Cultural places in Portugal

Interpretive Center • Lisboa, Lisboa

The Codfish History Interpretation Centre, in Lisbon, turns an everyday food into a theme of maritime and cultural memory. The exhibition presents cod as a symbol of Portuguese gastronomy, but also as the result of long voyages, hard work and Atlantic connections. The route is organised into two major sections, “The Sea” and “At the Table”, and combines images, films, animations and interactive experiences. In the rooms dedicated to the fishing saga appear the luggers, the dories, the White Fleet and life on board, including campaigns that could last around six months. The narrative also passes through the propaganda of the Estado Novo and the place of cod on the Portuguese table. In the end, “Cod 20.20” opens a reflection on marine resources, climate change and the future of fishing, showing that this history is still changing.

Museum • Lisboa, Lisboa

The Health Museum, in Lisbon, belongs to the National Institute of Health Doutor Ricardo Jorge and gives museological form to the memory of health in Portugal. Created by the Ministry of Health in 2007, it has been presented since April 2017 in the former Neurosurgery Service of Santo António dos Capuchos Hospital, with the exhibition “800 Years of Health in Portugal”. The route follows the history of health from the foundation of the nation to the creation of the National Health Service, bringing together around 400 pieces from its collections and from partner institutions. The narrative moves through the first medieval services, royal hospitals, pharmacopoeia, health policies, technical and scientific innovations and the fight against endemic diseases. The museum also preserves collections linked to tuberculosis, malaria, urology, psychology and anaesthesia, showing how science, care and heritage intersect in collective life.

Museum • Lisboa, Lisboa

Casa Fernando Pessoa, in Lisbon, occupies the writer’s last home, where he lived with his family from 1920 until a few days before his death on 30 November 1935. The building was acquired by Lisbon City Council in the late 1980s, when it was in poor condition, and opened to the public on 30 November 1993. Rebuilt while preserving original elements, the House keeps personal objects, some furniture and a large part of the books that belonged to Pessoa. The long-term exhibition is organised around memory, literary creation, reading and home. Across three floors, it presents the heteronyms, documents, works of art and the Private Library, classified as a National Treasure. More than preserving a reconstructed bedroom, the House shows how reading nourished one of the most plural literary works of the 20th century.

Viewpoint • Lisboa, Lisboa

The Senhora do Monte Viewpoint, in Lisbon, opens beside the Chapel of Nossa Senhora do Monte, on the old Monte de São Gens. From this elevated balcony, the city appears in recognisable layers: São Jorge Castle, the River Tagus, the Pombaline Baixa, the hill of São Roque with the ruins of the Carmo Convent, Mouraria, the Castle Hill, the avenues and recent buildings stretching northwards, and several gardens. The proximity of the chapel adds an ancient devotional memory to the panorama: municipal sources place its origin in the time of the Christian reconquest, linked to the hermitage of the Calced Augustinians. Thus, the viewpoint is not only a high point from which to observe Lisbon. It brings together landscape, topography and religious tradition, showing how the city can be read both through the shape of its hills and through the places that remained upon them.

Viewpoint • Lisboa, Lisboa

The Sophia de Mello Breyner Andresen Viewpoint, in Lisbon, is the former Graça Viewpoint and opens beside the Church and former Convent of Graça. The paved space, marked by the shade of stone pines, has benches that extend a slow reading of the landscape. From here, the eye travels along the Castle Slope, the rooftops of Mouraria, Martim Moniz Square, the Baixa, the ruins of the Carmo Convent and the São Pedro de Alcântara Viewpoint. Senhora do Monte, Avenidas Novas and more recent buildings can also be distinguished, reminding us that Lisbon grows in layers. Sophia’s bronze bust is a replica of a stone piece from the 1950s, by António Duarte. Between convent, city and poetry, the viewpoint turns the view into a serene form of memory.

Viewpoint • Lisboa, Lisboa

The Portas do Sol Viewpoint, in Lisbon, owes its name to an old city gate, facing east, that once stood on this site. Today, the place works as an open balcony over the historic slope of Alfama and the Tagus. From here, the National Pantheon, Azurara Palace, traces of the Moorish Wall and the Church of São Vicente de Fora can be distinguished, forming a clear reading of old Lisbon. In the centre of the space stands the statue of São Vicente, Lisbon’s patron saint, represented with the boat and two ravens that form part of the city’s symbols. Between vanished walls, houses descending the hill and monuments that still organise the horizon, the viewpoint shows how the urban landscape preserves names, devotions and memories much older than the present.

Viewpoint • Lisboa, Lisboa

The São Vicente Viewpoint, beside Largo das Portas do Sol, in Lisbon, belongs to the group of balconies that open Alfama towards the Tagus. The place is connected to the old city entrance that gave its name to the Portas do Sol square and viewpoint, a gate facing east. From here, the eye crosses the rooftops and churches of Alfama and identifies the National Pantheon, Azurara Palace, traces of the Moorish Wall and the Church of São Vicente de Fora. The presence of São Vicente is marked by the statue placed and inaugurated in October 1970, a work associated with Raul Xavier. Lisbon’s patron saint appears with the boat and two ravens, symbols linked to the tradition of the translation of his relics to the city. Between old city, river and civic devotion, this viewpoint shows how the landscape preserves names that cross the centuries.

Museum • Lisboa, Lisboa

The Museu do Lactário, in Lisbon, preserves the memory of the first milk dispensary created in Portugal. Established in 2019 by the Fundação Aboim Sande Lemos, it tells the story of a social work begun in 1901 with the Associação Protectora da Primeira Infância. The Lactário began operating in 1903, supporting disadvantaged children from Alfama and their families. The help was daily and free: controlled-quality cow’s milk, paediatric care, hygienic, social and neonatal support. The museum brings together objects, documents, photographs, painting, sculpture, tilework and scientific and technical pieces linked to that activity. Among the most expressive items are four incubators for premature babies, acquired in 1903, Alexandre Lion models. By reconstructing services such as Lacticology, the Lactário, the Medical Service and the Social Service, the museum reveals a discreet history of care, science and child protection.

Palace • Lisboa, Lisboa

The Palace of the Counts of Tomar, in Lisbon, is today home to Brotéria, a cultural centre of the Society of Jesus. The building has its origins in 16th-century structures and gained its palatial form in the 19th century, linked to António Bernardo da Costa Cabral, first Count and Marquis of Tomar. Its history has passed through very different uses: it was an aristocratic residence, the headquarters of the Royal British Club and, for decades, Lisbon’s Municipal Newspaper and Periodicals Library. After being acquired by Santa Casa da Misericórdia de Lisboa and rehabilitated, it opened in 2020 as a house of culture. Brotéria brings together a magazine, library, gallery, bookshop, café and courtyard, bringing into the old palace a programme of thought, art and contemporary debate. The great central staircase and the interiors with Romantic decoration recall the building’s former life, now inhabited by books, exhibitions and public conversation.

Viewpoint • Lisboa, Lisboa

The Santa Luzia Viewpoint, in Lisbon, opens beside the Church of Santa Luzia and São Brás, over the neighbourhood of Alfama and the Tagus. Integrated into the Júlio de Castilho Garden, it combines the role of an urban balcony with a strong decorative presence. The façade and walls are covered with historic tiles, many produced by the Viúva Lamego Factory. On the southern wall, two panels by António Quaresma preserve episodes from Lisbon’s memory: Praça do Comércio before the 1755 earthquake and Christians attacking São Jorge Castle. Another figurative panel, made up of 20 by 80 tiles, occupies the lower level of the garden. Between the view over neighbourhood and river, and the narrative painted in tiles, the viewpoint turns Alfama into a landscape read in depth.

Viewpoint • Lisboa, Lisboa

The Santa Catarina Viewpoint, in Lisbon, is also known as the Jardim do Alto de Santa Catarina or the Jardim do Adamastor. Built in 1883, it opens over the Tagus estuary, the 25 April Bridge and the rooftops of the former parish of São Paulo. The space combines a small garden with a wide terrace, where the city is observed towards the river. Its most striking presence is the sculpture of Adamastor, inaugurated on 10 June 1927 on the initiative of Lisbon City Council. The figure, created by Luís de Camões in “The Lusiads”, symbolises the Cape of Storms and the fears associated with Atlantic navigation. Between garden, literature and maritime horizon, the viewpoint turns a view over Lisbon into a visible memory of the Portuguese epic imagination.

Church • Lisboa, Lisboa

The Church of São Domingos, in Lisbon, is a place where history can be seen in stones marked by fire. The first stone was laid in 1241, in the former Dominican convent, and the building passed through successive building campaigns. Classified as a National Monument since 1918, it saw its chancel reformed in 1748 by João Frederico Ludovice; this would be the area spared by the 1755 earthquake. The later reconstruction, associated with Manuel Caetano de Sousa, incorporated the portal and balcony that came from the Royal Chapel of the Ribeira Palace. The Baroque church, with a Latin-cross plan and a single nave, preserves an interior scale marked by monumental columns and the polychromy of its marbles. On 13 August 1959, a fire destroyed much of the interior. Reopened in 1994, it keeps those marks visible, turning loss into material memory.

Convent • Lisboa, Lisboa

The Convent of Nossa Senhora da Conceição dos Cardaes, in Lisbon, was founded in 1681 by D. Luísa de Távora to house Discalced Carmelite nuns. Its history has crossed the city with little interruption: the 1755 earthquake caused little damage to the structure, allowing its seventeenth-century layout to be preserved. The sober exterior prepares a striking contrast with the interior, where the nave brings together gilded woodcarving, paintings and blue-and-white Dutch tile panels, signed by Jan van Oort of Amsterdam, showing episodes from the life of Saint Teresa of Ávila. In the chancel, the polychrome marble inlays, attributed to João Antunes, give the space depth and brilliance. After the death of the last Carmelite nun, the convent came to serve the Associação Nossa Senhora Consoladora dos Aflitos. Still today it is a monument, museum and inhabited home, linking Baroque art, religious memory and social mission.

Church • Lisboa, Lisboa

The Church of Santa Catarina, in Lisbon, was founded in 1654 in connection with the religious community of São Paulo da Serra de Ossa, beside the former Convent of the Paulists. First associated with the Blessed Sacrament, it came under the invocation of Saint Catherine in the nineteenth century, when the parish seat was transferred to this complex. Classified as a National Monument since 1918, it brings together Baroque and Rococo elements. The façade is arranged in three sections, with a triple arcade, a curved pediment and two bell towers decorated with balusters. Inside, the single nave leads to the chancel, where the Johannine gilded carving of the high altar stands out. The stuccowork by João Grossi, the side chapels, the carved wooden pulpits and the Portuguese organ complete a space in which convent architecture, parish devotion and artistic heritage remain closely linked.