Its creation was associated with the Portuguese Viceroy of India, D. João de Castro, and his family, but became a pious community of reclusive clergy that continued to occupy cramped humble spaces in the complex until the religious orders were abolished in Portugal.

Tired from his search, he fell asleep against a rock and in a dream, he received a divine revelation to erect a Christian temple on the site.

In 1564, from an inscription found on the site, indulgences were granted by Pope Pius IV, who offered that prayers be said for the Christian princes, the Church, and the soul of deceased João de Castro.

[1][3] The story of Honório impressed later English Romantic poets, like Robert Southey[4] and Lord Byron ("Deep in yon cave Honorius long did dwell/In hope to merit heaven, by making earth a hell").

[5] In the 17th century, a painting/panel of São Pascoal Bailão by Vicente Carducho was completed, while in 1610, several mural paintings were created on the exterior of the Chapel of Senhor Morto.

Similar royal patronage was conceded by King John V of Portugal in the 18th century; he offered a pipa of olive oil to the convent per year, as well as an azulejo tiles.

[3] By 1728, the convent was described by friar António da Piedade as secluded "between dense fields, high boulders, and while trees, that in this refuge produces the mountains that are so many...".

[1][3] In 1889, the convent was described as "situated in the centre of a sad solitude, encircled by a dryness and whipped by gales...this small monastery, open to the rocks and containing a dozen cells, in which can barely move the disgraceful inhabitants".

[1][3] During the 1920s, an image of Santa Maria Madalena still existed in a niche near the gate but was eventually collected by the state and stored in the Pena National Palace.

[citation needed] The minimalist convent was erected in harmony with its surroundings, implanted in the rocks and boulders that formed this part of the Sintra Mountains.

[1][3] The southeast entrance, located a further distance from the visitor centre, comprises a gate and ancillary building, which leads directly to the much larger Terreiro do Fonte ("Terrace of the Fountain").

[1][3] So named because of the large octagonal water fountain, the terrace is a principal square within the retreat, with bunk seating in rock around its edges.

[3] On the wall fascia, accessed by stairs on two sides converging onto a level platform, there are two door frames covered with cork, leading to the pilgrims' quarters.

Between these is a large wooden cross and inscribed muraria box, framed with pebbles and shells, with traces of a painting depicting a crucified monk.

The right-side wall is embossed with a representation of Virgin with the Child and the founder of the convent, D. Álvaro de Castro, topped by a triangular pediment, the tympanum with Christ Pantocrator.

[3] On the opposite wall, the lintel is surmounted by a cross of rubble, flanked by two small openings, with access to the Chapel of Senhor dos Passos.

[1][3] This chapel interior is covered in monochromatic azulejos (blue-on-white tiles), with a rounded niche on the main wall, with panels showing scenes from the Flagellation of Christ and Crowning with Thorns on opposite sides.

[2] On the right wall, surmounted by a cross of shells over a skull and crossbones, is the old entranceway for novices (which represented the transition between the spiritual and terrestrial lives), leading from the Pátio do Tanque ("Patio of the Tank") across a corridor with busts of friars minor.

On the pulpit side there is a framed inscription, surmounted by a carved stone of the coat of arms of the Castro family (the patrons of the convent).

These indulgences were conceded by Pope Pius IV in the year 1564 by request of D. Álvaro de Castro, being Ambassador of Rome"The presbytery is marked by the vestiges of a wooden balustrade and covered by the rocks that conceal the space.

[3] Friar António da Piedade, writing in 1728, described the cells as so small that a few of the monks carved out portions of the wall in order to accommodate their feet.

The refectory included a large slab that was ordered extracted from the mountains by Henry, King of Portugal and used as a table by the monks, and small cupboard.

The fascia, consisting of a false retable, includes a niche carved into the wall, moulded into an arch, over an altar covered in azulejo tile.