The Roman epigraphic collection of Idanha-a-Velha constitutes one of the largest, and most representative, national sets of Roman epigraphy, collected at different stages of the archaeological exploration of the Village. The Epigraphic Archive, located in the garden of the old oil press, in the south-western part of the village, was created to selectively display this collection, which had previously been on exhibit in the Cathedral. The new museum project for this space enabled the study and publication of this important epigraphic collection. 86 pieces are on display, out of a total of 210, blending traditional exhibition techniques with multimedia technology. Resulting from the care given to the scientific rigour of its study, it was understood that the epigraphic contents must be made available to a wider audience. Thus, an interactive path as designed, where technology serves the purpose of contextualising and interpreting the exhibits. This project encourages the use and enhancement of endogenous heritage resources through scientific research, the preservation of archaeological heritage and the application of new technologies, to respond to the requests for a qualified tourism for the site.

There are two baptismal fonts identified in old Egitanea, the name by which the Visigoth city was known. One of them is located next to the North façade of the Cathedral. The date of its construction is unknown, but materials from the Roman imperial city were reused for its construction. It was abandoned during the late 4^th century, early 5^th century. It is a rectangular pool, with access steps on the shorter sides, covered with opus signinum (waterproofing mortar) with a marble bottom. The second baptismal font was built at the beginning of the 5^th century, also reusing marble slabs from the imperial city. It has a cruciform shape and has preserved, until recently, traces of its original painting. Both are liturgically close and functionally identical: a small pool with steps, into which the catechumens entered, on the west side, receiving the triple infusion – symbolising the purification rite of immersion – and exiting on the opposite side. In the southern baptismal font, the priests would occupy the lobed spaces on the sides. The archaeological investigation has not yet contextualised these two baptismal fonts, which are the oldest of their kind in our region, being widely thought that they were part of structures built prior to the Cathedral (Santa Maria Church).

This shrine occupies a prominent place in the homonymous square, with a contemporary reorganisation, but designed according to the previous traditional configuration. The local festivities take place here, mainly the annual feast of the parish's patroness: Our Lady of the Immaculate Conception. The chapel has a single nave and chancel. On the façade, a scallop and a dove atop a cup sit above the portal. Inside, a pointed triumphal arch attests to its medieval origins. However, the current layout dates to the 17^th century. The seated image of the patron saint and a pulpit are noteworthy details of the chapel’s interior, in line with its 17^th century renovation. Below, a depiction of a bullring attests to local bullfighting traditions, which consisted of bullfighting with a broad pole.

The late-mannerist style S. Dâmaso chapel overlooks the river. Its façade is marked with the year of its construction, 1748. It has an altarpiece in granite illuminated by a window in the west wall.

The building is rectangular and its façade has a round arched door dating back to the 17th century. It was converted into a private museum in the 20th century, known as Museu Lapidar Igeditano. After it was closed down, its collection was donated to the state.

The House is a 20^th century structure built by a prominent family of local landowners. The project was based on the expansion of a previous house which conditioned the new designs. Its style is eclectic, but in line with the “soft Portuguese” style and was designed by an unknown architect. It is especially noteworthy for the refinement of its construction, particularly in its artistic stonework. The work was suspended in the 50s, leaving the interiors unfinished. The house is part of a vast enclosed space, which includes an area for agricultural exploration. A third area includes facilities for pets. The Great House, although seemingly isolated, is surrounded by other agricultural and livestock facilities, being the centre of exploration of the family farm, whose extensive fields surrounded Idanha-a-Velha.