What was initially the Great Hall during the reign of King João I and Philippa of Lancaster, the Swan Room brought together the king’s court. It was the center of musical concerts and banquets throughout the 19th century and derives its name from the intricate swan motifs painted across the ceiling of this vast space.

The Palatine Chapel was crucial to the palace and the Portuguese monarchy, and it derived its legitimacy from the support of religion. Both religion and monarchy had a symbiotic relationship, and the former’s importance is evident from the intricate Mudejar carpentry in the chapel’s ceiling to the decorations on the walls.

The epitome of King Manuel I's concept of monarchy is embodied in the Coat of Arms Room. Positioned at the heart of a meticulously structured yet interconnected society, King Manuel I showcased his coat of arms on the ceiling of this chamber. His capacity to govern was intricately linked to the nobility, who in turn, granted the monarch the essential societal status he needed.

The Galley Room was believed to be the palace’s gallery. It connected King João III’s chambers to the northwest wing of the palace. The room derives its name from the many galleys painted on its walls. The room’s ceiling, dating back to the 17th century, features a blend of Portuguese, Imperial Ottoman, and Dutch galleys.

The Golden Chamber was where King João I and Philippa of Lancaster would receive guests of the highest social standing, one among who was Queen Catherine of Austria. The gold plating across the room is how it is said to have derived its name, and it existed through the 15th and 16th centuries.

Within the Palace of King Manuel I, the Manueline Hall, known as the Noble Hall, ranked as the fourth most spacious chamber, trailing behind the Swans Hall, the Galley Hall, and the Chinese Room. However, to make room for King Luis's quarters, the hall underwent division into three smaller compartments during the latter half of the 19th century.