The imposing Baroque-era residence, is a U-shaped layout, consisting of a courtyard leading to a staircase and a two-storey building decorated in azulejos, stucco artistic works, and paintings that were once home to the Counts and Marquesses of Penafiel.

[1] A Jewish family, uncommon for the time, in 1606 King Philip III of Spain bestowed Luís Gomes de Elvas Coronel a noble title, in gratitude for his services to the Crown (during the Iberian Union).

[1][2] These early interventions were terminated ten years later, and consecrated by His Eminence the Cardinal Patriarch of Lisbon, D. Tomás de Almeida (owner of the Palace of Santo Antão do Tojal), who died in 1754.

[2] The residence remained in the hands of the descendants of the last High-Courier (Manuel José da Matta Sousa Coutinho) and the Counts/Marquesses of Penafiel, who allowed the building to fall into ruin.

[1] His daughter, D. Filipa Maria de Louza-Canha, who was married to José Baptista Canha, contracted craftsmen to complete a few restoration projects.

[1][2] As part of this project, in 1967, CIMOBIM - Companhia Imobiliária e do Investimento SARL was authorized to proceed with the restoration and reintegration of the palace, under the direction of architects F.G.

[2] However, the Portuguese Carnation Revolution in April 1974 and subsequent Communist counter-coup in 1975 derailed the ongoing efforts to complete the restoration of the palace.

For several years, the beautiful, exquisite interiors served simply as warehouse space, causing considerable damage and erosion to the building.

[2] The layout of the building follows a U-shaped plan, comprising a central body that extends to the formal gardens in the rear (that also includes a tower in the southwest) and lateral wings (north and south).

[1][2] Above the first-floor rounded doors are three large windows (the largest being the central), that are surmounted by a curved pediment with the image of Nossa Senhora da Oliveira (Our Lady of the Olive Tree), and topped by pinnacles.

[2] The first floor is taken up by agricultural dependencies: a wine cellar consisting of three naves, stables and a kitchen decorated in azulejo tile (showing an undetermined figure, meat and fish).

The azulejos of the Sala de Caça (Hunting Room) are part of the "grand production" of the Joanino Baroque, or artistic period during the reign of King John V of Portugal, which were ultimately completed by Bartolomeu Antunes.

Although the palace is an excellent example of the Baroque civil architectural style, owing to its grande dimensions and rich decorative interior, this chapel is counterpoint, seemingly confined and austere.