Cathedral See 2 . As the main religious building of the diocese, the Sé Catedral (the Cathedral See) presents itself as the gauge centre of aesthetic environments in successive transformation works. Those artistic solutions irradiate from here to its direct influence area.

In the long history of the Porto Cathedral, three stages stand out: in medieval times, the foundation, which granted it its architectural outline; in modern times, the transformation of the building, conditioned by the Catholic Reformation, makes it take on a coherent image where the interior arts – such as woodcarving, painting, plaster and others– are its main speech; the last one, dating from the 20 th century, consisted of the controversial interference of the National Monuments, which intended to purge it from its Baroque ambience, to lead it to the formal purism of the period that delineated it.

Clérigos Church 3 . The buildings of the Confraternity of Clergymen comprise the Church, the House of the Clergymen (secretariat and infirmary) and the Tower, and are the most representative of the activity of the painter/architect Nicolau Nasoni in Porto , the city where he worked from 1725 to the time of his death in 1773. Born in Italy , Nasoni transferred to the city - after a stay in Rome - an artistic language that spread from painting to architecture. With the spatial conception of Clérigos, he asserted himself as a bearer of an expression that goes beyond what is merely ornamental, and thus became a full architect of the Roman Baroque as regards contents and form. The unusual elliptical nave of the church, among the other religious spaces of the city, alongside the careful treatment of the elevations and the covering system, justify his mastery of the art of conceiving spaces. He also knew how to take advantage of the building's localisation, by placing the rear tower on the highest side of the area, thus making it the greatest emblem of the city.