User:Duster53/Alcázar of Segovia

Lead
The Alcázar of Segovia ("Segovia Castle") is a medieval castle located in the city of Segovia, Castile and León, Spain. Rising out on a rocky crag above the confluence of two rivers near the Guadarrama mountains, it is one of the most distinctive castle-palaces in Spain by virtue of its shape– like the bow of a ship. The alcázar was originally built in the 11th or 12th century by the Almoravid dynasty to serve as a fortress but has served as a royal palace where twenty-two kings have reigned, a state prison, a Royal Artillery College, and a military academy since then. The castle overlooks a valley with the Eresma River and is a symbol of the Old City of Segovia. It was declared a UNESCO World Heritage Site in 1985. Today, the alcazar is used as a museum and a military archives building since its declaration as a National Archive in the Royal Decree in 1998.

History
The Alcázar of Segovia, like many fortifications in Spain, started off as a Roman castrum, but apart from the foundations, little of the original structure remains. The alcázar was built by the Berber Almoravid dynasty. Almoravid art and architecture is scarcely talked about in scholarship in part because so little of the physical work has survived in Spain. Furthermore, the Almoravid dynasty was short-lived and therefore much of the art and architecture of that period was subsequently destroyed or converted by their successors.

The first reference to this castle was in 1120, around 32 years after the city of Segovia was conquered by the Christians (during the Reconquista when King Alfonso VI reconquered lands held by the to the south of the Duero river, down to Toledo and beyond). In 1258, during the reign of King Alfonso X of Castile (r.1252-1284), an intense thunderstorm caused a fire that destroyed several rooms, leading to centuries-long reconstruction during the reigns of various kings.

The Alcázar of Segovia was one of the royal's favorite residences starting in the 13th century that in turn, led to secular patronage to the city of Segovia. It was during this period that most of the current building was constructed by various members of the Trastámara dynasty.

The restoration of the Royal College of Artillery is among the many reforms conducted under the reign of King Charles III of Spain (r. 1759-1788). He appointed Count Félix Gazzola as the director of the artillery corps, who made the executive decision to install the academy in the Segovian fortress in the Alcazar. At its opening in 1764, the military college stood as a symbol of the city’s new age of progress in political and military education. On March 6, 1862, another fire occurred at the castle, destroying the sumptuous ceilings of the private rooms that were reserved exclusively for the nobility. As demonstrated in the engravings by José María Avria l and Flores in 1839, the structures were restored to their previous appearances.

The Board of Trustees of the Alcázar of Segovia was created by the Decree of the Presidency of the Government, on January 18, 1951. The purpose of this was to ensure cultural, artistic, and historical preservation of the Alcázar’s triple function as a royal castle, military precinct, and military academy.

Description
The exterior of the castle has a Herrerian style courtyard, moat, drawbridge, and keep. The interior rooms include a chapel and several noble rooms (cuartos del Trono, de la Galera, de las Piñas, de los Reyes and others) that can be visited today. A triumphal arch, located on the corner of the south-east part of the palace, just beyond the moat, was likely ornamented with heraldic devices and served as a grand entrance to the alcázar. However, today it no longer survives. It was changed during the Habsburgs sometime during the sixteenth century.

The castle rests on a hill overlooking the city, with with four towers, and several halls that are constructed with barrel vaults and twin windows. In the interior, the halls and rooms were decorated with great luxury and beauty by Mudéjar painters and artists.

Currently, it houses an Armory Museum and the General Military Archive of Segovia, the oldest historical archive of the Spanish Armed Forces.

Tower of John II of Castile
The tower of King John II of Castile (r. 1406-1454) was built during the first half of the 15th century. The style is notably recognized as Spanish Gothic architecture, with influences from Islamic art, such as a horseshoe arch found during renovations in the souther-side of the tower. The tower culminates in a large panoramic terrace with two pointed arches of varying heights built into the walls of the eastern and western portions of the tower. On the east-side of the tower, a large, doubled Gothic window that reached to the floor and facing the city of Segovia was built so that the king's entire body could be seen by others as he stood, framed by the window.

The side that projects towards the city was initially used as a parade ground, which was common in military architecture. There are two steep and spiral staircases with 156 steps that ascend to the top of the tower. At the end of first section, there is a guard room. Attached to the front wall is a bed where the watchman of the tower would have slept.

Throne Room (Salón del Solio)
The throne, which was was located under the dossal, included the coat of arms of the Catholic Monarchs and their motto " Tanto monta, monta tanto", are works from the beginning of the [I cannot find this information in Souza -- is this the correct source??] sixteenth century. On the walls of the Throne Room are portraits of various kings, which are part of the collection of kings commissioned by the queen Isabella II of Spain. Both portraits are signed by their respective artists: the portrait of Isabella I of Castile is signed by Madrazo, while the portrait of Ferdinand II of Aragon is signed by Montañés. In addition, there is a depiction of the ruler himself "en siella" (seated). This image corresponds to the fact that extant written documents from the fourteenth century actually referred to the throne room as the "rey en siella" (king sitting on the throne; enthroned king). Often these rooms were used for different types of political ceremonies, including the receiving of foreign embassies, banquets, musical performances, and literary events. The rooms could be decorated with different types of objects, like tableware and textiles (including tapestries) that allowed for the space to be transformed to suit the particular event.

Hall of the Galley (Sala de la Galera)
The mother of John II, Queen Catherine of Lancaster (r.1390-1406) commissioned the construction of the Hall of the Galley in 1412. The name of the room derives from the coffered ceiling that was shaped like an inverted ship hull.

The frieze is made of Mudéjar plaster with a double inscription: the upper one includes a prayer related to the Eucharist and the lower one offers information about the work displayed in the hall.

There are two stained glass windows in the Hall of the Gallery. One of these windows portrays Henry III of Castile (r. 1390-1406) and his family. The second window portrays King Henry II of Castile (r. 1366-1367) and scenes of the death of Peter I and John II. A painting by Muñoz de Pablos hangs on a wall in the gallery depicting the coronation of the Isabella I of Castile as queen of Castile and of León in the church of San Miguel of Segovia.

Hall of the Pineapples (Sala de las Piñas)
The inspiration for the of name for this room is due to the decorative motifs in the Artesonado ceiling that features many pineapple-like motifs. The stained glass window portrays King Alfonso VII (r.1126-1157) with his daughter, Queen Berengaria of Castile (r. 1217).

Hall of the Kings (Sala de los Reyes)
King Alfonso X (r. 1252-1284) commissioned the construction of the Hall of the Kings. The space has ornamental ceilings and the upper portions of the four walls are decorated with a five-layer cloth.

The design and layout of the Hall of the Kings borrowed iconography from the Palace of Alhambra. In the 1400s, King Henry IV of Castile (r.1454-1474) played a large role in the final design of the Hall of the Kings. Historical and literary references are evident in the decoration, including the storied medieval Castilian knight, El Cid. King Henry IV's decision to incorporate a gallery that depicted various rulers of Castile and León, in seated positions, into the hall's decoration was designed to demonstrate the political legitimacy of those in power during 15th century Spain. Similar imagery can be found in the King’s Hall (Sala de los Reyes) (also sometimes identified as the Hall of Justice) at the Alhambra, where an image of ten seated rulers located in the ceiling vault are believed by some scholars to represent different emirs from the Nasrid dynasty. Other scholars, however, have argued that due to the presence of small coats of arms below the figures and at the two ends of the image, the scene likely represents the ruler, in this case, Muhammad V of Granada (r.1354-1359), accompanied by a group of wise men, various teachers and literary figures, is a meeting known as a maŷlis. Whomever is illustrated in the imagery in the Alcázar of Segovia's Hall of Kings, the message concerns the representation of political power, dominance, and legitimacy.

Philip II of Spain (r. 1580-1598) commissioned Hernando de Ávila to design one of the statues that represented the kings of Asturias, León and Castile. One of the paintings in the room is a portrait of King Philip II of Spain (r.1556-1598) and the others are portraits of two of his wives, Elisabeth of Valois (r. 1559-1568) and Anna of Austria (r. 1570-1580).

Chapel (Capilla)
The chapel at the Alcazar of Segovia houses Adoration of the Magi (c. 1600) by Italian painter, architect, and sculpture Bartolomé Carducho. Due to its historical significance and architectural accomplishments, the castle hosted numerous events. One of the most famous events at the Alcazar was the wedding of Philip II of Spain (r. 1556-1598) with his niece, Anna of Austria (r. 1570-1580) in 1570, which took place in the castle’s chapel.

Museum of the Royal College of Artillery (Museo del Real Colegio de Artillería)
The Royal College of Artillery was divided into two parts: the academy and as a meeting place for the military and cadets in training.

To attend the school, applicants were exclusively chosen from the noble estate or related to army captains and artillery corps. The allure of the school consisted of not only its scientific and military accomplishments, but in its integration of teachings of Christian ideals.