Velez-Malaga’s Alcazaba, or ‘Fortaleza’ as it’s more commonly known, was built in the 10th century. Originally, it was intended not to defend but to subdue the local population, who had traditionally caused a lot of problems for the Moorish rulers. Built on the tallest hill in the immediate area, it was the perfect site from a military point of view, affording long distance views of oncoming enemies and an easily defendable geographical location.
Over the next 500 years, Velez’s fort remained largely the same. At the beginning of the 14th century, the Nasrid kingdom of Granada grew in prominence and solidified Moorish control over the Iberian Peninsula.
The function of the Fortaleza changed dramatically at this time as it became one of the most important strongholds in the Nasrid Kingdom. The outer walls of the Alcazaba sheltered and protected the local population and the buildings inside the inner walls provided a great level of fortification in the event of attacks on the area.
Christian King Fernando eventually conquered the fort of Velez-Malaga in 1487. Muslims and Jews were expelled from the area and fled to Northern Africa, or were forced to convert to Catholicism.
During the 16th century the competition between European nations was reflected in a shift in function for the Velez fort. Dutch, British, Spanish and Moorish pirates and privateers on the Mediterranean took advantage of the now poorly defended villages and settlements to raid for slaves.
Velez became one of a system of forts along the coast. From its position on the highest point of the area, the fort would provide advanced warning to residents of approaching raiders or oncoming enemy armies and then shelter residents until the danger had passed.
At the end of the 19th century, the need for forts had diminished so drastically that the hilltop on which the Fortaleza sits was assigned for use as a quarry. The buildings fell into disrepair and were closed to the public.
The main keep and south-facing castle wall are the only parts of the original site that have been fully restored. You can also see remains of many buildings around the site. All of these buildings are from the last time that improvements were made to the Alcazaba, with the 18th-century occupants installing the latest in military equipment at the time.
Remains of a fortified stable building can be seen around the courtyard within the inner castle walls. The courtyard was built in line with best military practices of the time and was used to store weapons for local troops. The semicircular wall to the south, facing the sea, originally housed six battery guns that would have been a first defense against attackers coming from the ocean. Around all of the inner castle walls there was originally a moat, although traces of this are hard to find.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.