The area where this property is located still retains a certain rural character, with its own farmstead, which extends on both sides of the stream, including an orange grove and vineyard. A bridge connects the more private garden area at the back of the building to the rustic property. The built ensemble and grounds of Quinta Nova resulted from the division of Quinta da Ermegeira into two distinct estates. The main building is associated with a spacious tree-lined courtyard dominated by two impressive casuarina trees. This courtyard is surrounded by a wall incorporating benches and flower beds. A second bridge connects the more private garden area at the front of the building to the rustic property, where an extensive orchard of Rocha pears is cultivated. The entailment of the Ermegeira Estate remained until the legislation of 1863, which abolished entailed estates, with the property subsequently passing by inheritance to the branch of the Souza Coutinho family associated with Viscount de Balsemão, who, around 1890, transformed the manor house into a holiday residence, utilizing part of the façades and structure. Successive divisions by inheritance gradually reduced the area of the Ermegeira Estate, the last of which occurred in the 1960s, resulting in the separation of the residential area from the area designated for agricultural activities (stables, barns, etc.), giving rise to Quinta Nova da Ermegeira. The estates were part of the entail created by Manuel Perestrelo in 1526, purportedly including an ancient medieval hermitage - Casa do Eremita - of which apparently some traces remain. It was in that year that a single-story manor house was built, some elements of which are visible on the main façade and the east façade. The ensemble underwent various alterations over time, the most significant of which occurred in the late 19th century with the adaptation of the manor as a second family residence for the Souza Coutinho family. The main building today has two floors, a four-sided roof, and simple stone masonry openings, with the main façade featuring a single-flight staircase facing the garden, where a circular tank fountain remains. Another embossed fountain, in romantic taste, decorates one of the walls of the garden-facing façade. In the passage to the rectangular courtyard, a 19th-century gate with wrought iron grille and stone columns stands out. The wooden ceilings of the three rooms are also characteristic examples of Portuguese carpentry. In 1670, the entail Diogo Brandão Perestrelo commissioned the construction of a chapel dedicated to Saint John the Evangelist, with a plaque relating to this foundation still surviving on its main façade. In fact, the chapel corresponds to the element with the main architectural and artistic value of the ensemble, considering its size and the decorative elements of its interior. Also noteworthy is the painted coat of arms on the vault of the temple, representing the arms of the Perestrelos, Brandões, and Pereiras, as an example of Baroque heraldic art. It is also worth mentioning the network, with two curious confessionals, the choir, probably from the late 18th century or early 19th century, and the sacristy, with a vaulted ceiling and a tiled floor.