The plan of the urban working out of medieval times is organized cross, with four arms pointing to the four cardinal points scored by the four convents of Tomar. At its center is the town hall and the parish church, and from the Republic Square that public and religious buildings arise, in particular, to the south: the Synagogue, the old Mercy Hospital, the St. Francis Convent and the old Rossio village; North: the headquarters of the Municipal Assembly, the chapels of St. Gregory and Lady of Mercy and the former Convent of the Annunciation; west: the Castle Hill, the Chapel of Our Lady of the Conception and the Convent of Christ; east: the bridge, the old grain mill and the Villa Mills, the Convent of Santa Iria, the output to the Church of Lady Maria do Olival and school district is Polytechnic Institute of Tomar. Following the geometric symbolism is observed: making center in Manueline church to the Republic Square is generated a circle that connects the Charola Convent Convents of the Annunciation, Santa Iria and San Francisco.
Carrying out of four in the month of July, its origin comes from the Holy Spirit Worship, glimpsing to the beliefs of the old parties of crops by the idea of the anchors of flowers, the bread presence and wheat ears the trays. A great cultural and recreational importance intervention, the parade is the highest point of the festivities, where the procession of the Boys, the procession Butler, the Popular Streets Ornate, the Popular games, Processions Partial, Popular Arraiais and the Peza, create a dynamic strongly recognized. Starting on Easter Sunday, with the output of crowns and banners of all the parishes, animated pipers, drummers, firework and music bands from now until the day of the procession, this output occurs seven times.
The Courting of Boys is dedicated to the image of the Great Parade, which takes place on Sunday before this, in which students of Nursery for children and Basic scales are major representatives. Already on Friday before the procession, is the Butler Parade symbolizing entrance into the city of the sacrifice of oxen, and his flesh then distributed. This is termed Courting the Bois of the Holy Spirit, but is currently a procession of carriages and riders, with ox teams to the head.
The historic downtown streets of Tomar are decorated with paper flowers made by people who dedicated with great love for this party.
In the Saturday before the big day, morning parishes have their trays in Partial Parades, and later the popular games take place at the Municipal Stadium, with ballon race and kites, string pull, climb the greasy pole, quoits, among others.
Finally, on Sunday, the great parade of trays begins with bagpipers and firework to celebrate passing the Tassel of the Holy Spirit and the three crowns of Emperors and Kings, followed by banners and crowns of all the parishes in a meandering tail of multiple colors is music. While women are clothed with white and a colored ribbon to cross the chest, rise high in the trays; men wear a white shirt with sleeves rolled up, dark pants, cap and tie the ambro the girl color ribbon. To complete the parade, walk the triumphal car of bread, meat and wine pulled by oxen symbolic sacrifice.
On Monday, with the party end, tradition and solidarity provide the neediest meat, bread and wine were blessed at the party.
Both the Templar Castle and the Convent of Christ were headquarters of the Temple by the year 1314 and the Order of Christ from the year 1357. The castle dates back to 1160, consisting in the octagonal rotunda, which together with the convent were classified by UNESCO as a world Heritage Site in 1983. in an area with more than fifty thousand square meters, this is the most monumental area in Portugal and one of the world’s largest.
The castle has three muralhados precincts, which highlights the sites of Charola and Donjon. In its wall is a great innovation, the portentous alombores that reinforce all of this defensive line. Among the citadel and the rotunda, is the Paços do Infante that have traces of the Muslim occupation.
The construction of the convent due to the order of Prince Henry, who took his palace and cloister of the wash and the cemetery, which were joined seven, five hundred, a rare set around the world, with making the the convent will be. Thus, the present architecture in Portugal, especially in this set presents documents in buildings, including the Templar church of Castel, in the Romanesque style; in Gothic style presents the cloisters of the Infante D. Henrique time; the early sixteenth century, the Manueline style is shown in “Chapter Window”; due to the expansion of the Convent, by order of King John III, framed-Renaissance style; the mannerist and baroque are marked in the cloisters of the Inn and the Main and other ornaments.
In the convent are three points of interest, the art that involves the whole monument and the Main Gate, the Charola, the Chapter window and the Cloister of John III that are the symbols of this; This functional, which housed warrior-monks and friars in cloistered, allowing them lies with the natural and artistic aspect of life, both in buildings and in the woods; and the double meaning for the nation, its consolidation and expansion for the world to the service of Christ.
In the nineteenth century it was acquired by Take Conde, Costa Cabral, creating in the year 1843, the first keep post the convent, going to work in this one public cultural function under the Ministry of Finance, and only in 1986, this function was housed by officials from the Ministry of Culture.
This church whose patron is the legendary Santa Iria, Tomar, containing an ordeal in stone and decorated referring to the symbols of the Holy Spirit in the paneled chancel. With a stroke of Coimbrã Renaissance is observed carefully the porch and Nicholas Chanterene window. Inside this is covered by the seventeenth century tiles, with a crucified Christ altarpiece is attributed to Jean de Rouen. On the outside is the Arc of nuns, which is a passage between the Poor Clare Nuns of Santa Iria Convent and the old Palace of Friar Anthony of Lisbon.
Dedicated to St. Gregory Nazianzus, theologian who proved the divinity of Jesus, this sixteenth century building, it is noteworthy the Manueline portal that lies decorated and sheltered by the porch that surrounds three sides of the chapel and its interior are panels of eighteenth-century tiles originating Convent of Trinas Lisbon.
A small church basilica with three naves, designed by João de Castilho, this copy of the Italian classicism was considered as the best evocation of Greco-Roman art in the Iberian Peninsula, also sporting the funeral chapel of King John III, king who sent his construction.
In 1385, on 10 August, the day of the martyr St. Lawrence, this chapel the troops of King John I joined to the Constable D. Nuno Alvares Pereira and took towards Aljubarrota. This chapel and its standard recall the meeting and the holy patron of the chapel, which was built by King Manuel.
Its construction was ordered by Mayor of Obidos, in the fourteenth century, whose portal warhead is achieved porch porch. In 1613, it was restored and modified by the people judge Bernardo Ortiz Ochoa. Inside there are many blue tiles and white enxaquetados from the seventeenth century and the nineteenth century is the terrace and staircase.
Built between the years 1953 and 1955, this chapel features architectural elements from a Renaissance chapel, of the Casal de Santo António Chapel of 1459. In the year 1924, the dismantling of the masonry of this chapel was carried out under the protection of the Union of friends of the Monuments of the Order of Christ. With the construction of the Housing Estate, the current chapel has retained some traces of its original, including the main portal and the chancel with ribbed.
Gothic style of the thirteenth century, this rose in the place where there was a Templar church built by D. Gualdim. Called Pantheon Templar Masters, here was the seat of nullius diocese with jurisdiction over the churches of the Discoveries. Following the model of St. John the Baptist church, it has three naves, outside there is the rose window, the lookout tower adapted the bell tower and loggia of the sixteenth century, while inside is the tombstone of Gualdim Pais, the tomb of D. Diogo Pinheiro and images of Our Lady of Milk and Holy Mothers.
A temple of late Gothic, it was built by King Manuel I order, overriding the old chapel, being completed in the sixteenth century. The symbol of D. Manuel, the Royal Coat, Armillary Sphere and the Cross of Christ, is in the tower, in the pulpit and portals. Of note on the outside is the Main Gate, the North Portal and the South Portal, which recalls the primitive temple. Similarly to the structure of Santa Maria do Olival church, inside there is the sixteenth-century painting, the symbols of the Portuguese pictorial art of the sixteenth century.
In 1510, the Mercy of Tomar was founded by King D, Manuel I, this is also known as Church of Our Lady of Grace and Our Lady of the chain, whose Mannerist construction dates back to half of the sixteenth century. In the sixteenth century portico bearing the statue of the Virgin in the nave which is decorated by frames of stone and tiles, along with the sixteenth century panel that enhances the Eucharistic Miracle of St. Anthony.
A mannerist buildings that was built around two cloisters. The church replaced the old chapel of Our Lady of the Angels, in the mid-seventeenth century, welcoming her community of Santa Cita home. This seventeenth century church has a characteristic Tea architecture, and its façade features Mannerist elements in the portal and the frontispiece. Already inside, with a nave covered by a dome Berca on which stand the sculptures of Calvary and the four pictorial representations of the Virgin Life; the first chapel is the image of Santa Iria, Tomar patron.
Present at the Convent of San Francisco, this collection of more than eighty thousand boxes, labels and matches cards donated by Aquiles Mota to the City Council in 1980, and this comes in the exchange between Mota Lima and an American lady during a trip maritime for the ceremony of the Coronation of Queen Elizabeth II.
The Contemporary Art Center was opened in 2004 due to the donation of Professor José Augusto França, whose collection is presented with paintings, sculptures, drawings and photographs covering a temporary line that goes from 1932 to the present day, dividing into Modernism points out the works of Mario Eloy, Julio and Almada Negreiros; Surrealism stand out the work of the Surrealist Group of Lisbon, composed of António Pedro, Vespeira, Fernando de Azevedo and Fernando Lemos; abstractionism and the outbreak of the New-Figuration are represented works of Fernando Lanhas John Cutileiro, Joaquim Rodrigo Noronha da Costa, among others. At the Municipal Museum in the historic center of Tomar, was former backyard of the residence of D. Christ Convent of Prior.
In the synagogue, this museum features a collection consists of tombstones funeral, with objects connected with Jewish culture and religious ornaments. During the excavations of the attached room coins were found, household ceramic piece and a water heating system for the bath “mikveh”.
In ancient Paços reais in which Manuel I built and donated to the town hall, this houses a Mannerist decoration of the sixteenth century, with the refurbishment the decor of the Manueline style was eliminated, but the symbols Fortunate King: Royal Coat, Armillary Sphere and cross of Christ, already with Philippine adaptation. This is highlighted the porch of three arches, the rear facade; inside, the exhibition gallery depicting the memory of the Infante D. Henrique Boticas and the Great Hall that features an antique Tomar Coat of Arms on the roof.
In the historic center, this space is located on the banks of river Nabão, which ruin after notification, this was seized, renovated and adapted. This building contained the storage functions and counting of agricultural products as payment of rents to the religious orders, that its measures were referred to as “cubes”. This was reacquired under the Polis Programme, which promotes the renewal of the urban fabric, seeking a new role for this as Monitoring Centre for Environmental Interpretation.
Serving as a source of supply to the Convent of Christ, this aqueduct was built by Philip II in 1593, and Pedro Fernandes Torres in 1613 that concluded. A distance of six kilometers and 180 arches, this crosses the Pegões Valley.
In this work the old bazaar of the Jews, having been commissioned by Prince Henry to his retirement, housing and trade. Its complex construction has sixteen arches warhead, on both sides of rui, which was never completed.
A set of buildings that present a chronological importance, from the medieval period, following the medieval era and up to contemporary times. Dating back to the late twelfth century and sequence of spatial and technological contexts, its function has obtained an industrial character until the end of the twentieth century. At present by the river Nabão, the buildings set offers an urban and landscape dynamics out of the ordinary in the territory that surrounds it is evolving and it remains simple and harmonious with over the years, a relationship with the Nabão, that in their mills and mills develops energy. Since 2011, this set is to be requalified and undergoing architectural rehabilitation, promoted by the city, aiming to protect this cultural and historical heritage.