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Kruja is one of the most mentioned cities in Albanian history. Kruja lies on the slope of the Kruja mountain, at an altitude of 680 meters above sea level. Archaeological excavation in the castle of Kruja testifies that the city has been an Illyrian settlement since 3rd century BC. The village of Zgirtjes, situated in the vicinities of the city, is thought to be the antique city of Albanopolis, mentioned by Ptolemaeus in the 2nd century AD. The settlement of Zgirtjes was abandoned at the beginning of the Middle Ages and its inhabitants found a better protected place in Kruja by making it this way, the center of the Arboresh culture as it has been testified also by the objects found in a cemetery dated 6th to 8th century AD. The city is mentioned for the first time as an episcopal center in a document of 879. Kruja was the center of the Byzantine garrisons and Byzantine governors until the end of the 12th century. Moreover, Kruja was the capital of the first Albanian feudal state, 1190–1255. The city flourishes in the 13th and 14th centuries. In the second half of the 14th century, it is the center of Topii's family with a highly developed trade and craftsmanship. The houses close to the castle are the oldest which date that time.

Through the archaeological objects displayed in the pavilions, it is confirmed that our land has been inhabited by the Illyrians, our predecessors, and the Albanians in continuity as early back as four thousand years ago. The exhibited archaeological objects are authentic arms, ceramics, and bronze decorating objects. Since antiquity, our land was a target of various invasions and was attacked by Romans and after three Illyrian-Roman wars, the country was invaded by them in the year 168 BC. Nevertheless, neither the Roman invasion nor the Slavic eruption in the sixth century couldn't assimilate the native population. This phenomenon is an example of the ethnocultural resistance of the Albanian people who founded the first state of Arbër in 1190. In the antiquity pavilion are displayed the following objects. Objects of pre-Civic Illyrian age, 8th until 6th century BC. Civic Illyrian cultural objects, 4th until 3rd century BC. Model of a Liburnian ship. Illyrian ceramics, 3rd until 1st century BC. Illyrian coins, 3rd until 2nd century BC. The antique city of Albanopolis and some archaeological objects about its soil. Statue of Artemis. Illyrian arms. Pyrrhus, Teuta. Illyrian-Roman wars. Ceramics from the Middle Ages. Emblem of Arbor princedom. Map of Arbor princedom.

That is the name of the main hall of the museum, containing mural paintings telling us the glorious victory which lasted for 25 years under Skanderbeg's leadership. The mural paintings are recounting for the following events. After the Battle of Nish, November 3, 1443, Skanderbeg together with 300 Albanian northern horsemen returned in Kruja where on November 28, 1443, the red Albanian flag with the double-headed eagle was risen. In the painting, our national hero is presented knelt before his mother and as well as a part of his speech held in front of the people of Kruja saying, I was not the one who brought you freedom, I found it here among you. The unification under the leadership of Skanderbeg was decided in Leja. Here one can find displayed also the flags of the six main princedoms: Castriots, Aranits, Dukagjins, Muzakas, Topias and Zaharias. The mural painting in the center of the room is featuring fragments from the Albanian-Ottoman Wars. This painting is the biggest in our country, about 108 square meters and contains 300 characters. The author of this gigantic painting is Naxhi Bakalli, who worked for about 11 and half months. In the same room are exhibited the sword and spiked helmet of Skanderbeg; the originals are in the Vienna Museum of Arms. For 25 years Skanderbeg fought over 20 battles. The most prominent ones are the three Kruja Sieges in 1450, in 1466 and in 1467, the Battle of Torvioli in 1444, the Battle of Albulena in 1457, and the Battle of Vajkalit in 1465. This painting shows the last moments of Skanderbeg's life. Here are presented the tearful warriors and at the same time unified. Skanderbeg died in Leja on January 17, 1468. With his activity, Skanderbeg takes the most important place in Albanian history and he is our national hero. In alabaster are shown some of the main fortresses from the Middle Ages: Berat, Petrela, Rodon and the fortress of Kruja. In the map is shown a wider distribution of the fortifications while the engravings on the side are demonstrating moments from the four battles. The engraving on glass features the First Kruja Siege by the Ottomans in 1450.

The resistance room testifies the war and the efforts of the Albanian people after Skanderbeg's death. At this time Lek Dukagjini was the military leader who for 11 years in a row withstood the attacks of the Ottoman army. The falling of the Shkodra fortress in 1479 marks also the Albanian invasion which was accompanied by many murdering and destructions across the country. Around 200,000 Albanians who could not endure the Ottoman violence were forced to immigrate to South Italy, the Arboresh, where they have preserved the language, culture and Albanian tradition. Through the exhibited documents in the glass cases of this room is testified that Skanderbeg was not only a military strategist but also a politician and diplomat of the time. He had diplomatic relations with European countries like France, Germany, Austria, Spain, Italy, Greece, etc. Janos Hunyadi, a Hungarian hero, and Alfons V, the king of Naples, were the two best allies of Skanderbeg in the anti-Ottoman war. Also, here we have recognitions of Skanderbeg from other personalities of the same time. There have been over 1,000 different books written about Skanderbeg in 73 countries across the world in 25 languages. The map across shows the countries where publications about Skanderbeg are found. The first publication about Skanderbeg refers from the years 1508 to 1510 to History of Skanderbeg by the author Marin Barleti in Latin. Gjergj Arianiti, his father-in-law, leader of Albanian uprisings, in 1432 until 1435. Vrana Konti, commander of Kruja Fortress in its first siege, in 1450. Mamica Kastrioti, hero's little sister, commander of Petrela Fortress near Tirana. Tanush Topia, commander of Kruja Castle in its second and third siege, in 1466 and in 1467. Lek Dukagjini is the leader of the Albanian army for 11 years in a row after Skanderbeg's death. Pal Kuka, Skanderbeg's diplomat. Zahariya Gropa, Skanderbeg's diplomat. Gjergj Lleshi, the warrior that killed Ballaban Pasha in Kruja's second siege in 1466.

The ethnographic museum is a traditional building constructed in the middle of the 18th century, 1764, by Kaplan Pasha Toptani. Its architecture is oriental with a closed corridor, a type of two-story tower with stone walls 60 to 90 cm wide. Baroque and Islamic paintings adorn its main rooms. From the entrance, the arches of the gates with carved stones and the cobbled streets stand out. Inside, many elements of the area's tradition, from lifestyle to dresses and customs, are found. At the entrance, there are models of natural water sources, proving that Kruja had some of them. It is even thought that the origin of the city's name comes from the word Kroi, which means spring in Albanian. From the first floor lobby, visitors acquaint themselves with traditional farming tools, mechanisms for grinding grain by hand and with water, and the process of cleaning grain for hasher, a traditional dessert. One exhibit showcases the tanning or processing of leather and the subsequent production of shoes. Visitors also learn about the processing of swamp straw and the production of hastras for sitting or sleeping within the premises of the house. In the workshops on the first floor, visitors can observe ironworking for the family's needs and the market of Kruja, as well as ceramics production, including tiles, bricks and household objects. In another workshop, there is a distillery where brandy, raki and wine were produced. Additionally, visitors can observe a water mill used for grinding grain, a valence used to make felt or wool, and the processing of sheep wool used to make fez. The last workshop houses the olive oil mill, with many amphorae used to store olive oil for an extended period. The second floor of the apartment begins with the ladies' room or the bride's room, where distinguishable boxes held the bride's dowry, all original to the 18th century. The mural paintings from the same era adorn the walls alongside two distinct types of windows, above adorned with gypsum works for light and below for ventilation, with wooden frames. Next, the corridor serves as a link between the rooms, showcasing wedding dresses for both the groom and the bride, embroidered with silk, gold, silver and river pearls. A notable feature is the low doors in every room, prompting a respectful gesture of lowering one's head upon entering or leaving. Moving on to the men's room, the most captivating and original part of the 18th century apartment. Inside, you'll find a ceiling adorned with weaponry, along with a chimney opposite to the family room wall. The dome-shaped ceiling, covered with glass and holes in the walls for steam ventilation, are distinctive features. Adjacent is a section on the balcony of the upstairs living room where children were seated separately to eat. Additionally, you'll find the chimney that heats the room and the water for the hammam, bath, as well as the utensils or loom used for carpet weaving. The kitchen boasts an original aspirator-type chimney and various ceramic, copper and wooden dishes. Interestingly, the kitchen also serves as a bedroom for the elders of the family. Exiting, you'll encounter carpentry tools and ceiling rosettes over 300 years old, alongside the pantry and a canning room for winter fruits and vegetables. In the spacious bedroom, clothes of both Catholic and Muslim traditions, originating from Kruja or other regions, are displayed.