This was the main gate of the Aragonese city, positioned opposite the Castle, and it likely corresponded to the entrance of the medieval — and possibly even Messapian — citadel, as suggested by some remnants embedded within the central section of the gallery. In its original configuration at the end of the 15th century, it consisted of two adjoining half-towers, with a central gate and an uncovered passage leading to it. At the front, it was protected by a triangular ravelin and a moat, which could be crossed via a drawbridge.
The two half-round towers (known as Rondelle) have similar features to those at the corners of the fortified circuit, such as the Duchesca. They include an initial section with a vertical wall (now hidden by the fill of the old moat — the string course is, in fact, at the same level as the square’s pavement), a second sloped section separated by a torus molding from a third vertical wall segment, from which the upper crowning projects, supported by corbels and blind arches.
Like the other Rondelle, Porta Alfonsina in its original late 15th-century form had a lower upper part topped with battlements and arrow slits for bows and crossbows. This is still visible today through small window-like openings, which were originally gaps between consecutive merlons. In the early 16th century, when the structure was raised, the space between the two towers was covered with a barrel vault, closed on the front with a three-centered arch. Some circular gun loops (archibugiere) indicate the existence of interior defensive spaces used for flanking fire, now accessible only from one of the two towers.
On the main façade is the inscription “ALFONSINA”, confirming the gate’s dedication either to Alfonso I, father of King Ferrante, or to his son Alfonso II. On the other side of the entrance, another inscription reads: “SIT VIRGO MATER FORTITUDO MEA”
(May the Virgin Mother be my fortress).
By observing the monument, it becomes clear that some of the designs from the Codice Magliabechiano by the Sienese master Francesco di Giorgio Martini (1439–1502) likely inspired the Otranto project. The Bacile di Castiglione mentions the existence of another inscription, once located on the arch of the gate, which read: “FERDINANDUS REX DIVI ALPHONSI FILIUS DIVI FERDINANDI NEPOS ARAGONIUS PORTAS MUROS AC TURRES POST RECEPTUM A TURCIS OPPIDUM SUO REG. STIPENDIO E FUNDAMENTIS FACIENDUM CURAVIT”
King Ferdinand of Aragon, son of the divine Alfonso, grandson of the divine Ferdinand, after having recaptured the town from the Turks, took care to build from the ground up gates, walls, and towers with his royal funds.
