The majestic stately home was built in the 15th century at the order of the ilegitimate son of King D.João I, Afonso, who was to become the Duke of Bragança. He lived here with his second wife Constança de Noronha. It is a unique example on the Iberian peninsula of a fortified housa influenced by the manorial architecture of Northem Europe, typified by the steepy inclined roofs and cylindrical chimneys. From the 16th century onwards the palace suffered a progressive decline leading to its almost complete ruin by the 20th century. Rebuilding began in 1937 and continue until 1959, at which time it was transformed into a museum open to the public, housing a collection dating from the 17th and 18th centuries. Of the present collection a set of copies of four tapestries by Pastrana are especially important in relation to the history of the Portuguese expansion.
They narrate episodes from the subjugation of N.Africa , namely the conquest of Arzila and Tangier: Ordered by the Portuguese king, Afonso V, the originals, which are now in Spain, were made im Tournais in the 15th century after drawings attributed to Nuno Gonçalves. These unique copies, executed by the Real Fábric de Tapices de Madrid, were acquired by the Portuguese state in 1957. There is also a collection of Flemish tapestries whose theme is episode from the life of a roman consul. These tapestries, executed fter cartoons by the Pieter Paul Rubens, are notable for the rendition of the draperies and the play of shadows. Another collection on display is furniture from the period following the Portuguese discoveries. Special attention should go to a group of cabinets fitted with multipe drawers classed as varguenos, an anglicised form of the Spanish designayion bargeños.
They include examples of Indo-Portuguese manufacture, others in what is know as the Mudéjar style, and some fine Spanish pieces. Ornamenting the furnitur is a major collection of porcelain from de "Companhia das índias", and Portuguese faience from the main producers of the period: Prado, Viana, Rocha Soares and Rato.
In one the rooms there is a display of weapons including examples of blades, fire-arms and parts of armour dating from the 15th and 16th centuries which were collected by the Viscount of Pindela and subsequently acquired by the state. The Palace is to, classified as a National Monument.
Designed by the architect André Soares, it was begun in 18th cenutry. The two spires were added in the middle of the 19th century; the staircase and balustrade being of the same peiod. The altar-piece of the chancel is of classical inspiration dating from the 18th century, painted to imitate marble.
What is considered to be the heart of today´s was in the 17th century a square outside the city walls, adjacent to the city´s main gate, where the cattle market took place. In 1791 the Town Council leased the land adjoining the walls for the construction of buildings which were later built following plans probably derived from Lisbon. Thus began the gradual process of transforming the Toural.
It was once one of the richest convents of Guimarães instituted in the 16th century by Baltasar de Andrade, Cannon and School-master of the Chapter of N.Sra da Oliveira. The facade of the building is baroque. with a sculptureof St.Clare at its centre, while the two-storey cloister is Neo-classical. The building now houses Guimarães Town Hall.
It was one of the first streets of Guimarães since it served as the link between the monastery founded by Mumadona, which was located in the lower town, and the Castle, situated in the upper town. There are references to a street by this name in documents dating from the 12th century, although the upper part of the street later went by the name of Rua da Infesta. The existence of a number of significant buildings along it, the Convent of St. Clare, the Casa do Arco, the Casa dos Peixotos and the Casa dos Valadares, as well as many others impart a singular identity to this street which is characteristic of the city.
The building was started in the reign of King João I, at the end of the 14th century. It was completely remodeiled at the beginningof the 17th century by the architect João Lopes de Amorim. The interior has a painted wooden ceiling. Currently it houses the Museum of Primitive art which displays works of international renown in the Naive style. 
Gothic monument from the reign of King Afonso IV, to commemorate the Battle of Salado fought in 1340. The stone cross, completed in 1342, was offered by Pedro Esteves, a local businessman resident in Lisbon.
A renaissance fountain in three tiers constructed im 1583 by Mestre Gonçalo Lopes. Originally built for the Toural where is stood from 1585 to 1873, it is today located in Martins Sarmento Square, in front of the house where the great archaeologist died.
