Two neat bell towers of the main shrine of the Portuguese capital, the Cathedral of Lisbon, rise above the solemn facades of the medieval mansions. Despite its modest reputation, the cathedral is one of the first Gothic churches in Europe. Thus, it is the "big brother" of the legendary cathedrals in Paris and Chartres, Milan and Seville, as well as the main attraction of Lisbon, where you can come to study the history of Portuguese architecture. The cathedral rose from the ashes, like the mythical phoenix bird, becoming more beautiful and majestic each time.

The history of the cathedral began with the victory of the First King Afonso the Great over the Moors and the return of Christianity to Lisbon. The construction of a new Catholic church in the Romanesque style began on the site of the former Arab mosque in 1150. The two tall bell towers of the cathedral looked more like the watchtowers of a fortress, though that was indeed their function. Back then, temples repeatedly became the defenders of civilians, used as defensives during raids. In the same years, the cathedral received its main relics, including the remains of St. Vincent of Saragossa. Under the rule of Denis, the Cathedral of Lisbon was significantly expanded with a spacious monastery in the Gothic style, and his successor, King Afonso IV, turned the altar part of the cathedral into a royal pantheon.

Three Gothic tombs built in the 14th century and decorated with family coats of arms can still be seen in the old cathedral. One of the tombs belongs to the favorite liegeman of King Afonso IV, Lopo Fernandes Pacheco. His posthumous tombstone is adorned with a stone statue with a sword in hands and a faithful dog. The tomb of his wife, Maria Rodriguez de Villalobos, stands nearby. Her statue depicts a woman reading the Book of Hours. The third tomb belongs to an unidentified princess.

The sacristy in the Mannerism style of the Cathedral of Lisbon was purchased in the middle of the 17th century. A hundred years later, one of the towers was adorned with an ancient clock.

Each new ruler tried to leave his mark on the history of the shrine by adding elements of new styles peculiar to a particular era. The only constant thing was the number of pilgrims striving to worship the relics of St. Vincent of Saragossa and see the font of St. Anthony of Padua.