Fuente del Cuerno (Horn Fountain)

It is situated in the lowest part of the village and is dedicated to artefacts from the past, making it a major exhibition of folk art.

This fountain, situated in Plaza del Pocillo, gives us the privilege of having, all in one place, a supply of 3 water sources from different origins: river, Alcua and reservoir. These are the three sources that feed this fountain, giving it its distinctive charm.

Situated in a square where the village’s street market used to be held, It was not unusual to see housewives carrying a jar or bottle along with their daily shopping supplies water to households.

The harvest fountain was created in a tribute to the work of the grape pickers who carried the grapes from the vineyards in a basket brimming to the brim to the wine presses, which were usually a long way from the vineyard, meaning they had to navigate steep ravines and hills.

In the village of El Borge, in the Axarquía region of Málaga, next to its ancient church – which features a distinctive blend of Gothic, Renaissance, Baroque and Mudejar styles – there is a crypt where the inhabitants of the village and the surrounding area were buried. In the 16th century, the crypt was closed by express order of Charles III around the year 1767. Its interior is still in perfect condition.
There is the caption that beneath the floor of this crypt lies a tangled network of almost labyrinthine passageways, which run through the subsoil of half the village, all the way to get to the municipal cemetery; a custom practised centuries ago for attending wakes and more private funeral services, or those that had to be held almost in secret because the deceased was a persona non grata for political or legal reasons.

It is situated right at the entrance to the village and retains elements of traditional architecture, with two murals paying tribute to notable figures from the region, such as Ibn-Baitar (a physician and botanist) and Martín Vázquez Ciruela (a canon and theologian). In addition to the murals, it features two figures at the very top of the arch itself, which depict two grape-pickers, a task commonly carried out by the town’s residents.

This church was established in 1505, at the request of Queen Isabella, under the patronage of Our Lady of the Rosary, by order of the then Archbishop of Seville and Metropolitan of Malaga, the Dominican friar Fray Diego de Deza, (hence the possible name of the church, being the patron saint of that order), according to a Bull of Pope Innocent VIII and confirmed later, in 1510, by Pope Julius II.

It was built in the Gothic-Mudejar style, alternating with and harmonising with later Baroque additions from the 18th century. It comprises three separate buildings by cruciform pillars supporting pointed arches. In the central nave, which is taller and wider than the side panels, features 16th-century Mudejar tracery, formed by four-pointed loops derived from stars and cross-bars emerging from the edges of the panels, with the panels themselves decorated with mena and cut-out stars. Six double struts decorated with loops, resting on S-shaped corbels, reinforce the framework. The side aisles, Covered by simple cantilevered wooden trusses, there are niches to house religious images, amongst which it is worth mentioning the one in the centre of the Gospel aisle: a tripartite niche formed by a semicircular arch resting on Corinthian columns, raised on corbels resembling cut-out plates, with the keystone of the central arch decorated with a Baroque rosette.

The chancel, With a square floor plan and separated from the central nave by a pointed transverse arch, it is covered by a most interesting octagonal Mudejar-style roof truss, dating from the 16th century, decorated with motifs of ten and five stars at the centre of the ribs, and crowned at the centre of the apex by a cluster of muqarnas. The rosettes include the ‘limas mohamares’ that cover the joints between the ribs… To the right of the chancel is the sacristy, through which one gains access to the bell tower, which has a square plan and is slightly rotated in relation to the church.

At the foot of the central nave stands the choir, built in 1784, with a tall wooden balustrade; spanning the width of the church’s three naves, supported by ribbed vaults resting on transverse arches which, in turn, rest on cut-out slabs. Through a Through an opening at the foot of the church, in the Epistle aisle, one can access the baptistery.

The two chapels of the church of El Borge are situated in the chancel and the Gospel aisle respectively. Both, with an octagonal floor plan, constitute the main 18th-century Baroque contribution to the church, alongside the choir. The main niche features recesses on the inside and an undecorated eight-ribbed vault; on the ground floor is the crypt, which was accessed from the church, a small chamber whose walls are lined with several levels of brick niches, housing the gravestones of those originally buried in the church, which were relocated during a previous restoration. The second chapel, which is smaller in size, has the same layout as the previous one: a square base surmounted by an octagonal upper section.

In The exterior is characterised by its masonry structure with brick rustication. The double-basin Mudejar corbels on the eaves of the central nave and the chancel are particularly noteworthy. The The bell tower consists of two sections separated by a simple row of brick imposts. In the upper section, unlike the lower section which is entirely unadorned, there are two openings with semicircular arches on the north-east and south-east sides, where the bells are housed. On the north façade, which faces the Plaza de la Constitución, is the clock with a circular dial. The tower has a hipped roof with Arabic-style tiles and a sawtooth eave.