The castle’s huge square keep, encircled by eight crenellated towers,
dominates the skyline. First built to deter attacks by Moors and Normans in
the 10th century, it was extended by Henry of Burgundy two centuries later
and, according to tradition, was the birthplace of Portugal’s first king,
Afonso Henriques. The font where he was reputedly baptized is kept in the
tiny Romanesque chapel of São Miguel , situated at the
western end of the castle.

Constructed in the 15th century by Dom Afonso (first Duke of Bragança), the
Burgundian style of the Paço dos Duques reflects Dom Afonso’s taste acquired
on his travels through Europe. The palace fell into disuse when the Bragança
family moved to Vila
Viçosa. In 1933, under Salazar’s dictatorship, it was renovated
as an official presidential residence.

On view in a small museum inside the palace, are lavish displays of Persian
rugs, Flemish tapestries and paintings, such as the impressive O Coreiro Pascal  (Paschal Lamb) by Josefa de Óbidos. Paying
unusual homage to the nation’s maritime exploits, the chestnut ceiling in
the banqueting hall imitates the upturned hull of a Portuguese caravel.

This museum, housed in the beautiful Romanesque cloister and adjoining rooms
of Nossa Senhora da Oliveira, displays some outstanding religious art, azulejos  and ceramics, all from local churches.

The star exhibits, donated to the church by João I, are his tunic worn at the
battle of Aljubarrota in 1385, and a 14th-century silver altarpiece, comprising a triptych of the
Visitation, Annunciation and Nativity, reportedly taken from the defeated
Spanish king. The Santa Clara room contains gilt carving, the work of local
craftsmen, taken from the former convent of Santa Clara, now the town
hall.

This former monastery lies on the square’s east side. Founded by Afonso
Henriques, the church was restored by João I in gratitude to Our Lady of the
Olive Tree for his victory at Aljubarrota.
The Manueline tower is from 1515.

In front of it is the Padrão do Salado, a 14th-century Gothic shrine housing
a cross. It commemorates the legend of how the church and square acquired
their name. An olive tree was transplanted here to supply the altar lamp
with oil, but it withered. In 1342, the merchant Pedro Esteves placed the
cross on it, whereupon the tree flourished. The tree that stands in the
square today dates only from 1985.

Named after the archaeologist who excavated major Iron Age sites in the
north, notably Citânia de Briteiros, the museum is housed in the Gothic
cloister of the 14th-century convent of São Domingos. Specializing in finds
from these sites, some dating to the Stone Age, the museum contains a wealth
of archaeological, ethnological and numismatic exhibits. These include a
rare pair of Lusitanian granite warriors, a bronze votive ox-cart, and the
Pedras Formosas, two stone slabs inscribed with human figures. The most
striking exhibit is the Colossus of Pedralva, a stone figure that stands 3 m
(10 ft) tall.

Built in 1400 in Gothic style, the elegant church of São Francisco was
reconstructed in the 18th century. The interior of the church boasts a
chancel covered in magnificent 18th-century azulejos  with
scenes from the life of St Antony.