His reflections are rooted in a shared focus on studying Portugal's international relations in the 15th and 16th centuries, artistic migrations, and examining the "most unsuspected testimonies" (Da Arquitetura Manuelina [On Manueline Architecture], 1885, p. 13), the monuments themselves. The description of manueline architecture as non-original (lacking a rigorous layout, clear determination of functions, and a cohesive system of ornamentation) is not simply about noting an eclecticism that is able to accept the old and the new: in the "indiscipline" of the arts, he sees a reflection of the indiscipline of customs, a successive disorganisation and a lack of proper schooling, teaching, and study; the evidence of the "dissolving seeds" of an era, which finds parallel in his 19th century. Historical analysis, therefore, necessarily involves a moral examination.

His time-consuming, distinguished, and painstaking work was recognised throughout his life by various institutions: he became associated with Gesellschaft für Musikforschung in Berlin (1874) for his musicological expertise; with the Sociedade de Geografia de Lisboa [Lisbon Geographical Society] (1876); with the Imperial Germanic Institute of Archaeology (1878); with the Royal Academy of Fine Arts of San Fernando, in Spain (1878). He was a corresponding member of the Comissão dos Monumentos Nacionais [National Monuments Commission] (1896-1898), collaborated with the Conselho dos Monumentos Nacionais [National Monuments Council] (starting in 1902), and served as a full member of the Arte e Arqueologia da Circunscrição do Norte [Art and Archaeology Commission of the Northern District] (1910-1932). He was a scholar of merit at the Academia Nacional de Belas-Artes [National Academy of Fine Arts] and a scholar of literary merit at the Escola de Belas-Artes do Porto [Porto School of Fine Arts] (Joaquim de Vasconcelos: historiador, crítico de arte..., p. 40).

Many other organisations also honoured him: the Real Associação dos Arquitetos e Arqueólogos [Royal Association of Architects and Archaeologists], of which he was a full member, awarded him the institution's silver medal (1879); the Royal Academy of Music in Florence (1881); the Sociedade Martins Sarmento [Martins Sarmento Society] (1882), the Escola Livre das Artes do Desenho de Coimbra [Coimbra Free School of Drawing Arts] and the Ateneu Comercial do Porto [Porto Commercial Athenaeum] elect him honorary member (Idem, p. 146); the Escola de Belas-Artes do Porto [Porto School of Fine Arts] granted him the title of scholar of literary merit (1908). He was also a patron member of the Associação Industrial Portuguesa [Portuguese Industrial Association] (1890). At the age of 80, the Portuguese government awarded him the Grand Officer of the Order of St James (1929) (Idem, p. 255).

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