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In addition to the large number of older pieces of sacred art, the monastery is also rich in contemporary art. Among the highlights are the stained glass windows by the master Júlio Resende, which depict the Holy Trinity and the Creation. Near the entrance to the church, a sculpture by Irene Vilar, created for the Jubilee in 2000, depicts the Child Jesus as the Saviour of the world on his mother's lap.
Historically, the monastery is of considerable value. More than a thousand years of history can be found in its remains and documents in the various archives.

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The high choir is interesting in itself. The chairs are decorated with the famous misericords. It is from here that we have a view of the body of the church in all its splendour and grandeur. We can also see the magnificent late 18th century Iberian pipe organ from the choir.

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Very wide, forming a square. There are two overlapping galleries. The upper one has columns which are almost composite. On the lower level, there are Ionic columns set on a thick base with a cut-out. The most striking features here are the tiled panels representing the Evangelists and the Doctors of the Church.
In the centre there is the fountain by Gonçalo Vaz, dating from the first half of the 17th century.
Of particular importance is the tomb of D. Rodrigo Sanches, a jewel of 13th century funerary sculpture (the second oldest in the country), declared a National Monument in 1910. In 2013, it was removed from the arcosolium of one of the walls of this cloister, where it had been partially covered for 387 years, to reveal all of its decorative splendour.

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The church, completed and consecrated in 1626, occupies a prominent place. It has a rectangular floor plan, in accordance with the liturgical requirements imposed by the reform resulting from the Council of Trent. It has a single nave, narrow and long, preceded by a deep balcony and flanked on either side by three intercommunicating side chapels. The choir is deep and forms a rectangle in close articulation with the nave.

The Chapel of St. Sebastian
The altarpiece of this chapel, containing the image of San Sebastián, is made of wood painted to look like marble. The woodwork is carved with an abundance of birds, flowers and fruits. The colours are very harmonious.
The Chapel of San Cayetano
In the altarpiece of this chapel, in the central niche, there is an image of St. Cayetano, the patron saint of the clerics, dating from the 17th century.
The Chapel of the Lord of the Steps
This chapel is entirely decorated in the typical 18th century Baroque style. The entire space is lined with wood. Besides the altarpiece's gilded woodwork, there are polychrome tiles, canvases and painted granite. The altarpiece is dedicated to the Mystery of the Passion of Christ and the central image is the Lord of the Steps. At the top of the altarpiece there is a painting representing Saint Veronica; on the left there is another painting representing the scourging of the Lord tied to the column; on the right there is a representation of the agony of Jesus on the Mount of Olives.
St Lucy's Chapel
It has a gilded altarpiece surmounted by a canvas depicting Saint Lucy. In the central niche there is an image of the same saint. On the small corbels on the sides there are the images of the five martyrs of Morocco and of St. Francis.
Chapel of Our Lady of the Rosary
The altarpiece of this chapel is made of gilded wood, in the national style with Joanine additions. It is surmounted by the Portuguese Coat of Arms. In the centre of the altarpiece is a life-size image of Our Lady of the Rosary. The sides of the chapel are covered with tiles in blue and white.
The Chapel of St. Anthony
A gilt altarpiece similar to the one opposite. It has a life-size image of St Anthony. He is dressed in the habit of the Augustinian monastic canon. This type of representation is characteristic of the churches of this order. This eminent Doctor of the Church later adopted the Franciscan habit.

The transept is covered by a ribbed vault and has two balanced Mannerist carved altarpieces. The transept has a niche containing a statue of Christ the Redeemer and a pelican.
The altar of the Lord of the Agony
The characteristics of this altarpiece are the same as those of its counterpart.
The central part is occupied by the image of the Lord of Agony, flanked by the Virgin and St John. The image of Our Lady of Compassion is in the niche above the stool. These works date from the late 17th and early 18th centuries.
Above, in the central part, is the statue of St. Mark, surmounted by a wooden painting depicting the Adoration of the Magi.
The Chapel of Our Lady of Sorrows
An altarpiece from the late 17th and early 18th centuries with gilded woodwork in the Renaissance style. In the centre is an image of Our Lady of Sorrows; in the central niche is an image of St John the Baptist; under the altar table is a life-size image of the dead Christ. At the top is an image of St Luke dressed as a bishop. It is surmounted by a wooden painting of Saint Peter and Saint Paul.

The main Chapel
It was built in 1612 and completed in 1626. It is covered with beautiful polychrome carpet tiles. It has a cylindrical vault made of granite with an elaborate coffered ceiling.
On the left-hand wall there is an arcosolium in which a wooden urn used to contain the remains of the bastard son of King Sancho I, Rodrigo Sanches.
This chapel has an 18th-century gilded altarpiece in the style of King John V, with a double throne for exposing the Holy Sacrament. The spiral columns and the various angels that appear among the foliage make this altarpiece particularly noteworthy. Also worthy of note are the life-size statues of St Theotonius on the right-hand side and St Augustine on the left-hand side.
The upper throne is covered by a panel depicting the Transfiguration of Jesus on Mount Tabor. The biblical figures of Moses and Elijah are represented in the presence of the Apostles. John the Evangelist and James. It is the work of painter Pedro Alexandrino and dates from 1795.

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The façade, with Flemish inspiration, probably dates from the 18th century and has a notable height. It is divided horizontally. The second part of the façade, richly decorated with geometric motifs, consists of a large central window flanked by two shell niches containing the images of St. Peter and St. Paul. Above the niches there are two windows. In 1998, stained glass windows with images of the Trinity and the Creation by the master Júlio Resende were installed in these openings.
The interior of the church was renovated in the 18th century. The decorative arts of tiling and wood carving, characteristic of the Baroque period, fill the interior, especially the choir and the magnificent Iberian pipe organ from the end of the 18th century.

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The first point of contact with the monastery of Grijó is the portico at the entrance. From the outside, you can see that it is a monastery dedicated to the Divine Saviour. Inside, the date 1574 is engraved, which refers to the last major reconstruction of this monument.
The origins of the Grijó Monastery date back to the early years of the 10th century, when two brothers, Ausindo and Guterres Soares, built a small church that the people called eclesiola, meaning "little church", a name that evolved over time to become igrejola, igreijó and grijó.
In 922 the same clerics founded the primitive monastery, which grew over time with the help of donations from the patron family. A new temple dedicated to Saint Saviour was built in 1093. The Rule of Saint Augustine was adopted as the norm of the monastic life of the monks of this monastery. In 1112, the monastery was moved to its current location, but the new church was not consecrated until the following century, in 1253, by the Bishop of Porto, Pedro Salvador.
At the beginning of the 16th century, the monastery was in ruins, and in 1536 King John III authorised the transfer of the monastery to the Serra de São Nicolau (Serra do Pilar), in Vila Nova de Gaia, on the banks of the Douro River, which separates the two cities of Gaia and Porto.
When some of the monks returned to Grijó, the Monastery needed to be re-designed. In 1572, the decision was made for the construction of a new monastery and the architect Francisco Velasquez was commissioned for the work. Two years later, work began on the construction of the dormitory and the raising of the main door.
By the year 1600, the two wings of the cloister, the refectory and the chapter house had been completed. However, the construction of the church took another thirty years.
In 1770, the monastery of Grijó was abolished by Clement XIV and its property was transferred to the monastery of Mafra (city near Lisbon). In 1790, the canons returned to Grijó, but in 1834, with the decree of the extinction of the religious orders in Portugal, the monastery as a monastic institution came to a definitive end.
During the French invasions, Grijó Monastery assumed the function of a hospital. The monks had a fabulous pharmacy, according to the monastery inventory of 1770.
The façade is modest. It consists of a portico with three round arches supported by pillars and surmounted by niches with sculptures of St. Peter and St. Paul.
The galilee is decorated with tiles from the chapter house. On the ceiling you can see the symbols of Saint Augustine.itório e a sala do capítulo. No entanto a construção da igreja arrastou-se por mais cerca de trinta anos.
No ano de 1770, Clemente XIV extingue o mosteiro de Grijó e os seus bens passaram para  o Convento de Mafra. Em 1790 os cónegos voltariam para Grijó, mas em 1834, com o decreto da extinção das ordens religiosas em Portugal, o mosteiro termina definitivamente como uma instituição monástica.
Durante as invasões francesas o mosteiro de Grijó assumiu a função de hospital. O inventário do mosteiro realizado 1770 revela que os frades possuíam uma farmácia fabulosa.
A sua fachada é modesta, constituída por uma galilé com três arcos de volta perfeita assentes em pilastras, encimados por nichos contendo as esculturas de S. Pedro e de S. Paulo.
A galilé é decorada por azulejos provenientes da sala do capítulo. No teto podemos observar os símbolos de Santo Agostinho.