The Cathedral of Málaga is in the Renaissance architectural tradition. The cathedral is located within the limits defined by a now missing portion of the medieval Moorish walls, the remains of which surround the nearby Alcazaba and the Castle of Gibralfaro. It was constructed between 1528 and 1782, following the plans drawn by Diego de Siloe in Renaissance style.
The cathedral, built on a rectangular plan, is composed of a nave and two aisles, the former being wider, though having the same height as the aisles. The choir stalls are the work of Pedro de Mena.
The façade, unlike the rest of the building, is in Baroque style and is divided into two levels; on the lower level are three arches, inside of which are portals separated by marble columns. Above the doors are medallions carved in stone; those of the lateral doors represent the patron saints of Málaga, Saint Cyriacus and Saint Paula, while that over the centre represents the Annunciation.
The north tower is 84 metres high, making this building the second-highest cathedral in Andalusia, after the Giralda of Seville. The south tower remains unfinished.
A series of grand artworks fills the sanctuary, among them are the Gothic altarpiece of the Chapel of Santa Barbara and the 16th century tombs of the Chapel of San Francisco. The Chapel of the Incarnation contains a neoclassic altarpiece (1785) designed by the sculptor Juan de Villanueva and carved by Antonio Ramos and Aldehuela, a group of figures representing the Annunciation and sculptures of the patron saints of Malaga, Saint Ciriaco and Saint Paula, carved by Juan Salazar Palomino also in the 18th century, and The Beheading of Saint Paul, painted by Enrique Simonet in 1887 during his stay in Rome.References:
The Palazzo Colonna is a palatial block of buildings built in part over ruins of an old Roman Serapeum, and has belonged to the prestigious Colonna family for over twenty generations.
The first part of the palace dates from the 13th century, and tradition holds that the building hosted Dante in his visit to Rome. The first documentary mention notes that the property hosted Cardinal Giovanni and Giacomo Colonna in the 13th century. It was also home to Cardinal Oddone Colonna before he ascended to the papacy as Martin V (1417–1431).
With his passing, the palace was sacked during feuds, and the main property passed into the hands of the Della Rovere family. It returned to the Colonna family when Marcantonio I Colonna married Lucrezia Gara Franciotti Della Rovere, the niece of pope Julius II. The Colonna"s alliance to the Habsburg power, likely protected the palace from looting during the Sack of Rome (1527).
Starting with Filippo Colonna (1578–1639) many changes have refurbished and create a unitary complex around a central garden. Architects including Girolamo Rainaldi and Paolo Marucelli labored on specific projects. Only in the 17th and 18th centuries were the main facades completed. Much of this design was completed by Antonio del Grande (including the grand gallery), and Girolamo Fontana (decoration of gallery). In the 18th century, the long low facade designed by Nicola Michetti with later additions by Paolo Posi with taller corner blocks (facing Piazza Apostoli) was constructed recalls earlier structures resembling a fortification.
The main gallery (completed 1703) and the masterful Colonna art collection was acquired after 1650 by both the cardinal Girolamo I Colonna and his nephew the Connestabile Lorenzo Onofrio Colonna and includes works by Lorenzo Monaco, Domenico Ghirlandaio, Palma the Elder, Salviati, Bronzino, Tintoretto, Pietro da Cortona, Annibale Carracci (painting of The Beaneater), Guercino, Francesco Albani, Muziano and Guido Reni. Ceiling frescoes by Filippo Gherardi, Giovanni Coli, Sebastiano Ricci, and Giuseppe Bartolomeo Chiari celebrate the role of Marcantonio II Colonna in the battle of Lepanto (1571). The gallery is open to the public on Saturday mornings.
The older wing of the complex known as the Princess Isabelle"s apartments, but once housing Martin V"s library and palace, contains frescoes by Pinturicchio, Antonio Tempesta, Crescenzio Onofri, Giacinto Gimignani, and Carlo Cesi. It contains a collection of landscapes and genre scenes by painters like Gaspard Dughet, Caspar Van Wittel (Vanvitelli), and Jan Brueghel the Elder.
Along with the possessions of the Doria-Pamphilij and Pallavacini-Rospigliosi families, this is one of the largest private art collections in Rome.