramics Museum","createdAt":"2024-04-11T10:19:40.836Z","updatedAt":"2025-07-07T13:10:29.799Z","publishedAt":"2024-04-11T10:24:09.746Z","locale":"en","Mapa":{"id":"address.3507959846908740","text":"Rua Doutor Ilídio Amado","type":"Feature","center":[-9.131364,39.399343],"address":"23","context":[{"id":"postcode.168570554","text":"2500-217","mapbox_id":"dXJuOm1ieHBsYzpDZ3d1dWc"},{"id":"place.5589178","text":"Caldas da Rainha","wikidata":"Q275689","mapbox_id":"dXJuOm1ieHBsYzpWVWk2"},{"id":"region.42170","text":"Leiria","wikidata":"Q244512","mapbox_id":"dXJuOm1ieHBsYzpwTG8","short_code":"PT-10"},{"id":"country.8890","text":"Portugal","wikidata":"Q45","mapbox_id":"dXJuOm1ieHBsYzpJcm8","short_code":"pt"}],"geometry":{"type":"Point","coordinates":[-9.131364,39.399343]},"relevance":1,"place_name":"Rua Doutor Ilídio Amado 23, 2500-217 Caldas da Rainha, Leiria, 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Local production predominates, from pottery and artistic production of the nineteenth century, by authors such as Manuel Mafra, who introduced the naturalist style of Bernard Palissy in this centre, to the contemporary creations of some ceramists from Caldas da Rainha, such as Ferreira da Silva or Eduardo Constantino.
It is worth mentioning the remarkable collection of items by Rafael Bordalo Pinheiro, manufactured at Fábrica de Faianças das Caldas da Rainha, and the Art Noveau production by Costa Motta Sobrinho. The museum features also a section on glazed tiles, and miniature items, with an emphasis on the works of Francisco Elias.
The Fifth Viscount of Sacavém, a revivalist architectural complex from the end of the 19th century, consists of a late-romantic mansion that houses the permanent exhibition and renovated adjoining areas, where the temporary exhibition room, the shop, pottery and documentation centre are located. The Quinta gardens, with a romantic layout,is an interesting set of buildings evocative of the taste of the late nineteenth century, with its alleys, flower beds, flowerpots and an open-air auditorium.
The set of ceramic decorations is remarkable and includes glazed tiles dating from the 16th to the 20th centuries, statues, and ceramic architectural elements. The palace's facades feature dragon or boar-shaped gargoyles, which combine with tile panels, friezes, and enclosures. .These decorations enhance the appreciation of a significant ceramic heritage, while also creating an exclusive leisure destination.
Rua Dr. Ilídio Amado, 97 · 2504-910 Caldas da Rainha
E-mail: mceramica@museusemonumentos.pt
April to September | Tuesday to Sunday 10am-12:30pm | 2pm-6pm
October to March | Tuesday to Sunday 10am-12:30pm | 2pm-5:30pm
Closed: 1st january, Easter Sunday, 1st may, 15th may, 25th december
Regular 5,00 €
Shop, Cafeteria, Documentation Center/Library, Outdoor Auditorium, Educational Service
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O Museu Nacional do Traje foi inaugurado em 1977, após a primeira exposição O Traje Civil em Portugal, organizada em 1974, no Museu Nacional de Arte Antiga. A coleção inicial provém do Museu Nacional dos Coches, com peças que, em grande parte, pertenceram à Casa Real. As doações de particulares constituem a grande fonte de enriquecimento do acervo, que perfaz atualmente cerca de 40 mil peças.
As coleções representam essencialmente o traje civil e acessórios, documentando a evolução das formas de vestir, sobretudo da aristocracia e da alta ou média burguesia. O traje popular está quase ausente, pois são muito escassos os exemplares de épocas mais recuadas, uma vez que era confecionado com materiais menos resistentes e usado intensamente.
O núcleo do traje feminino é o mais numeroso, completando-se com traje interior, abundante e representativo dos séculos XIX e XX. O traje masculino está também presente, com predominância para as épocas em que a seda e o linho tinham primazia. Os acessórios abrangem botões, leques, malas, chapéus, sapatos, xailes, entre outra variada tipologia de peças. A secção de bragal inclui tecidos, bordados, rendas e colchas.
Uma interessante coleção de traje de criança completa este núcleo do traje civil. O acervo conta ainda com bonecas e respetivos trajes, pintura e mobiliário, entre outros.
","ContactoseLocalizacao":"Largo Júlio de Castilho (Lumiar) · 1600-483 Lisboa
T +351 217 567 620
E-mail: geral@mntraje.pt
Comunicação
Email: comunicacao@mntraje.pt
Área: Comunicação, imprensa, divulgação e relações com os media.
Serviço Educativo MNT
Email: se@mntraje.pt
Área: Atividades educativas, visitas orientadas, oficinas e projetos pedagógicos.
Terça-feira a domingo 10h00-13h00 | 14h00-18h00
Encerrado: 1 de janeiro, domingo de Páscoa, 1 de maio, 13 de junho, 25 de dezembro
O Museu Nacional do Traje encontra-se temporariamente encerrado ao público.
O Parque Botânico mantém-se aberto, no horário habitual.
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Normal 3,00 €
Loja, Biblioteca, Serviço Educativo, Consultório de Têxteis, Cedência de espaços (Parque)
Descubra o Museu pelo Google Arts and Culture
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Collections in Detail is a set of temporary exhibitions presenting the core of the collection or exploring different themes. Established with donations from private individuals, it also relied on the incorporation of garments and accessories from other museums, in particular the acquis of the National Coach Museum and its important collection of costumes from the Royal House held by this museum since 1904. In the years that followed and to this day, donations from individuals have been the major source of items for this museum's collection. Currently, more than 90% of the Museum's acquis – about 38,000 items – comes from donations.
This acquis included several collections essentially representing the civil costume and its accessories, from the eighteenth century to the present day, documenting the evolution of costume in this period, and representing above all the art of dressing of the aristocracy and the upper or middle bourgeoisie. The popular costume, almost absent from the collections when the Museum was created, did not witness big fashion variations and there are no known examples from old times.
Women's clothing represents the largest part of the collection, along with all kinds of accessories. It is completed with the collection of underwear, abundant and representative of the nineteenth and twentieth centuries. Men's clothing is also featured, particularly from the days when silk and linen were the preferred fabric. An interesting collection of children's clothing completes the core of civil costume. The museum's acquis includes also has collections of dolls and their costumes, and paintings and furniture, among others.
Largo Júlio de Castilho (Lumiar) · 1600-483 Lisboa
T +351 217 567 620
E-mail: geral@mntraje.pt
Tuesday to Sunday 10am-1pm | 2pm-6pm
Closed: January 1st, Easter Sunday, May 1st, June 13th December 25th
The National Costume Museum is temporarily closed to the public. The Botanical Park remains open at its usual hours.
","Bilheteira":"Regular 3,00 € (Botanical Park)
Shop, Educational Service, textile office, Cession of spaces
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Bus: 703, 736, 796
Metro: Estação do Lumiar
Dóris Santos
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A Charola, um dos raros e emblemáticos templos em rotunda da Europa medieval, teve como modelo a basílica paleocristã do Santo Sepulcro de Jerusalém. A entrada na Charola era virada a nascente, até que as obras de D. Manuel I (1469-1521) estabeleceram a nova entrada a sul, na nave que ampliou o oratório para ocidente, através de um arco triunfal. A nave manuelina, obra de Diogo de Arruda (1510-13) concluída por João de Castilho (1513-15), dotou a igreja conventual de espaços mais amplos para a função litúrgica. Surge assim, a continuar a Charola, um espaço de assembleia, uma sala para sacristia em piso de meia-cave e, por cima desta, o coro da igreja. Este espaço ficou conhecido como Coro Alto e a sacristia como Sala do Capítulo. É nesta sala que está a famosa Janela do Capítulo, símbolo da expansão marítima portuguesa e da conceção imperial que o Rei Venturoso tinha para Portugal.
Quando D. João III se tornou rei de Portugal, em 1528, construiu um novo e grandioso convento para poente em torno da igreja ampliada por D. Manuel I. O novo conjunto monástico vai ter as suas dependências organizadas em torno de cinco claustros de traça renascentista.
Com os Filipes de Espanha no trono de Portugal (1580-1640), novas construções vão dar continuidade ao convento joanino. É concluído o Claustro Principal e no Claustro do Cemitério é edificada, em estilo maneirista, a Sacristia Nova. A fachada sul vai ser alterada pela arcaria do grandioso Aqueduto dos Pegões, que é a obra mais marcante do período filipino.
No último quartel do século XVII, realizaram-se as derradeiras obras de grande vulto, com a grande Enfermaria e a Botica nova, que viriam a conferir ao flanco norte do Convento a sua atual monumentalidade. Em 1835, o influente político Costa Cabral adquiriu em hasta pública a cerca conventual, o recinto da vila antiga, no Castelo, e as edificações do ângulo sul-poente do Convento. A adaptação da ala poente do claustro dos Corvos a um palacete neoclássico é o testemunho da arquitetura e do gosto do século XIX. Em meados da década de 1980, o Estado reassumiu a plena posse do conjunto monumental designado por Convento de Cristo, com funções culturais e turísticas, que se mantêm.
","ContactoseLocalizacao":"Convento de Cristo · 2300-000 Tomar
T +351 249 313 481 | 249 315 089
E-mail: geral.ccristo@museusemonumentos.pt
Site: www.conventocristo.gov.pt
","Horario":"Outubro a maio 9h00-17h30 (última entrada às 17h00)
Junho a setembro 9h00-18h30 (última entrada às 18h00)
Encerrado: 1 de janeiro, 1 de março, Domingo de Páscoa, 1 de maio, 24 e 25 de dezembro
Devido aos trabalhos de Conservação e Restauro no âmbito do PRR, alguns espaços deste Monumento têm acesso condicionado ou restrito.
O Convento de Cristo agradece desde já a atenção e compreensão dos visitantes.
Normal: 15,00 €
Bilheteira online
Cedência de espaços, Loja, Biblioteca, Serviço Educativo
Descubra o Monumento pelo Google Arts and Culture
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After the extinction of the Templars in 1312, it became the seat of the Order of Christ and under the administration of Infante D. Henrique (1420-60) the conventual rooms were built around two cloisters of Gothic expression: the cloister accommodation the Washing area and the Cemetery.
The Charola, one of the rare and emblematic round-shape temples of medieval Europe, was inspired by the Paleochristian basilica of Jerusalem's Holy Sepulchre. The entrance to Charola was facing east, until the works of D. Manuel I (1469-1521) established the new entrance facing south, in the nave that expanded the oratory to the west, through a triumphal arch. The Manueline nave, the work of Diogo de Arruda (1510-13) completed by João de Castilho (1513-15), offered the convent church with wider spaces for the liturgical function. Thus, past Charola we find a main hall, a sacristy room on a half-basement floor and, above it, the church choir. This space became known as the High Choir and the sacristy as the Chapter Room. .Located in this room is the Chapter Window, a symbol of Portuguese maritime expansion and the imperial vision that the Venturous King had for Portugal.
When D. João III became king of Portugal, in 1528, he built a new and grandiose convent facing west around the church enlarged by D. Manuel I. The rooms of the new monastic complex were arranged around five cloisters of Renaissance trait.
When king Filipe of Spain ascended the throne of Portugal (1580-1640), new constructions continued on the convent started by King João III. The Main Cloister was completed and in the Cemetery Cloister a New Sacristy was built in Mannerist. The south façade was altered by the arcade of the grandiose Pegões Aqueduct, the most remarkable work of the period of the Spanish king Filipe.
Convent of Christ – 2300-000 Tomar
T +351 249 313 481 | 249 315 089
Email: geral.ccristo@museusemonumentos.pt
Website: www.conventocristo.pt
October-May 9:00 am - 5:30 pm
June-September 9:00 am - 6:30 pm
Closed: January 1, March 1, Easter Sunday, May 1, December 24 and 25.
Due to Conservation and Restoration work within the scope of the PRR (Recovery and Rehabilitation Program), some areas of this Monument have restricted or limited access.
The works will be carried out in phases and at this moment there are restrictions in the following areas:
- South Terrace and access to the Friars' Garden;
- South, East and West wings of the ground floor and 1st floor of the Main Cloister;
- \"Wax\" Terrace of the Main Cloister;
- Ground floor of the Santa Bárbara Cloister;
- Washing Cloister;
- Garden and Courtyard.
The Convent of Christ thanks visitors in advance for their attention and understanding.
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O nome do Museu está associado ao arcebispo D. Diogo de Sousa (1461-1532), a quem se ficaram a dever importantes medidas de remodelação urbanística na cidade de Braga e as primeiras tentativas de salvaguarda dos vestígios da ocupação romana. Entre os séculos XVI e XIX, registaram-se algumas iniciativas em prol da criação de um museu, o que ocorreu em 1918, com o surgimento do Museu D. Diogo de Sousa como museu de arqueologia e arte geral. Mercê de circunstâncias adversas, não teve um funcionamento regular até 1980, altura em que foi revitalizado, como Museu Regional de Arqueologia, com uma Lei Orgânica que lhe conferiu competências específicas no domínio da arqueologia.
O seu espólio é representativo da ocupação humana do norte do país, com evidências materiais do seu contexto cultural, cronologicamente compreendidas entre o Paleolítico e a Idade Média. O espólio da Pré e Proto-História é proveniente na sua grande maioria de sítios arqueológicos do noroeste peninsular. Merece realce o espólio proveniente das escavações arqueológicas realizadas na cidade romana de Bracara Augusta, a única capital de província do império romano em território português, e mais tarde capital do Reino Suevo.
Para além do espólio de origem nacional, expõe de forma permanente uma coleção de cariz internacional, fruto da doação Bühler-Brockhaus, que faz do Museu de Arqueologia D. Diogo de Sousa uma referência incontornável na leitura da relação entre o território ocidental da Península Ibérica e o mundo mediterrânico na Antiguidade Clássica.
","ContactoseLocalizacao":"Rua dos Bombeiros Voluntários · 4700-025 Braga
T +351 253 273 706 | 253 615 844
E-mail: geral@maddiogosousa.pt
Site: https://www.maddiogosousa.gov.pt/
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Normal 5,00 €
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Loja, Auditório, Restaurante e Cafetaria, Centro de Documentação/Biblioteca
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Diogo de Sousa (1461-1532), to whom we owe important measures of urban renovation in the city of Braga and the first attempts to safeguard the traces of Roman occupation. Between the sixteenth and nineteenth centuries, some initiatives were implemented towards the creation of a museum, which occurred in 1918, and the D. Diogo de Sousa Museum emerged as a museum of archaeology and general art. As a result of unfavourable circumstances, it did not operate regularly until 1980 when it was revamped as a Regional Museum of Archaeology. An Organic Law was passed to give it specific competencies in the field of archaeology.
The museum collection provides material evidence of cultural context and human occupation from the Paleolithic to the Middle Ages in the northern region of Portugal. The Pre and Protohistory collection comes mostly from archaeological sites in the north-west of the peninsula. It is worth mentioning the collection from the archaeological excavations carried out in the Roman city of Bracara Augusta, the only provincial capital of the Roman empire in Portuguese territory, and later capital of the Suevo Kingdom.
In addition to the collection of national origin, it permanently exhibits an international collection, the result of a Bühler-Brockhaus donation, thus making the D. Diogo de Sousa Archaeology Museum a clear reference as regards the relationship between the western territory of the Iberian Peninsula and the Mediterranean world in Classical Antiquity.
Rua dos Bombeiros Voluntários · 4700-025 Braga
T +351 253 273 706 | 253 615 844
E-mail: mdds@museusemonumentos.pt
Site: www.museuddiogodesousa.gov.pt
","Horario":"Tuesday to Sunday 10am-5:30pm
Closed: 1st january, Easter sunday, 1st may, 24th june, 25th december
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Regular 5,00 €
Online Ticket Office
Shop, Auditorium, Cafeteria/Restaurant, Documentation Center/Library
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