Explore the map

Monument • Almada, Setúbal

High above Pragal, with arms open over the Tagus, Cristo Rei has become one of the most striking shapes in Lisbon’s skyline, although it already belongs to Almada. The idea was born when Cardinal Cerejeira saw Christ the Redeemer in Rio de Janeiro, yet the monument gained its deepest meaning in the vow made by the Portuguese bishops in 1940: if the country were spared from the Second World War, a great sign of gratitude and peace would be raised here. Inaugurated in 1959, with a design by António Lino and sculpture by Francisco Franco, the ensemble joins the solemn scale of a sanctuary to the simple force of a figure turned towards the city. It is worth noticing the void between the four pillars and letting your eyes rise to the open arms before lingering at the viewpoint, where the Tagus and Lisbon seem to unfold in a single breath.

Museum Ship • Almada, Setúbal

Some ships seem to contain an entire empire within them, and the frigate D. Fernando II e Glória is one of them. Built in Daman and launched in 1843, it was the last great ship of the Portuguese Navy to sail entirely under canvas and the last to serve the India Run. Over 33 years it covered more than 100,000 nautical miles in a succession of voyages linking Lisbon to Portugal’s overseas world. It later served as the Naval Artillery School, housed a social institution for disadvantaged boys and, in 1963, was nearly lost in a fire that left it half-submerged. Restored and opened to the public in 1998, it returned as a museum ship. During a visit, it is worth lingering on the main deck, the gun deck and the cabins: among the masts, the teak wood and the cramped spaces, the hardship and scale of life on board become easier to grasp. Remarkably, it never entered combat.

Castle • Palmela, Setúbal

From the top of the hill, Palmela Castle commands one of the widest views in the region, between Arrábida, the Tagus and the Sado. Archaeological excavations have confirmed its Islamic origin, between the eighth and ninth centuries, before the successive captures and recaptures of the Christian Reconquest. Granted to the Knights of Santiago at the end of the twelfth century and linked to the Order for centuries, it became a military, religious and political centre that was crucial to the organisation of the territory. Even now, the keep, the ruins of Santa Maria and the austere Church of Santiago reveal that layering of periods and powers. It is worth climbing slowly and lingering on the walls: from there, it becomes clear why Palmela was such a strategic lookout. One episode is especially memorable — from here, great warning fires were lit to announce the approach of the troops of D. Nuno Álvares Pereira.

Castle • Sesimbra, Setúbal

Perched above the bay, Sesimbra Castle is the last Portuguese castle over the sea to preserve its medieval layout, and that singular quality is felt at once in its walls opening towards the horizon. Of Islamic origin, it passed through conquest and reconquest until it was definitively secured on the Christian side at the beginning of the thirteenth century, when the town received its charter; soon afterwards, it was entrusted to the Order of Santiago, which strengthened the enclosure and its defensive role. Throughout the Middle Ages, it was a key stronghold in guarding the coast, but from the fifteenth century onwards the population gradually moved down towards the bay, drawn by fishing and shipbuilding. Today, as you walk through the alcáçova, the keep, the wall walk and the church within the ramparts, that long shift of centre and outlook becomes clear. Above all, linger over the view: between the town and the sea, Sesimbra seems to tell its whole story at once.

Museum • Setúbal, Setúbal

On Avenida Luísa Todi, the Banco de Portugal Municipal Gallery shows just how well Setúbal has reused its urban memory. Designed by Arnaldo Adães Bermudes in the early decades of the twentieth century, the building served for a long time as the local branch of the Bank of Portugal and still retains the solemn air of a former banking house. The two stone columns at the entrance, the eclectic composition and the revivalist echoes, with discreet Art Nouveau touches, give it a sober yet distinctive presence. In 2013, the property began a new life as a municipal gallery and started hosting exhibitions from the Museum of Setúbal. Among them was the celebrated altarpiece from the Convent of Jesus, one of the great works of sixteenth-century Portuguese painting. It is worth studying the building closely before you even step inside: few transformations tell the story of a city so well, turning a place once meant to guard wealth into one that preserves and shares heritage.

Fort • Setúbal, Setúbal

Perched on the hill above Setúbal, the Fort of São Filipe watches over both the Sado estuary and the city it was meant to keep under guard for centuries. It was commissioned by Philip I in the aftermath of the crisis of 1580, when the weakness of the town’s defences had become clear and control over Setúbal had gained new political importance. Its six-pointed star plan, fitted to the steep terrain, gives it the stern character of military architecture designed to deter. After the Restoration, the fort took on a different meaning and even served as a prison. Today, beyond the sweeping view over Setúbal, Tróia and the Arrábida hills, one detail deserves special attention: the small Baroque chapel, lined with blue-and-white tiles by Policarpo de Oliveira Bernardes, showing scenes from the life of Saint Philip. Few places reveal so clearly how war, power and landscape meet in a single setting.

Convent • Setúbal, Setúbal

In the heart of Setúbal, the Convent of Jesus reveals a decisive moment in Portuguese art. Founded in 1490 by Justa Rodrigues Pereira and enlarged under the patronage of King John II, it was entrusted to Diogo Boitaca, who carried out his first work in Portugal here. The church is seen as a landmark in the beginnings of the Manueline style: its three vaulted aisles at the same height create a rare, bright and continuous space, supported by twisted columns that stay in the memory. Over the centuries, the complex changed its life: a convent for Poor Clare nuns, later a hospital, and since 1961 the city museum. Today, moving between the cloister, the Chapter House, the Upper Choir and the Gallery of 16th-century Art, one senses how the building preserves very different layers of time. Among them, the fourteen panels of the former altarpiece, attributed to Jorge Afonso’s workshop, stand out as a treasure linking Setúbal to the great cycle of Portuguese Renaissance painting.

Museum • Almada, Setúbal

High above Almada Velha, facing Lisbon and the Tagus, Casa da Cerca brings together an old leisure estate and one of the most distinctive cultural projects on the south bank. Built between the late seventeenth and early eighteenth centuries, the manor house was enlarged over time; in the chapel survive tile panels attributed to Master P.M.P., and in the oldest part there are still traces of a blocked sixteenth-century doorway. After decades of private use and a period of neglect, the building was restored by the municipal council and opened in 1993 as a Centre for Contemporary Art, through the initiative of Rogério Ribeiro, with special attention to drawing. The garden deepens that rare identity: O Chão das Artes, inaugurated in 2001, brings together botany, art and science through plants linked to pigments, fibres, oils and other materials used in artistic creation. Between the white house, the walls and the light on the river, the place has the calm of a belvedere and the curiosity of a laboratory.

Church • Sesimbra, Setúbal

At the western edge of the municipality of Sesimbra, Cabo Espichel is striking for the way it brings together faith, vertigo and geological time. Devotion to Our Lady of the Cape is documented at least from 1366, and the sanctuary seen today, rare for its planned composition of church, forecourt and long pilgrims’ lodgings, took shape mainly between 1701 and 1770. The Ermida da Memória marks the place where, according to tradition, the image of the Virgin appeared in 1410, an episode that fed centuries of pilgrimages and cireos that are still alive today. But the cape does not speak only of pilgrims. On the limestone cliffs of Pedra da Mua, tracks of Jurassic sauropod dinosaur footprints survive, as if the landscape held a memory far older than the human one. Between the constant wind, the austere Baroque complex and the Atlantic stretching into the distance, Espichel feels like a place where devotion and nature enlarge one another.

Garden/Park • Vila Nova de Santo André, Setúbal

On the Alentejo coast, between the plain and the sea, Badoca Safari Park creates an unexpected meeting with the savannah. Across 90 hectares, around 600 animals from more than 80 species live here, and the safari is the heart of the visit: along the route, zebras, giraffes, buffalo, oryx and wildebeest appear in a setting designed to bring visitors closer to wildlife. But the park is not only about the thrill of spotting animals. Conservation and environmental education lie at the centre of its project, through educational programmes, preservation partnerships and work focused on threatened species. That side is especially clear on Madagascar Island, where Badoca keeps lemurs and takes part in the European Association for the Study and Conservation of Lemurs; it is also the only zoological park in Portugal with red-bellied lemurs. Between the excitement of the safari and this steady work, the place gains depth and meaning.