This is one of the six capitals from the arcade of the original cloister of the Convent of S. Bento de Avé-Maria, in Porto, ordered built by Manuel I, in 1518. It was built on the site formerly known as Hortas do Bispo e Cividade, next to the Fernandina wall, in the area currently covered by Rua do Loureiro, Rua da Madeira and the Praça de Almeida Garrett.
The capitals are similar in shape, but are differently decorated. This capital has the angles of the basket decorated with winged figures and its end in the shape of a fish. Alternately, on two sides of the capital, the figures interlace tails, while on the others they seem to be holding a vegetal feature. Besides the capitals, a column base and, presumably also from the original construction, a Cross of Christ and an armillary sphere are part of the Lapidary collection. These are among the few surviving pieces from when the monument was demolished in 1892 to make way for the building of the S. Bento railway station.

This coat of arms is from the façade of the former Real Teatro de S. João, in Porto, designed by Vicente Mazzoneschi, Italian architect and painter, who was in Portugal working at the Teatro de S. Carlos in Lisbon as a set designer.
The Royal Theatre of S. João was inaugurated on 13th May 1798, the birthday of the Prince Regent João (the future João VI). The theatre was destroyed by a great fire that occurred during the night of 11th to 12th April 1908.
The royal coat of arms is composed of eight granite blocks displaying the royal coat of arms of Portugal. There is an oval shield set on a banner with five small escutcheons, each bearing five bezants, bordered by seven castles (three in a band and two on each side) surmounted by a closed crown.

This coat of arms comes from Fonte da Batalha, in Porto, built around 1830 and demolished in the late 19th century.
It depicts the city’s former arms with the Virgin and the Infant Christ on her lap, flanked by two towers. A Royal Charter, which recognised the city for services rendered during the Peninsular War, added two arms to the traditional representation: one holding a flag bearing the royal arms and the other a laurel-encrusted sword.

This coat of arms was probably part of the portal in the wall that existed in the former Largo da Sé (Cathedral) do Porto and that was demolished in the early 20th century to make way for the present Terreiro da Sé. The arms are of Dom Gonçalo de Morais (Bishop of Porto between 1602 and 1617) and consist of a divided shield: I. Morais, II. Borges. Overall an ordeal. A Calvary Cross is featured. Surmounted by an ecclesiastical hat with laces and three orders of tassels per side.

These are the coat of arms of Pedro da Costa (Bishop of Porto between 1507 and 1535) from a house located in Rua das Flores in Porto, which adopted the wheel with razors as its heraldic symbol, one of the attributes of the martyrdom of St. Catherine of Alexandria. On Rua das Flores, originally called Rua de Santa Catarina das Flores, you can still see the knife wheel on the facades of some houses, which identified the residences that paid fees to Mitra.

This sculpture was part of the S. Roque Fountain in Porto, demolished around 1875. It was located in the square of the same name, which also disappeared to make way for the opening of Rua Mouzinho da Silveira.
The sculpture represents a naked human figure, missing its head, with a sash across its body from the shoulder. It is sitting on the back of a dolphin, whose body is decorated with scales and with its lateral fins next to its head. Its mouth, partially mutilated, has an orifice through which water used to flow.

This column, with a smooth cylindrical shaft topped by a conical capital, is one of five from the refectory of the Convent of Santa Clara in Porto.
Founded in the 15th century, this convent was suppressed following the dissolution of the Religious Orders in 1834. The estate was divided into three lots: one with objects of local interest for the Museu Municipal do Porto, another with objects for the Janelas Verdes Museum (currently the Museu Nacional de Arte Antiga), while the last group of objects were auctioned. The five columns were part of the lot destined for the Museu Municipal do Porto.

This pilaster chapiter comes from the vanished Romanesque church of Amorim in Póvoa de Varzim and was probably used as a holy water font.
This example is decorated on three sides with figurative warrior scenes. The front displays two men, side by side, playing a musical instrument. On the left side, a man on horseback holds a sword in one hand and the musician’s hair in the other. On the right side, another male figure holds the musician’s right arm, while the latter holds his left arm.

This Manueline portal was formerly a chapel entrance of the now extinct Madre de Deus de Monchique Convent. The convent was between the current Rua da Restauração and Rua Nova da Alfândega, in the Miragaia area of Porto. It was commissioned in the 16th century by Pedro da Cunha Coutinho and his wife Beatriz de Vilhena, whose tombstone, which was also in the chancel of the church, is part of the Lapidary collection.
The portal is made up of a trilobed arch topped by vegetal features, framed by two pilasters decorated with twisted half-columns and smooth shaft colonnades, which delimit the inner part of the portal, decorated with quadrilobed florals.

From the Monte de Eiró (parish of Penhalonga, Marco de Canaveses), this stone was part of a boulder complex from which it was cut. It is a rectangular-shaped granite monolith decorated with geometric representations, two spirals and wavy, serpentine lines. This type of engraving was made by rubbing and picking with stone incisors.
In 1910, the stone was transported by boat, along the River Douro, to the Municipal Museum, where it remained until becoming part of the municipal collections in the Soares dos Reis National Museum.