The Alcazaba is the most primitive part of the monumental complex, built on the remains of an ancient Zirid fortress.

The origins of the Nasrid Alcazaba date back to 1238, when the first sultan and founder of the Nasrid dynasty, Muhammad Ibn al-Alhmar, decided to move the seat of the sultanate from the Albaicín to the opposite hill, the Sabika.

The location chosen by Al-Ahmar was ideal since the Alcazaba, located at the western end of the hill and with a triangular layout, very similar to the prow of a ship, guaranteed optimal defense for what would become the palatine city of the Alhambra, built under its protection.

The Alcazaba, with its several walls and towers, was clearly intended to be defensive. It was, in fact, a surveillance center, due to its location two hundred meters above the city of Granada, thus guaranteeing visual control of the entire surrounding territory and simultaneously representing a symbol of power.

Inside, the military quarter is located, and over time, the Alcazaba was established as a small, independent micro-city for high-ranking soldiers, responsible for the defense and protection of the Alhambra and its sultans.

Upon entering the citadel, we find ourselves in what appears to be a labyrinth, although in reality it is a process of architectural restoration using anastylosis, which has allowed the restoration of the old military quarter that had remained buried until the beginning of the twentieth century.

The Sultan's elite guard and the rest of the military contingent responsible for the defense and security of the Alhambra resided in this neighborhood. It was, therefore, a small city within the Alhambra's palatial city, with everything necessary for daily life, such as housing, workshops, a bakehouse with an oven, warehouses, a cistern, a hammam, and so on. In this way, the military and civilian populations could be kept separate.

In this neighborhood, thanks to this restoration, we can contemplate the typical layout of the Muslim house: an entrance with a corner entrance, a small courtyard as the central axis of the house, rooms surrounding the courtyard, and a latrine.

Furthermore, at the beginning of the twentieth century, a dungeon was discovered underground. Easily recognizable from the outside by the modern spiral staircase leading down to it. This dungeon housed prisoners who could be used to obtain significant benefits, whether political or economic, or, in other words, individuals with significant market value.

This underground prison is shaped like an inverted funnel and has a circular floor plan. This made it impossible for these captives to escape. In fact, the prisoners were brought inside using a system of pulleys or ropes.

The Powder Tower served as a defensive reinforcement on the southern side of the Vela Tower and from there the military road that led to the Red Towers started.

Since 1957, it is in this tower where we can find some verses engraved on stone, whose authorship corresponds to the Mexican Francisco de Icaza:

“Give alms, woman, there is nothing in life,
like the penalty of being blind in Granada.”

The space occupied by the Garden of the Adarves dates back to the sixteenth century, when an artillery platform was built in the process of adapting the Alcazaba for artillery.

It was already in the seventeenth century when military use lost its importance and the fifth Marquis of Mondéjar, after being appointed warden of the Alhambra in 1624, decided to transform this space into a garden by filling the space between the outer and inner walls with earth.

There is a legend that it was in this place where gold-filled porcelain vases were found hidden, probably hidden by the last Muslims who inhabited the area. Some of the gold was used by the Marquis to finance the creation of this beautiful garden. It is thought that perhaps one of these vases is one of the twenty large Nasrid gilded earthenware vases preserved worldwide. We can see two of these vases in the National Museum of Hispano-Muslim Art, located on the ground floor of the Palace of Charles V.

One of the notable features of this garden is the presence in the central part of a kettledrum-shaped fountain. This fountain has had various locations, the most striking and notable being in the Patio de los Leones (Courtyard of the Lions), where it was placed in 1624 over the Lions' Fountain, causing significant damage. The bowl remained in that location until 1954, when it was removed and replaced here.

Under the Nasrid dynasty, this tower was known as the Torre Mayor, and from the sixteenth century onward, it was also called the Torre del Sol (Tower of the Sun), because the sun reflected off the tower at midday, acting as a sundial. However, its current name comes from the word velar (vellar), given that, thanks to its height of 27 meters, it provides a 360-degree view that would allow any movement to be detected.

The Tower's appearance has changed over time. It originally had battlements on its terrace, which were lost due to several earthquakes. The bell was added after the Christians captured Granada.

This bell was used to warn the population of any potential danger, such as earthquakes or fires. The sound of this bell was also used to regulate irrigation schedules in the Granada Valley.

Currently, and according to tradition, the bell is rung every January 2nd to commemorate the capture of Granada on January 2nd, 1492.

Located in the northern wall of the Alcazaba, the Puerta de las Armas was one of the main entrances to the Alhambra.

During the Nasrid dynasty, citizens crossed the Darro River via the Cadí Bridge and climbed the hill along a path now hidden by the San Pedro Forest until they reached the gate. Inside the gate, they had to deposit their weapons before entering the enclosure, hence the name "Gate of Arms."

From the terrace of this tower, we can now enjoy one of the best panoramic views of the city of Granada.

Just across the street is the Albaicín neighborhood, recognizable by its whitewashed houses and labyrinthine streets. This neighborhood was declared a UNESCO World Heritage Site in 1994.

It is in this neighborhood where one of Granada's most famous viewpoints is located: the Mirador de San Nicolás.

To the right of the Albaicín, is the Sacromonte neighborhood.

Sacromonte is Granada's quintessential old Gypsy neighborhood and the birthplace of flamenco. This neighborhood is also characterized by the presence of troglodyte dwellings: caves.

At the foot of the Albaicín and the Alhambra lies the Carrera del Darro, next to the banks of the river of the same name.

The Keep is one of the oldest towers in the Alcazaba, standing 26 meters tall. It has six floors, a terrace, and an underground dungeon.

Due to the tower's height, communication with the kingdom's watchtowers was established from its terrace. This communication was established through a system of mirrors during the day or smoke with bonfires at night.

It is thought that, due to the tower's protruding position on the hill, it was probably the place chosen for the display of the banners and red flags of the Nasrid dynasty.

The base of this tower was reinforced by the Christians with the so-called Cube Tower.

After the capture of Granada, the Catholic Monarchs planned a series of renovations to adapt the Alcazaba to artillery. Thus, the Cube Tower was built over the Tahona Tower. Thanks to its cylindrical shape, it provides greater protection against potential impacts compared to the square-shaped Nasrid towers.

The Generalife, located on Cerro del Sol, was the sultan's almunia, or in other words, a palatial country house with orchards, where, in addition to farming, animals were raised for the Nasrid court and hunting was practiced. Its construction is estimated to have begun in the late 13th century by Sultan Muhammad II, son of the founder of the Nasrid dynasty.

The name Generalife comes from the Arabic "yannat-al-arif," meaning "the architect's garden." It was a much larger space in the Nasrid period, with at least four vegetable gardens, and extended to a place known today as "the partridge plain."

This country house, which the vizier Ibn al-Yayyab called the Royal House of Happiness, was a palace: the sultan's summer palace. Despite its proximity to the Alhambra, it afforded him enough privacy to escape and relax from the stresses of court and government life, as well as to enjoy more pleasant temperatures. Due to its location at a higher altitude than the palatine city of the Alhambra, the temperature inside dropped.

When Granada was captured, the Generalife became the property of the Catholic Monarchs, who placed it under the protection of an alcaide or commander. Philip II eventually ceded the perpetual alcaidía and ownership of the site to the Granada Venegas family (a family of converted Moriscos). The State only recovered the site after a dispute that lasted almost 100 years and ended with an out-of-court settlement in 1921.

Agreement by which the Generalife would become a national heritage site and would be managed together with the Alhambra through the Board of Trustees, thus forming the Board of Trustees of the Alhambra and the Generalife.

The open-air amphitheater we encountered on our way to the Generalife Palace was built in 1952 with the intention of hosting, as it does every summer, the Granada International Music and Dance Festival.

Since 2002, a Flamenco Festival has also been held, dedicated to Granada's most famous poet: Federico García Lorca.

Under the Nasrid dynasty, the road that connected the palatine city and the Generalife started from the Puerta del Arabal, framed by the so-called Torre de los Picos, so named because its battlements end in brick pyramids.

It was a winding, sloping road, protected on both sides by high walls for greater security, and led to the entrance to the Patio del Descabalgamiento.

These ruins or foundations are the archaeological remains of what was once the so-called House of Friends. Its name and purpose have come down to us thanks to Ibn Luyún's "Treatise on Agriculture" in the 14th century.

It was therefore a dwelling intended for people, friends or relatives whom the sultan held in esteem and considered important to have close to him, but without invading their privacy, so it was an isolated dwelling.

This Oleander Walk was built in the mid-19th century for the visit of Queen Elizabeth II and to create a more monumental access to the upper part of the palace.

Oleander is another name for the pink laurel, which appears in the form of an ornamental canopy along this walkway. At the beginning of the walk, behind the High Gardens, is one of the oldest examples of the Moorish myrtle, which was nearly lost and whose genetic traces are still being investigated today.

It is one of the most characteristic plants of the Alhambra, distinguished by its curled leaves, which are larger than the common myrtle.

The Paseo de las Adelfas connects with the Paseo de los Cipreses, which serves as a link leading visitors to the Alhambra.

One of the best-preserved and unique elements of the Generalife is the so-called Water Staircase. It is believed that, under the Nasrid dynasty, this staircase—divided into four flights with three intermediate landings—had water channels that flowed through the two glazed ceramic handrails, fed by the Royal Canal.

This water pipe reached a small oratory, of which no archaeological information survives. In its place, since 1836, there has been a romantic belvedere erected by the estate manager at the time.

The climb up this staircase, framed by a laurel vault and the murmur of water, probably created an ideal environment for stimulating the senses, entering into a climate conducive to meditation, and performing ablutions prior to prayer.

In the grounds surrounding the palace, it is estimated that there must have been at least four large vegetable gardens organized on different levels, or paratas, enclosed by adobe walls. The names of these gardens that have survived to the present day are: Grande, Colorada, Mercería, and Fuente Peña.

These gardens have continued to be cultivated, to a greater or lesser extent, since the 14th century, using the same traditional medieval techniques. Thanks to this agricultural production, the Nasrid court maintained a certain independence from other external agricultural suppliers, allowing it to meet its own food needs.

They were used not only for vegetable gardens, but also for fruit trees and animal pastures. For example, today they grow artichokes, eggplants, beans, figs, pomegranates, and almond trees.

Today, the preserved orchards continue to use the same agricultural production techniques employed in medieval times, giving this space great anthropological value.

These gardens are accessed from the Patio de la Sultana via a steep 19th-century staircase, called the Lions' Staircase, due to the two glazed earthenware figures above the gate.

These gardens can be considered an example of a Romantic garden. They are located on pillars and form the highest part of the Generalife, offering spectacular views of the entire monumental complex.

The presence of beautiful magnolias stands out.

The Rose Gardens date back to the 1930s and 1950s, when the State acquired the Generalife in 1921.

The need then arose to enhance the value of an abandoned area and strategically connect it to the Alhambra through a gradual and smooth transition.

The Patio de la Acequia, also called the Patio de la Ría in the 19th century, today has a rectangular structure with two facing pavilions and a bay.

The courtyard's name comes from the Royal Canal that runs through this palace, around which four gardens are arranged in orthogonal parterres at a lower level. On both sides of the canal are fountains that form one of the palace's most popular images. However, these fountains are not original, as they disrupt the tranquility and serenity the sultan sought during his moments of rest and meditation.

This palace has undergone extensive transformations, as this courtyard was originally closed to the views we find today through the gallery of 18 belvedere-style arches. The only part that would allow a view of the landscape would be the central viewing platform. From this original viewing platform, sitting on the floor and leaning on the windowsill, one could contemplate the panoramic views of the palatine city of the Alhambra.

As a testament to its past, we find Nasrid decoration in the viewing platform, where the plasterwork of Sultan Ismail I is superimposed over that of Muhammad III stands out. This demonstrates that each sultan had different tastes and needs and adapted the palaces accordingly, leaving their own mark or imprint.

As we pass the viewpoint, and if we look at the intrados of the arches, we will also find emblems of the Catholic Monarchs such as the Yoke and the Arrows, as well as the motto "Tanto Monta".

The east side of the courtyard is recent due to a fire that occurred in 1958.

Before entering the Patio de la Acequia, we come across the Patio de la Guardia. A simple courtyard with porticoed galleries and a fountain in its center, it is also decorated with bitter orange trees. This courtyard must have served as a control area and antechamber before accessing the sultan's summer quarters.

What stands out about this place is that, after climbing some steep stairs, we find a doorway framed by a lintel decorated with tiles in shades of blue, green, and black on a white background. We can also see, although worn by the passage of time, the Nasrid key.

As we climb the steps and pass through this doorway, we come across a bend, the guard benches, and a steep, narrow staircase that leads us to the palace.

The Patio de la Sultana is one of the most transformed spaces. It is thought that the site now occupied by this courtyard—also called the Patio del Ciprés—was the area used for the former hammam, the Generalife baths.

In the 16th century, it lost this function and became a garden. Over time, a northern gallery was added, along with a U-shaped pool, a fountain in its center, and thirty-eight noisy jets.

The only elements preserved from the Nasrid period are the Acequia Real waterfall, protected behind a fence, and a small section of canal that directs the water towards the Patio de la Acequia.

The name "Cypress Courtyard" is due to the centuries-old dead cypress tree, of which only its trunk remains today. Next to it is a Granada ceramic plaque that tells of the 16th-century legend by Ginés Pérez de Hita, according to which this cypress witnessed the amorous encounters of the last sultan's favorite, Boabdil, with a noble Abencerraje knight.

The Patio del Descabalgamiento, also known as Patio Polo, is the first courtyard we encounter upon entering the Generalife Palace.

The Sultan used a horse as a means of transportation to access the Generalife, and as such, he needed a place to dismount and house these animals. This courtyard is thought to have been intended for this purpose, as it housed the stables.

It had benches for support for horses to get on and off, and two stables in the side aisles, which served as stables on the lower level and haylofts on the upper level. A drinking trough with fresh water for the horses was also essential.

Worth noting here: above the lintel of the door leading to the next courtyard, we find the Alhambra key, a symbol of the Nasrid dynasty, representing salutation and ownership.

The north portico is the best preserved and was intended to house the sultan's quarters.

We find a portico with five arches supported by columns and alhamíes at their ends. Beyond this portico, and to access the Royal Hall, one passes through a triple archway in which poems speak of the Battle of La Vega or Sierra Elvira in 1319, which gives us information about the dating of the site.

On the sides of this triple arch there are also *taqas*, small niches excavated in the wall where water was placed.

The Royal Hall, located in a square tower decorated with plasterwork, was the place where the sultan—despite this being a leisure palace—received urgent audiences. These audiences, according to verses engraved there, were supposed to be brief and to the point so as not to unduly disturb the emir's rest.

The Nasrid Palaces constitute the most emblematic and striking part of the monumental complex. They were built in the 14th century, a period that can be considered a time of great splendor for the Nasrid dynasty.

These palaces were the area reserved for the sultan and his close relatives, where family life took place, but also the official and administrative life of the kingdom.

The Palaces are: the Mexuar, the Comares Palace and the Palace of the Lions.

Each of these palaces was built independently, at different times, and with their own distinct functions. It was after the Capture of Granada that the palaces were unified, and from that moment on, they became known as the Royal House, and later as the Old Royal House, when Charles V decided to build his own palace.

The Mexuar is the oldest part of the Nasrid Palaces, but it is also the space that has undergone the greatest transformations over time. Its name comes from the Arabic *Maswar*, which refers to the place where the *Sura* or Council of Ministers of the Sultan met, thus revealing one of its functions. It was also the antechamber where the Sultan administered justice.

The construction of the Mexuar is attributed to Sultan Isma'il I (1314–1325), and was modified by his grandson Muhammad V. However, it was the Christians who most transformed this space by converting it into a chapel.

During the Nasrid period, this space was much smaller and was organized around four central columns, where the characteristic Nasrid cubic capital, painted cobalt blue, can still be seen. These columns supported a lantern that provided overhead light, which was removed in the 16th century to create upper rooms and side windows.

To convert the space into a chapel, the floor was lowered and a small rectangular space was added at the back, now separated by a wooden balustrade that indicates where the upper choir was located.

The ceramic tiled plinth with star decoration was brought from elsewhere. Among its stars, one can alternately see: the coat of arms of the Nasrid Kingdom, that of Cardinal Mendoza, the double-headed eagle of the Austrians, the motto "There is no victor but God," and the Pillars of Hercules from the imperial coat of arms.

Above the plinth, a plaster epigraphic frieze repeats: “The Kingdom is God’s. Strength is God’s. Glory is God’s.” These inscriptions replace the Christian ejaculations: “Christus regnat. Christus vincit. Christus imperat.”

The current entrance to the Mexuar was opened in the modern period, changing the location of one of the Pillars of Hercules, bearing the motto "Plus Ultra," which was moved to the east wall. The plaster crown above the door remains in its original location.

At the back of the room, a door leads to the Oratory, which was originally accessed through the Machuca gallery.

This space is one of the most damaged in the Alhambra due to the explosion of a powder magazine in 1590. It was restored in 1917.

During the restoration, the floor level was lowered to prevent accidents and facilitate visits. A continuous ledge under the windows remains as a testament to the original level.

This impressive façade, extensively restored between the 19th and 20th centuries, was built by Muhammad V to commemorate the capture of Algeciras in 1369, which granted him dominion over the Strait of Gibraltar.

In this courtyard, the sultan received subjects who had a special audience. He sat in the central part of the façade, on a jamuga (wooden frame) between the two doors and beneath the great eaves, a masterpiece of Nasrid carpentry that crowned it.

The façade has a strong allegorical meaning. On it, subjects could read:

“My position is that of a crown and my gate a fork: the West believes that in me is the East.”
Al-Gani bi-llah has entrusted me with opening the door to the victory that is being announced.
Well, I'm waiting for him to appear as the horizon reveals itself in the morning.
May God make his work as beautiful as his character and figure are!

The door on the right served as access to the private quarters and service area, while the door on the left, through a curved corridor with benches for the guard, gives access to the Comares Palace, specifically to the Patio de los Arrayanes.

Subjects who obtained an audience waited in front of the façade, separated from the sultan by the royal guard, in the room now known as the Golden Room.

The name *Golden Quarter* comes from the period of the Catholic Monarchs, when the Nasrid coffered ceiling was repainted with golden motifs and the emblems of the monarchs were incorporated.

In the center of the courtyard is a low marble fountain with galloons, a replica of the Lindaraja fountain preserved in the Alhambra Museum. To one side of the fountain, a gate leads to a dark underground corridor used by the guards.

One of the characteristics of the Hispano-Muslim house is access through a curved hallway that leads to an open-air courtyard, the focal point of life and organization of the home, complete with a water feature and vegetation. This same concept is found in the Patio de los Arrayanes, but on a larger scale, measuring 36 meters long and 23 meters wide.

The Patio de los Arrayanes (Courtyard of the Myrtles) is the centerpiece of the Comares Palace, where the political and diplomatic activities of the Nasrid Kingdom took place. It is a rectangular courtyard of imposing dimensions, whose central axis is a large pool. In it, the still water acts as a mirror, lending depth and verticality to the space, thus creating a palace on water.

At both ends of the pool, jets gently introduce water so as not to disrupt the mirror effect or the stillness of the place.

Flanking the pool are two myrtle clumps, which give the current site its name: Patio de los Arrayanes (Courtyard of the Myrtles). In the past, it was also known as Patio de la Alberca (Courtyard of the Pool).

The presence of water and vegetation is not only a matter of ornamental or aesthetic considerations, but also a desire to create pleasant spaces, especially in summer. Water refreshes the environment, while vegetation retains moisture and provides fragrance.

On the longer sides of the courtyard are four independent dwellings. On the north side stands the Comares Tower, which houses the Throne Room or Ambassadors' Room.

On the south side, the façade acts as a trompe l'oeil, as the building that existed behind it was demolished to connect the Palace of Charles V with the Old Royal House.

Before entering the Nasrid Palaces, if we look to the left, we find two courtyards.

The first is the Patio de la Mezquita, named after the small mosque located in one of its corners. However, since the 20th century, it has also been known as the Madrasa de los Príncipes (Princes' Madrasa), as its structure bears similarities to the Madrasa of Granada.

Further on is the Patio de Machuca, named after the architect Pedro Machuca, who was in charge of supervising the construction of the Palace of Charles V in the 16th century and who resided there.

This courtyard is easily recognizable by the lobed-edged pool at its center, as well as by the arched cypress trees, which restore the architectural feel of the space in a non-invasive way.

The Boat Room is the anteroom to the Throne Room or Ambassadors' Room.

On the jambs of the arch leading into this room, we find facing niches carved in marble and decorated with colorful tiles. These are one of the most characteristic ornamental and functional elements of the Nasrid palaces: the taqas.

*Taqas* are small niches carved into walls, always arranged in pairs and facing each other. They were used to hold jars of fresh water for drinking or scented water for washing hands.

The current ceiling of the hall is a reproduction of the original, lost in a fire in 1890.

The name of this room comes from a phonetic alteration of the Arabic word *baraka*, meaning "blessing," which is repeated numerous times on the walls of this room. It does not derive, as is popularly believed, from the inverted boat-shaped roof.

It was in this place where the new sultans requested the blessing of their god before being crowned as such in the Throne Room.

Before entering the Throne Room, we find two side entrances: on the right, a small oratory with its mihrab; and on the left, the access door to the interior of the Comares Tower.

The Ambassadors' Hall, also called the Throne Hall or the Comares Hall, is the site of the sultan's throne and, therefore, the center of power of the Nasrid dynasty. Perhaps for this reason, it is located within the Comares Tower, the largest tower in the monumental complex, at 45 meters high. Its etymology comes from the Arabic *arsh*, meaning tent, pavilion, or throne.

The room is shaped like a perfect cube, and its walls are richly decorated up to the ceiling. On the sides are nine identical alcoves grouped in groups of three with windows. The one opposite the entrance features more elaborate decoration, as it was the sultan's seat, backlit, favoring the effect of dazzling and surprising.

In the past, the windows were covered with colored glass panels with geometric shapes called *cumarias*. These were lost due to the shock wave of a powder magazine that exploded in 1590 on the Carrera del Darro.

The decorative richness of the hall is extreme. It begins in the lower part with geometrically shaped tiles, creating a visual effect similar to that of a kaleidoscope. It continues on the walls with stuccos resembling hanging tapestries, decorated with plant motifs, flowers, shells, stars, and abundant inscriptions.

The current script is of two types: cursive, the most common and easily recognizable; and Kufic, a cultured script with rectilinear and angular forms.

Among all the inscriptions, the most notable is the one below the ceiling, on the top strip of the wall: sura 67 of the Quran, called *The Kingdom* or *of the Lordship*, which runs along the four walls. This sura was recited by the new sultans to proclaim that their power came directly from God.

The image of divine power is also represented in the ceiling, composed of 8,017 different pieces that, through wheels of stars, illustrate Islamic eschatology: the seven heavens and an eighth, paradise, the Throne of Allah, represented by the central dome of muqarnas.

To access the Christian Royal House, you must use one of the doors open in the left alcove of the Hall of the Two Sisters.

Charles V, grandson of the Catholic Monarchs, visited the Alhambra in June 1526 after marrying Isabella of Portugal in Seville. Upon arriving in Granada, the couple settled into the Alhambra itself and ordered the construction of new rooms, now known as the Emperor's Apartments.

These spaces completely break with Nasrid architecture and aesthetics. However, as they were built on garden areas between the Comares Palace and the Palace of the Lions, the upper part of the Royal Hammam, or Comares Hammam, can be seen through small windows to the left of the corridor. A few meters further on, other openings reveal the Hall of Beds and the Musicians' Gallery.

The Royal Baths were not only a place of hygiene, but also an ideal place to cultivate political and diplomatic relations in a relaxed and friendly manner, accompanied by music to liven up the occasion. This space is only open to the public on special occasions.

Through this corridor you enter the Emperor's Office, which stands out for its Renaissance fireplace with the imperial coat of arms and a wooden coffered ceiling designed by Pedro Machuca, architect of the Palace of Charles V. On the coffered ceiling you can read the inscription "PLUS ULTRA", a motto adopted by the Emperor, along with the initials K and Y, corresponding to Charles V and Isabella of Portugal.

Leaving the hall, on the right are the Imperial Rooms, currently closed to the public and only accessible on special occasions. These rooms are also known as Washington Irving's Rooms, as it was here that the American Romantic writer stayed during his stay in Granada. It was possibly here that he wrote his famous book *Tales of the Alhambra*. A commemorative plaque can be seen above the door.

Adjacent to the Patio de la Reja is the Patio de Lindaraja, adorned with carved boxwood hedges, cypress trees, and bitter orange trees. This patio owes its name to the Nasrid viewpoint located on its southern side, which bears the same name.

During the Nasrid period, the garden had a completely different appearance than it does today, as it was a space open to the landscape.

With the arrival of Charles V, the garden was enclosed, taking on a cloister-like layout thanks to a porticoed gallery. Columns from other parts of the Alhambra were used for its construction.

In the center of the courtyard stands a Baroque fountain, over which a Nasrid marble basin was superimposed at the beginning of the 17th century. The fountain we see today is a replica; the original is preserved in the Alhambra Museum.

The Patio de los Leones (Courtyard of the Lions) is the heart of this palace. It is a rectangular courtyard surrounded by a porticoed gallery with 124 columns, each one different from the other, which connect the different rooms of the palace. It bears a certain resemblance to a Christian cloister.

This space is considered one of the jewels of Islamic art, despite breaking with the usual patterns of Hispano-Muslim architecture.

The palace's symbolism revolves around the concept of a garden-paradise. The four water channels that radiate from the center of the courtyard could represent the four rivers of Islamic paradise, giving the courtyard a cruciform layout. The columns evoke a palm forest, like the oasis of paradise.

In the center is the famous Fountain of the Lions. The twelve lions, although in a similar position—alert and with their backs to the fountain—have different features. They are carved from white Macael marble, carefully selected to take advantage of the stone's natural veins and accentuate its distinctive features.

There are various theories about its symbolism. Some believe it represents the strength of the Nasrid dynasty or Sultan Muhammad V, the twelve signs of the zodiac, the twelve hours of the day, or even a water clock. Others maintain that it is a reinterpretation of the Bronze Sea of Judea, held up by twelve bulls, here replaced by twelve lions.

The central bowl was probably carved in situ and contains poetic inscriptions praising Muhammad V and the hydraulic system that feeds the fountain and regulates the flow of water to prevent overflow.

“In appearance, water and marble seem to merge without us knowing which of the two is sliding.
Don't you see how the water spills into the bowl, but its spouts immediately hide it?

He is a lover whose eyelids overflow with tears,
tears that she hides for fear of an informer.

Is it not, in reality, like a white cloud that pours its irrigation ditches upon the lions and seems like the hand of the caliph who, in the morning, lavishes his favors upon the lions of war?

The fountain underwent several transformations over time. In the 17th century, a second basin was added, which was removed in the 20th century and relocated to the Garden of the Adarves of the Alcazaba.

The Christian adaptation of the palace entailed the creation of direct access to the Comares Tower via a two-story open gallery. This gallery offers magnificent views of two of Granada's most iconic neighborhoods: the Albaicín and the Sacromonte.

From the gallery, looking to the right, you can also see the Queen's Dressing Room, which, like other areas mentioned above, can only be visited on special occasions or as a space of the month.

The Queen's Dressing Room is located in the Tower of Yusuf I, a tower set forward from the wall. Its Christian name comes from the use made of it by Isabella of Portugal, wife of Charles V, during her stay at the Alhambra.

Inside, the space was adapted to Christian aesthetics and houses valuable Renaissance paintings by Julius Achilles and Alexander Mayner, disciples of Raphael Sanzio, also known as Raphael of Urbino.

Descending from the gallery, we find the Patio de la Reja (Courtyard of the Grill). Its name comes from the continuous balcony with wrought iron railings, installed in the mid-17th century. These railings served as an open corridor to connect and protect the adjacent rooms.

The Hall of the Two Sisters gets its current name from the presence of two twin slabs of Macael marble located in the center of the room.

This room bears some resemblance to the Hall of the Abencerrajes: it is located higher than the courtyard and, beyond the entrance, has two doors. The one on the left led to the toilet, and the one on the right led to the upper rooms of the house.

Unlike its twin room, this one opens to the north towards the Sala de los Ajimeces and a small viewpoint: the Mirador de Lindaraja.

During the Nasrid dynasty, under Muhammad V, this room was known as *qubba al-kubra*, meaning the great qubba, the most important in the Palace of the Lions. The term *qubba* refers to a square floor plan covered with a dome.

The dome begins with an eight-pointed star, unfolding into a three-dimensional layout composed of 5,416 muqarnas, some of which still retain traces of polychromy. These muqarnas are distributed in sixteen small cupolas located above sixteen windows with lattices that bring changing light into the room depending on the time of day.

Before entering the western hall, also known as the Hall of the Abencerrajes, we find some wooden doors with remarkable carvings that have been preserved since medieval times.

The name of this room is linked to a legend according to which, due to a rumor about an affair between an Abencerraje knight and the sultan's favorite, or due to alleged plots by this family to overthrow the monarch, the sultan, filled with rage, summoned the Abencerraje knights. Thirty-six of them lost their lives as a result.

This story was recorded in the 16th century by the writer Ginés Pérez de Hita in his novel about the *Civil Wars of Granada*, where he narrates that the knights were murdered in this very room.

For this reason, some claim to see in the rust stains on the central fountain a symbolic vestige of the rivers of blood of those knights.

This legend also inspired the Spanish painter Mariano Fortuny, who captured it in his work entitled *The Massacre of the Abencerrajes*.

Upon entering the door, we found two entrances: the one on the right led to the toilet, and the one on the left to some stairs leading to the upper rooms.

The Hall of the Abencerrajes is a private and independent dwelling on the ground floor, structured around a large *qubba* (dome in Arabic).

The plaster dome is richly decorated with muqarnas originating from an eight-pointed star in a complex three-dimensional composition. The muqarnas are architectural elements based on hanging prisms with concave and convex shapes, reminiscent of stalactites.

As you enter the room, you notice a drop in temperature. This is because the only windows are located at the top, allowing hot air to escape. Meanwhile, the water from the central fountain cools the air, making the room, with the doors closed, function as a kind of cave, with an ideal temperature for the hottest summer days.

Beyond the Hall of the Two Sisters, to the north, we find a transverse nave covered by a muqarnas vault. This room is called the Hall of the Mullions (Ajimeces) because of the type of windows that must have closed the openings on either side of the central arch that leads to the Lindaraja Viewpoint.

The white walls of this room are believed to have been originally covered with silk fabrics.

The so-called Lindaraja Viewpoint owes its name to the derivation of the Arabic term *Ayn Dar Aisa*, which means “the eyes of the House of Aisa”.

Despite its small size, the interior of the viewing platform is remarkably decorated. On one hand, it features tiling with a succession of small, interlocking stars, which required meticulous work by the artisans. On the other hand, if you look up, you can see a ceiling with colored glass embedded in a wooden structure, resembling a skylight.

This lantern is a representative example of what many of the windows or mullioned windows of the Palatine Alhambra must have looked like. When sunlight hits the glass, it projects colorful reflections that illuminate the decoration, giving the space a unique, ever-changing atmosphere throughout the day.

During the Nasrid period, when the courtyard was still open, a person could sit on the floor of the belvedere, rest their arm on the windowsill, and enjoy spectacular views of the Albayzín neighborhood. These views were lost at the beginning of the 16th century, when the outbuildings intended to serve as the residence of Emperor Charles V were built.

The Hall of the Kings occupies the entire east side of the Patio de los Leones and, although it appears integrated into the palace, it is thought to have had its own function, probably of a recreational or courtly nature.

This space stands out for preserving one of the few examples of Nasrid figurative painting.

In the three alcoves, each approximately fifteen square meters in area, there are three false vaults decorated with paintings on lambskin. These skins were fixed to the wooden support with small bamboo nails, a technique that prevented the material from rusting.

The name of the room probably comes from the interpretation of the painting in the central alcove, which depicts ten figures that could correspond to the first ten sultans of the Alhambra.

In the side alcoves, chivalric scenes of fighting, hunting, games, and love can be seen. Their clothing clearly distinguishes the presence of Christian and Muslim figures sharing the same space.

The origin of these paintings has been widely debated. Due to their Linear Gothic style, it is thought that they were probably created by Christian artists familiar with the Muslim world. These works may be the result of the good relationship between Muhammad V, founder of this palace, and the Christian king Peter I of Castile.

The Room of Secrets is a square-shaped room, covered with a spherical vault.

Something very peculiar and curious happens in this room, making it one of the favorite attractions for visitors to the Alhambra, especially for the little ones.

The phenomenon is that if one person stands at one corner of the room and another at the opposite corner—both facing the wall and as close to it as possible—one of them can speak very quietly and the other will hear the message perfectly, as if they were right next to them.

It is thanks to this acoustic “game” that the room gets its name: **Room of Secrets**.

The palace known as the Palace of the Lions was commissioned during the second reign of Sultan Muhammad V, which began in 1362 and lasted until 1391. During this period, construction began on the Palace of the Lions, adjacent to the Palace of Comares, which had been built by his father, Sultan Yusuf I.

This new palace was also called *Riyad Palace*, as it is believed to have been built on the former Comares Gardens. The term *Riyad* means "garden."

It is thought that the original access to the palace was through the southeast corner, from Calle Real and through a curved entrance. Currently, due to Christian modifications after the conquest, the Sala de los Muqarnas is accessed directly from the Comares Palace.

The Hall of the Muqarnas takes its name from the impressive muqarnas vault that originally covered it, which almost completely collapsed as a result of the vibrations caused by the explosion of a powder magazine on the Carrera del Darro in 1590.

Remains of this vault can still be seen on one side. On the opposite side, remains of a later Christian vault appear, bearing the letters "FY," traditionally associated with Ferdinand and Isabella, although they actually correspond to Philip V and Isabella Farnese, who visited the Alhambra in 1729.

It is believed that the room may have functioned as a vestibule or waiting room for guests attending the sultan's celebrations, parties, and receptions.

The large space known today as Jardines del Partal owes its name to the Palacio del Pórtico, named after its porticoed gallery.

This is the oldest preserved palace in the monumental complex, whose construction is attributed to Sultan Muhammad III at the beginning of the 14th century.

This palace bears some similarity to the Comares Palace, although it is older: a rectangular courtyard, a central pool, and the portico's mirror-like reflection in the water. Its main distinguishing feature is the presence of a side tower, known since the 16th century as the Ladies' Tower, although it has also been called the Observatory, as Muhammad III was a great fan of astronomy. The tower has windows facing the four cardinal points, allowing for spectacular views.

A notable curiosity is that this palace was privately owned until March 12, 1891, when its owner, Arthur Von Gwinner, a German banker and consul, ceded the building and the surrounding land to the Spanish State.

Unfortunately, Von Gwinner dismantled the wooden roof of the viewing platform and moved it to Berlin, where it is now on display in the Pergamon Museum as one of the highlights of its Islamic art collection.

Adjacent to the Partal Palace, to the left of the Ladies' Tower, are several Nasrid houses. One of them was called the House of Paintings due to the discovery, at the beginning of the 20th century, of tempera paintings on 14th-century stucco. These highly valuable paintings are a rare example of Nasrid figurative mural painting, depicting court scenes, hunting scenes, and celebrations.

Due to their importance and for conservation reasons, these homes are not open to the public.

To the right of the Partal Palace, on the rampart of the wall, is the Partal Oratory, whose construction is attributed to Sultan Yusuf I. Access is via a small staircase, as it is elevated from ground level.

One of the pillars of Islam is to pray five times a day facing Mecca. The oratory functioned as a palace chapel, allowing the inhabitants of the nearby palace to fulfill this religious obligation.

Despite its small size (about twelve square meters), the oratory has a small vestibule and a prayer room. Its interior features rich plasterwork decoration with plant and geometric motifs, as well as Quranic inscriptions.

Upon ascending the stairs, just opposite the entrance door, you will find the mihrab on the southwest wall, facing Mecca. It has a polygonal floor plan, a voussoired horseshoe arch, and is covered by a dome with muqarnas.

Of particular note is the epigraphic inscription located on the imposts of the mihrab arch, which invites prayer: “Come and pray, and do not be among the negligent.”

Attached to the oratory is the House of Atasio de Bracamonte, which was given in 1550 to the former squire of the warden of the Alhambra, the Count of Tendilla.

On the highest plateau in the Partal area are the archaeological remains of the Palace of Yusuf III. This palace was granted in June 1492 by the Catholic Monarchs to the first governor of the Alhambra, Don Íñigo López de Mendoza, second Count of Tendilla. For this reason, it is also known as the Tendilla Palace.

The reason this palace is in ruins stems from disagreements that arose in the 18th century between the descendants of the Count of Tendilla and Philip V of Bourbon. Upon the death of Archduke Charles II of Austria without heirs, the Tendilla family supported Archduke Charles of Austria instead of Philip of Bourbon. After Philip V's accession, reprisals were taken: in 1718, the mayorship of the Alhambra was removed from them, and later the palace was dismantled and its materials sold.

Some of these materials reappeared in the 20th century in private collections. It is believed that the so-called "Fortuny Tile," housed at the Valencia Institute of Don Juan in Madrid, may have come from this palace.

From 1740 onwards, the palace site became an area of leased vegetable gardens.

It was in 1929 that this area was recovered by the Spanish State and returned to the Alhambra. Thanks to the work of Leopoldo Torres Balbás, architect and restorer of the Alhambra, this space was enhanced with the creation of an archaeological garden.

The Palatine city wall originally had more than thirty towers, of which only twenty remain today. Initially, these towers had a strictly defensive function, although over time some also adopted residential use.

At the exit of the Nasrid Palaces, from the Upper Partal area, a cobbled path leads to the Generalife. This route follows the stretch of wall, home to some of the complex's most emblematic towers, framed by a garden area with beautiful views of the Albaicín and the Generalife orchards.

One of the most notable towers is the Tower of the Peaks, built by Muhammad II and later renovated by other sultans. It is easily recognizable by its brick pyramid-shaped battlements, from which its name may derive. However, other authors believe the name comes from the protruding corbels at its upper corners, which supported the machicolations, defensive elements that allowed attacks from above to be countered.

The tower's main function was to protect the Arrabal Gate located at its base, which connected to the Cuesta del Rey Chico, facilitating access to the Albaicín neighborhood and the old medieval road that connected the Alhambra with the Generalife.

In Christian times, an outer bastion with stables was built to reinforce its protection, which is closed by a new entrance known as the Iron Gate.

Although towers are commonly associated with an exclusively military function, it is known that the Torre de los Picos also had a residential use, as evidenced by the ornamentation present in its interior.

The Torre de la Cautiva has received various names over time, such as Torre de la Ladrona or Torre de la Sultana, although the most popular one has finally prevailed: Torre de la Cautiva.

This name is not based on proven historical facts, but rather stems from a romantic legend according to which Isabel de Solís was imprisoned in this tower. She later converted to Islam under the name Zoraida and became Muley Hacén's favorite sultana. This situation caused tensions with Aixa, the previous sultana and Boabdil's mother, given that Zoraida—whose name means "morning star"—removed her position at court.

The construction of this tower is attributed to Sultan Yusuf I, who was also responsible for the Comares Palace. This attribution is supported by the inscriptions in the main hall, the work of the vizier Ibn al-Yayyab, which praise this sultan.

In the poems inscribed on the walls, the vizier repeatedly uses the term qal'ahurra, which has since been used to refer to fortified palaces, as is the case with this tower. In addition to serving defensive purposes, the tower houses a real palace with rich decoration inside.

Regarding its ornamentation, the main hall features a ceramic tiled plinth with geometric shapes in various colors. Purple stands out among these, as it was particularly difficult and expensive to obtain at the time, so it was reserved exclusively for important spaces.

The Tower of the Infantas, like the Tower of the Captive, owes its name to a legend.

This is the legend of the three princesses Zaida, Zoraida and Zorahaida, who lived in this tower, a story that was collected by Washington Irving in his famous *Tales of the Alhambra*.

The construction of this palace-tower, or *qalahurra*, is attributed to Sultan Muhammad VII, who reigned between 1392 and 1408. Therefore, it is one of the last towers built by the Nasrid dynasty.

This circumstance is reflected in the interior decoration, which shows signs of a certain decline compared to previous periods of greater artistic splendor.

At the end of the Paseo de las Torres, in the easternmost part of the northern wall, are the remains of a cylindrical tower: the Torre del Cabo de Carrera.

This tower was practically destroyed as a result of the explosions carried out in 1812 by Napoleon's troops during their retreat from the Alhambra.

It is believed to have been built or rebuilt by order of the Catholic Monarchs in 1502, as confirmed by a now-lost inscription.

Its name comes from its location at the end of the Calle Mayor of the Alhambra, marking the limit or "cap de carrera" of said road.

The Palace of Charles V, with its sixty-three meters wide and seventeen meters high, follows the proportions of classical architecture, which is why it is divided horizontally into two levels with clearly differentiated architecture and decoration.

Three types of stone were used to decorate its facades: gray, compact limestone from Sierra Elvira, white marble from Macael, and green serpentine from the Barranco de San Juan.

The exterior decoration exalts the image of Emperor Charles V, highlighting his virtues through mythological and historical references.

The most notable facades are those on the south and west sides, both designed as triumphal arches. The main entrance is on the west side, where the main door is crowned by winged victories. On either side are two small doors above which are medallions with figures of mounted soldiers in combat.

Symmetrically duplicated reliefs are displayed on the pedestals of the columns. The central reliefs symbolize Peace: they show two women seated on a mound of weapons, carrying olive branches and supporting the Pillars of Hercules, the globe with the imperial crown and the motto *PLUS ULTRA*, while cherubs fire war artillery.

The side reliefs depict war scenes, such as the Battle of Pavia, where Charles V defeated Francis I of France.

At the top are balconies flanked by medallions depicting two of the twelve labors of Hercules: one slaying the Nemean Lion and another facing the Cretan Bull. The central medallion features the coat of arms of Spain.

In the lower part of the palace, the rusticated ashlars stand out, designed to convey a sense of solidity. Above them are bronze rings held by animal figures such as lions—symbols of power and protection—and in the corners, double eagles, alluding to imperial power and the emperor's heraldic emblem: the double-headed eagle of Charles I of Spain and V of Germany.

Emperor Charles I of Spain and V of the Holy Roman Empire, grandson of the Catholic Monarchs and son of Joanna I of Castile and Philip the Fair, visited Granada in the summer of 1526 after marrying Isabella of Portugal in Seville, to spend his honeymoon.

Upon his arrival, the emperor was captivated by the charm of the city and the Alhambra, and decided to build a new palace in the palatine city. This palace would become known as the New Royal House, in contrast to the Nasrid Palaces, which were henceforth known as the Old Royal House.

The works were commissioned to the Toledo architect and painter Pedro Machuca, who is said to have been a disciple of Michelangelo, which would explain his deep knowledge of the Classical Renaissance.

Machuca designed a monumental palace in the Renaissance style, with a square floor plan and a circle integrated into its interior, inspired by the monuments of classical antiquity.

Construction began in 1527 and was largely financed by the tributes the Moriscos had to pay to continue living in Granada and preserve their customs and rituals.

In 1550, Pedro Machuca died without finishing the palace. His son Luis continued the project, but after his death, work was halted for a time. It was resumed in 1572 under the reign of Philip II, entrusted to Juan de Orea on the recommendation of Juan de Herrera, architect of the Monastery of El Escorial. However, due to the lack of resources caused by the Alpujarras War, no significant progress was made.

It wasn't until the 20th century that the palace was completed, first under the direction of architect-restorer Leopoldo Torres Balbás, and finally in 1958 by Francisco Prieto Moreno.

The Palace of Charles V was conceived as a symbol of universal peace, reflecting the emperor's political aspirations. However, Charles V never personally visited the palace he commissioned.

The Alhambra Museum is located on the ground floor of the Palace of Charles V and is divided into seven rooms dedicated to Hispano-Muslim culture and art.

It houses the finest existing collection of Nasrid art, composed of pieces found in excavations and restorations carried out in the Alhambra itself over time.

Among the works on display are plasterwork, columns, carpentry, ceramics of various styles—such as the famous Vase of the Gazelles—a copy of the lamp from the Great Mosque of the Alhambra, as well as tombstones, coins, and other objects of great historical value.

This collection is the ideal complement to a visit to the monumental complex, as it provides a better understanding of daily life and culture during the Nasrid period.

Admission to the museum is free, although it is important to note that it is closed on Mondays.

When Pedro Machuca designed the Palace of Charles V, he did so using geometric forms with strong Renaissance symbolism: the square to represent the earthly world, the inner circle as a symbol of the divine and creation, and the octagon—reserved for the chapel—as a union between both worlds.

Upon entering the palace, we find ourselves in an imposing circular porticoed courtyard, elevated from the exterior. This courtyard is surrounded by two superimposed galleries, both with thirty-two columns. On the ground floor, the columns are Doric-Tuscan, and on the upper floor, Ionic.

The columns were made of pudding stone, or almond stone, from the Granada town of El Turro. This material was chosen because it was more economical than the marble originally planned.

The lower gallery has a circular vault that was possibly intended to be decorated with frescoes. The upper gallery, meanwhile, has a wooden coffered ceiling.

The frieze that runs around the courtyard features *burocranios*, representations of ox skulls, a decorative motif with roots in ancient Greece and Rome, where they were used in friezes and tombs linked to ritual sacrifices.

The two floors of the courtyard are connected by two staircases: one on the north side, built in the 17th century, and another also to the north, designed in the 20th century by the Alhambra's conservation architect, Francisco Prieto Moreno.

Although it was never used as a royal residence, the palace currently houses two important museums: the Museum of Fine Arts on the upper floor, with an outstanding collection of Granada painting and sculpture from the 15th to the 20th centuries, and the Alhambra Museum on the ground floor, accessed through the western entrance hall.

In addition to its museum function, the central courtyard boasts exceptional acoustics, making it a prime setting for concerts and theatrical performances, especially during the Granada International Music and Dance Festival.

On Calle Real, on the site adjacent to the current Church of Santa María de la Alhambra, is the Mosque Bath.

This bath was built during the reign of Sultan Muhammad III and financed by the jizya, a tax charged to Christians for planting land on the border.

The use of the hammam The bath was essential to the daily life of an Islamic city, and the Alhambra was no exception. Due to its proximity to the mosque, this bath served a key religious function: allowing for ablutions, or purification rituals, before prayer.

However, its function was not exclusively religious. The hammam also served as a place for personal hygiene and was an important social gathering place.

Its use was regulated by schedules, being in the morning for men and in the afternoon for women.

Inspired by Roman baths, Muslim baths shared their chamber layout, although they were smaller and operated using steam, unlike Roman baths, which were immersion baths.

The bath consisted of four main spaces: a rest room or changing room, a cold or warm room, a hot room, and a boiler area attached to the latter.

The heating system used was the hypocaust, an underground heating system that heated the ground using hot air generated by a furnace and distributed through a chamber beneath the pavement.

The current Parador de Turismo was originally the Convent of San Francisco, built in 1494 on the site of an old Nasrid palace that, according to tradition, belonged to a Muslim prince.

After the capture of Granada, the Catholic Monarchs ceded this space to found the city's first Franciscan convent, thus fulfilling a promise made to the Patriarch of Assisi years before the conquest.

Over time, this spot became the first burial place of the Catholic Monarchs. A month and a half before her death in Medina del Campo in 1504, Queen Isabella left her will in her wish to be buried in this convent, dressed in a Franciscan habit. In 1516, King Ferdinand was buried next to her.

Both remained buried there until 1521, when their grandson, Emperor Charles V, ordered their remains to be transferred to the Royal Chapel of Granada, where they now rest alongside Joanna I of Castile, Philip the Handsome and Prince Miguel de Paz.

Today, this original burial site can be visited by entering the Parador's courtyard. Under a dome of muqarnas, the original tombstones of both monarchs are preserved.

Since June 1945, this building has housed the Parador de San Francisco, a high-class tourist accommodation owned and operated by the Spanish State.

The word “medina,” which means “city” in Arabic, referred to the highest part of Sabika Hill in the Alhambra.

This medina was home to intense daily activity, as it was the area where the trades and population that made life possible for the Nasrid court within the palatine city were concentrated.

Textiles, ceramics, bread, glass, and even coins were produced there. In addition to workers' housing, there were also essential public buildings such as baths, mosques, souks, cisterns, ovens, silos, and workshops.

For the proper functioning of this miniature city, the Alhambra had its own system of legislation, administration, and tax collection.

Today, only a few vestiges of the original Nasrid medina remain. The transformation of the area by Christian settlers after the conquest and, later, the gunpowder explosions caused by Napoleon's troops during their retreat contributed to its deterioration.

In the mid-20th century, an archaeological rehabilitation and adaptation program was launched in this area. As a result, a landscaped walkway was laid out along an old medieval street, which today connects with the Generalife.

In the royal medina, attached to the southern wall, are the remains of the so-called Palace of the Abencerrajes, the Castilianized name of the Banu Sarray family, a noble lineage of North African origin belonging to the Nasrid court.

The remains that can be seen today are the result of excavations that began in the 1930s, as the site had previously been severely damaged, largely due to explosions caused by Napoleon's troops during their retreat.

Thanks to these archaeological excavations, it has been possible to confirm the importance of this family in the Nasrid court, not only due to the size of the palace but also due to its privileged location: in the upper part of the medina, right on the main urban axis of the Alhambra.

The Gate of Justice, known in Arabic as Bab al-Sharia, is one of the four exterior gates of the Alhambra's palatine city. As an exterior entrance, it served an important defensive function, as evidenced by its double-bend structure and the steep slope of the terrain.

Its construction, integrated into a tower attached to the southern wall, is attributed to Sultan Yusuf I in 1348.

The gate features two pointed horseshoe arches. Between them is an open area, known as a skylight, from which it was possible to defend the entrance by throwing materials from the terrace in case of attack.

Beyond its strategic value, this gate has a strong symbolic significance in the Islamic context. Two decorative elements stand out in particular: the hand and the key.

The hand represents the five pillars of Islam and symbolizes protection and hospitality. The key, meanwhile, is an emblem of faith. Their presence together could be interpreted as an allegory of spiritual and earthly power.

Popular legend says that if one day the hand and the key touch, it will mean the fall of the Alhambra... and with it, the end of the world, as it would imply the loss of its splendor.

These Islamic symbols contrast with another Christian addition: a Gothic sculpture of the Virgin and Child, the work of Ruberto Alemán, placed in a niche above the interior arch by order of the Catholic Monarchs after the capture of Granada.

The Puerta de los Carros (Chariot Gate) is not an original opening in the Nasrid wall. It was opened between 1526 and 1536 for a very specific purpose: to allow access to carts transporting materials and columns for the construction of the Palace of Charles V.

Today, this gate still serves a practical purpose. It provides pedestrian access to the grounds without a ticket, allowing free access to the Palace of Charles V and the museums within.

Furthermore, it is the only gate open to authorized vehicles, including guests of hotels located within the Alhambra complex, taxis, special services, medical personnel, and maintenance vehicles.

The Alhambra's palatial city was surrounded by extensive walls with four main gates providing access from the outside. To ensure their defense, these gates were arranged in a characteristic curved pattern, making it difficult for potential attackers to advance and facilitating ambushes from within.

The Gate of the Seven Floors, located in the southern wall, is one of these entrances. In Nasrid times, it was known as Bib al-Gudur or “Puerta de los Pozos”, due to the nearby existence of silos or dungeons, possibly used as prisons.

Its current name comes from the popular belief that there are seven levels or floors beneath it. Although only two have been documented, this belief has fueled numerous legends and tales, such as Washington Irving's story "The Legend of the Moor's Legacy," which mentions a treasure hidden in the tower's secret cellars.

Tradition holds that this was the last gate used by Boabdil and his entourage on their way to the Vega de Granada on January 2, 1492, to deliver the keys to the Kingdom to the Catholic Monarchs. It was also through this gate that the first Christian troops entered without resistance.

The gate we see today is a reconstruction, as the original was largely destroyed by the explosion of Napoleon's troops during their retreat in 1812.

The Puerta del Vino (Wine Gate) was the main gateway to the Alhambra Medina. Its construction is attributed to Sultan Muhammad III in the early 14th century, although its doors were later remodeled by Muhammad V.

The name "Wine Gate" does not come from the Nasrid period, but from the Christian era, starting in 1556, when residents of the Alhambra were allowed to buy wine tax-free at this location.

As it is an interior gate, its layout is straight and direct, unlike exterior gates such as the Justice Gate or the Arms Gate, which were designed with a bend to improve defense.

Although it did not serve primary defensive functions, it had benches inside for the soldiers in charge of access control, as well as a room upstairs for the guards' residence and rest areas.

The western façade, facing the Alcazaba, was the entrance. Above the lintel of the horseshoe arch is the symbol of the key, a solemn emblem of welcome and of the Nasrid dynasty.

On the eastern façade, which faces the Palace of Charles V, the spandrels of the arch are particularly noteworthy, decorated with tiles made using the dry rope technique, offering a beautiful example of Hispano-Muslim decorative art.

During the time of the Nasrid dynasty, the site now occupied by the Church of Santa María de la Alhambra housed the Aljama Mosque or Great Mosque of the Alhambra, built at the beginning of the 14th century by Sultan Muhammad III.

After the capture of Granada on January 2, 1492, the mosque was blessed for Christian worship and the first Mass was celebrated there. By order of the Catholic Monarchs, it was consecrated under the patronage of Saint Mary, and the first archiepiscopal seat was established there.

By the end of the 16th century, the old mosque was in a state of disrepair, which led to its demolition and the construction of a new Christian temple, which was completed in 1618.

Few vestiges of the Islamic building remain. The most significant preserved element is a bronze lamp with an epigraphic inscription dated 1305, currently in the National Archaeological Museum in Madrid. A replica of this lamp can be seen in the Alhambra Museum, in the Palace of Charles V.

The Church of Santa María de la Alhambra has a simple layout with a single nave and three side chapels on each side. The most notable feature of its interior is the titular image: the Virgin of Angustias, an 18th-century work by Torcuato Ruiz del Peral.

This image, also known as the Virgin of Mercy, is the only one carried in procession in Granada every Holy Saturday, weather permitting. It is carried on a throne of great beauty, embossed in silver, imitating the arches of the emblematic Patio de los Leones.

As a curiosity, the Granada poet Federico García Lorca was a member of this brotherhood.

Before the current Parador de Turismo, and to the east, lie the remains of a medieval tannery or buffalo farm, a facility dedicated to the processing of hides: cleaning, tanning, and dyeing. This was a common activity throughout al-Andalus.

The Alhambra tannery is small compared to similar tannery stores in North Africa. However, it should be noted that its purpose was exclusively to meet the needs of the Nasrid court.

It had eight small pools of different sizes, both rectangular and circular, where the lime and dyes used in the leather tanning process were stored.

This activity required abundant water, which is why the tannery was located next to the Royal Canal, taking advantage of its constant flow. Its existence is also an indication of the large amount of water available in this area of the Alhambra.

The Water Tower is an imposing structure located in the southwest corner of the Alhambra wall, near the current main entrance from the ticket office. Although it served defensive purposes, its most important purpose was to protect the entrance to the Royal Canal, hence its name.

The irrigation ditch reached the palatine city after crossing an aqueduct and bordered the north face of the tower to supply water to the entire Alhambra.

The tower we see today is the result of extensive reconstruction. During the retreat of Napoleon's troops in 1812, it suffered severe damage from gunpowder explosions, and by the mid-20th century it was reduced almost to its massive base.

This tower was essential, as it allowed water—and therefore life—to enter the palatine city. Originally, Sabika Hill lacked natural water sources, which posed a significant challenge for the Nasrids.

For this reason, Sultan Muhammad I ordered a major hydraulic engineering project: the construction of the so-called Sultan's Ditch. This ditch captures water from the Darro River about six kilometers away, at a higher altitude, taking advantage of the slope to convey the water by gravity.

The infrastructure included a storage dam, an animal-powered waterwheel, and a brick-lined canal—the acequia—that runs underground through mountains, entering the upper part of the Generalife.

To overcome the steep slope between Cerro del Sol (Generalife) and Sabika Hill (Alhambra), engineers built an aqueduct, a key project to ensure the water supply to the entire monumental complex.

The Alcazaba is the most primitive part of the monumental complex, built on the remains of an ancient Zirid fortress.

The origins of the Nasrid Alcazaba date back to 1238, when the first sultan and founder of the Nasrid dynasty, Muhammad Ibn al-Alhmar, decided to move the seat of the sultanate from the Albaicín to the opposite hill, the Sabika.

The location chosen by Al-Ahmar was ideal since the Alcazaba, located at the western end of the hill and with a triangular layout, very similar to the prow of a ship, guaranteed optimal defense for what would become the palatine city of the Alhambra, built under its protection.

The Alcazaba, with its several walls and towers, was clearly intended to be defensive. It was, in fact, a surveillance center, due to its location two hundred meters above the city of Granada, thus guaranteeing visual control of the entire surrounding territory and simultaneously representing a symbol of power.

Inside, the military quarter is located, and over time, the Alcazaba was established as a small, independent micro-city for high-ranking soldiers, responsible for the defense and protection of the Alhambra and its sultans.

Upon entering the citadel, we find ourselves in what appears to be a labyrinth, although in reality it is a process of architectural restoration using anastylosis, which has allowed the restoration of the old military quarter that had remained buried until the beginning of the twentieth century.

The Sultan's elite guard and the rest of the military contingent responsible for the defense and security of the Alhambra resided in this neighborhood. It was, therefore, a small city within the Alhambra's palatial city, with everything necessary for daily life, such as housing, workshops, a bakehouse with an oven, warehouses, a cistern, a hammam, and so on. In this way, the military and civilian populations could be kept separate.

In this neighborhood, thanks to this restoration, we can contemplate the typical layout of the Muslim house: an entrance with a corner entrance, a small courtyard as the central axis of the house, rooms surrounding the courtyard, and a latrine.

Furthermore, at the beginning of the twentieth century, a dungeon was discovered underground. Easily recognizable from the outside by the modern spiral staircase leading down to it. This dungeon housed prisoners who could be used to obtain significant benefits, whether political or economic, or, in other words, individuals with significant market value.

This underground prison is shaped like an inverted funnel and has a circular floor plan. This made it impossible for these captives to escape. In fact, the prisoners were brought inside using a system of pulleys or ropes.

The Powder Tower served as a defensive reinforcement on the southern side of the Vela Tower and from there the military road that led to the Red Towers started.

Since 1957, it is in this tower where we can find some verses engraved on stone, whose authorship corresponds to the Mexican Francisco de Icaza:

“Give alms, woman, there is nothing in life,
like the penalty of being blind in Granada.”

The space occupied by the Garden of the Adarves dates back to the sixteenth century, when an artillery platform was built in the process of adapting the Alcazaba for artillery.

It was already in the seventeenth century when military use lost its importance and the fifth Marquis of Mondéjar, after being appointed warden of the Alhambra in 1624, decided to transform this space into a garden by filling the space between the outer and inner walls with earth.

There is a legend that it was in this place where gold-filled porcelain vases were found hidden, probably hidden by the last Muslims who inhabited the area. Some of the gold was used by the Marquis to finance the creation of this beautiful garden. It is thought that perhaps one of these vases is one of the twenty large Nasrid gilded earthenware vases preserved worldwide. We can see two of these vases in the National Museum of Hispano-Muslim Art, located on the ground floor of the Palace of Charles V.

One of the notable features of this garden is the presence in the central part of a kettledrum-shaped fountain. This fountain has had various locations, the most striking and notable being in the Patio de los Leones (Courtyard of the Lions), where it was placed in 1624 over the Lions' Fountain, causing significant damage. The bowl remained in that location until 1954, when it was removed and replaced here.

Under the Nasrid dynasty, this tower was known as the Torre Mayor, and from the sixteenth century onward, it was also called the Torre del Sol (Tower of the Sun), because the sun reflected off the tower at midday, acting as a sundial. However, its current name comes from the word velar (vellar), given that, thanks to its height of 27 meters, it provides a 360-degree view that would allow any movement to be detected.

The Tower's appearance has changed over time. It originally had battlements on its terrace, which were lost due to several earthquakes. The bell was added after the Christians captured Granada.

This bell was used to warn the population of any potential danger, such as earthquakes or fires. The sound of this bell was also used to regulate irrigation schedules in the Granada Valley.

Currently, and according to tradition, the bell is rung every January 2nd to commemorate the capture of Granada on January 2nd, 1492.

Located in the northern wall of the Alcazaba, the Puerta de las Armas was one of the main entrances to the Alhambra.

During the Nasrid dynasty, citizens crossed the Darro River via the Cadí Bridge and climbed the hill along a path now hidden by the San Pedro Forest until they reached the gate. Inside the gate, they had to deposit their weapons before entering the enclosure, hence the name "Gate of Arms."

From the terrace of this tower, we can now enjoy one of the best panoramic views of the city of Granada.

Just across the street is the Albaicín neighborhood, recognizable by its whitewashed houses and labyrinthine streets. This neighborhood was declared a UNESCO World Heritage Site in 1994.

It is in this neighborhood where one of Granada's most famous viewpoints is located: the Mirador de San Nicolás.

To the right of the Albaicín, is the Sacromonte neighborhood.

Sacromonte is Granada's quintessential old Gypsy neighborhood and the birthplace of flamenco. This neighborhood is also characterized by the presence of troglodyte dwellings: caves.

At the foot of the Albaicín and the Alhambra lies the Carrera del Darro, next to the banks of the river of the same name.

The Keep is one of the oldest towers in the Alcazaba, standing 26 meters tall. It has six floors, a terrace, and an underground dungeon.

Due to the tower's height, communication with the kingdom's watchtowers was established from its terrace. This communication was established through a system of mirrors during the day or smoke with bonfires at night.

It is thought that, due to the tower's protruding position on the hill, it was probably the place chosen for the display of the banners and red flags of the Nasrid dynasty.

The base of this tower was reinforced by the Christians with the so-called Cube Tower.

After the capture of Granada, the Catholic Monarchs planned a series of renovations to adapt the Alcazaba to artillery. Thus, the Cube Tower was built over the Tahona Tower. Thanks to its cylindrical shape, it provides greater protection against potential impacts compared to the square-shaped Nasrid towers.

The Generalife, located on Cerro del Sol, was the sultan's almunia, or in other words, a palatial country house with orchards, where, in addition to farming, animals were raised for the Nasrid court and hunting was practiced. Its construction is estimated to have begun in the late 13th century by Sultan Muhammad II, son of the founder of the Nasrid dynasty.

The name Generalife comes from the Arabic "yannat-al-arif," meaning "the architect's garden." It was a much larger space in the Nasrid period, with at least four vegetable gardens, and extended to a place known today as "the partridge plain."

This country house, which the vizier Ibn al-Yayyab called the Royal House of Happiness, was a palace: the sultan's summer palace. Despite its proximity to the Alhambra, it afforded him enough privacy to escape and relax from the stresses of court and government life, as well as to enjoy more pleasant temperatures. Due to its location at a higher altitude than the palatine city of the Alhambra, the temperature inside dropped.

When Granada was captured, the Generalife became the property of the Catholic Monarchs, who placed it under the protection of an alcaide or commander. Philip II eventually ceded the perpetual alcaidía and ownership of the site to the Granada Venegas family (a family of converted Moriscos). The State only recovered the site after a dispute that lasted almost 100 years and ended with an out-of-court settlement in 1921.

Agreement by which the Generalife would become a national heritage site and would be managed together with the Alhambra through the Board of Trustees, thus forming the Board of Trustees of the Alhambra and the Generalife.

The open-air amphitheater we encountered on our way to the Generalife Palace was built in 1952 with the intention of hosting, as it does every summer, the Granada International Music and Dance Festival.

Since 2002, a Flamenco Festival has also been held, dedicated to Granada's most famous poet: Federico García Lorca.

Under the Nasrid dynasty, the road that connected the palatine city and the Generalife started from the Puerta del Arabal, framed by the so-called Torre de los Picos, so named because its battlements end in brick pyramids.

It was a winding, sloping road, protected on both sides by high walls for greater security, and led to the entrance to the Patio del Descabalgamiento.

These ruins or foundations are the archaeological remains of what was once the so-called House of Friends. Its name and purpose have come down to us thanks to Ibn Luyún's "Treatise on Agriculture" in the 14th century.

It was therefore a dwelling intended for people, friends or relatives whom the sultan held in esteem and considered important to have close to him, but without invading their privacy, so it was an isolated dwelling.

This Oleander Walk was built in the mid-19th century for the visit of Queen Elizabeth II and to create a more monumental access to the upper part of the palace.

Oleander is another name for the pink laurel, which appears in the form of an ornamental canopy along this walkway. At the beginning of the walk, behind the High Gardens, is one of the oldest examples of the Moorish myrtle, which was nearly lost and whose genetic traces are still being investigated today.

It is one of the most characteristic plants of the Alhambra, distinguished by its curled leaves, which are larger than the common myrtle.

The Paseo de las Adelfas connects with the Paseo de los Cipreses, which serves as a link leading visitors to the Alhambra.

One of the best-preserved and unique elements of the Generalife is the so-called Water Staircase. It is believed that, under the Nasrid dynasty, this staircase—divided into four flights with three intermediate landings—had water channels that flowed through the two glazed ceramic handrails, fed by the Royal Canal.

This water pipe reached a small oratory, of which no archaeological information survives. In its place, since 1836, there has been a romantic belvedere erected by the estate manager at the time.

The climb up this staircase, framed by a laurel vault and the murmur of water, probably created an ideal environment for stimulating the senses, entering into a climate conducive to meditation, and performing ablutions prior to prayer.

In the grounds surrounding the palace, it is estimated that there must have been at least four large vegetable gardens organized on different levels, or paratas, enclosed by adobe walls. The names of these gardens that have survived to the present day are: Grande, Colorada, Mercería, and Fuente Peña.

These gardens have continued to be cultivated, to a greater or lesser extent, since the 14th century, using the same traditional medieval techniques. Thanks to this agricultural production, the Nasrid court maintained a certain independence from other external agricultural suppliers, allowing it to meet its own food needs.

They were used not only for vegetable gardens, but also for fruit trees and animal pastures. For example, today they grow artichokes, eggplants, beans, figs, pomegranates, and almond trees.

Today, the preserved orchards continue to use the same agricultural production techniques employed in medieval times, giving this space great anthropological value.

These gardens are accessed from the Patio de la Sultana via a steep 19th-century staircase, called the Lions' Staircase, due to the two glazed earthenware figures above the gate.

These gardens can be considered an example of a Romantic garden. They are located on pillars and form the highest part of the Generalife, offering spectacular views of the entire monumental complex.

The presence of beautiful magnolias stands out.

The Rose Gardens date back to the 1930s and 1950s, when the State acquired the Generalife in 1921.

The need then arose to enhance the value of an abandoned area and strategically connect it to the Alhambra through a gradual and smooth transition.

The Patio de la Acequia, also called the Patio de la Ría in the 19th century, today has a rectangular structure with two facing pavilions and a bay.

The courtyard's name comes from the Royal Canal that runs through this palace, around which four gardens are arranged in orthogonal parterres at a lower level. On both sides of the canal are fountains that form one of the palace's most popular images. However, these fountains are not original, as they disrupt the tranquility and serenity the sultan sought during his moments of rest and meditation.

This palace has undergone extensive transformations, as this courtyard was originally closed to the views we find today through the gallery of 18 belvedere-style arches. The only part that would allow a view of the landscape would be the central viewing platform. From this original viewing platform, sitting on the floor and leaning on the windowsill, one could contemplate the panoramic views of the palatine city of the Alhambra.

As a testament to its past, we find Nasrid decoration in the viewing platform, where the plasterwork of Sultan Ismail I is superimposed over that of Muhammad III stands out. This demonstrates that each sultan had different tastes and needs and adapted the palaces accordingly, leaving their own mark or imprint.

As we pass the viewpoint, and if we look at the intrados of the arches, we will also find emblems of the Catholic Monarchs such as the Yoke and the Arrows, as well as the motto "Tanto Monta".

The east side of the courtyard is recent due to a fire that occurred in 1958.

Before entering the Patio de la Acequia, we come across the Patio de la Guardia. A simple courtyard with porticoed galleries and a fountain in its center, it is also decorated with bitter orange trees. This courtyard must have served as a control area and antechamber before accessing the sultan's summer quarters.

What stands out about this place is that, after climbing some steep stairs, we find a doorway framed by a lintel decorated with tiles in shades of blue, green, and black on a white background. We can also see, although worn by the passage of time, the Nasrid key.

As we climb the steps and pass through this doorway, we come across a bend, the guard benches, and a steep, narrow staircase that leads us to the palace.

The Patio de la Sultana is one of the most transformed spaces. It is thought that the site now occupied by this courtyard—also called the Patio del Ciprés—was the area used for the former hammam, the Generalife baths.

In the 16th century, it lost this function and became a garden. Over time, a northern gallery was added, along with a U-shaped pool, a fountain in its center, and thirty-eight noisy jets.

The only elements preserved from the Nasrid period are the Acequia Real waterfall, protected behind a fence, and a small section of canal that directs the water towards the Patio de la Acequia.

The name "Cypress Courtyard" is due to the centuries-old dead cypress tree, of which only its trunk remains today. Next to it is a Granada ceramic plaque that tells of the 16th-century legend by Ginés Pérez de Hita, according to which this cypress witnessed the amorous encounters of the last sultan's favorite, Boabdil, with a noble Abencerraje knight.

The Patio del Descabalgamiento, also known as Patio Polo, is the first courtyard we encounter upon entering the Generalife Palace.

The Sultan used a horse as a means of transportation to access the Generalife, and as such, he needed a place to dismount and house these animals. This courtyard is thought to have been intended for this purpose, as it housed the stables.

It had benches for support for horses to get on and off, and two stables in the side aisles, which served as stables on the lower level and haylofts on the upper level. A drinking trough with fresh water for the horses was also essential.

Worth noting here: above the lintel of the door leading to the next courtyard, we find the Alhambra key, a symbol of the Nasrid dynasty, representing salutation and ownership.

The north portico is the best preserved and was intended to house the sultan's quarters.

We find a portico with five arches supported by columns and alhamíes at their ends. Beyond this portico, and to access the Royal Hall, one passes through a triple archway in which poems speak of the Battle of La Vega or Sierra Elvira in 1319, which gives us information about the dating of the site.

On the sides of this triple arch there are also *taqas*, small niches excavated in the wall where water was placed.

The Royal Hall, located in a square tower decorated with plasterwork, was the place where the sultan—despite this being a leisure palace—received urgent audiences. These audiences, according to verses engraved there, were supposed to be brief and to the point so as not to unduly disturb the emir's rest.

The Nasrid Palaces constitute the most emblematic and striking part of the monumental complex. They were built in the 14th century, a period that can be considered a time of great splendor for the Nasrid dynasty.

These palaces were the area reserved for the sultan and his close relatives, where family life took place, but also the official and administrative life of the kingdom.

The Palaces are: the Mexuar, the Comares Palace and the Palace of the Lions.

Each of these palaces was built independently, at different times, and with their own distinct functions. It was after the Capture of Granada that the palaces were unified, and from that moment on, they became known as the Royal House, and later as the Old Royal House, when Charles V decided to build his own palace.

The Mexuar is the oldest part of the Nasrid Palaces, but it is also the space that has undergone the greatest transformations over time. Its name comes from the Arabic *Maswar*, which refers to the place where the *Sura* or Council of Ministers of the Sultan met, thus revealing one of its functions. It was also the antechamber where the Sultan administered justice.

The construction of the Mexuar is attributed to Sultan Isma'il I (1314–1325), and was modified by his grandson Muhammad V. However, it was the Christians who most transformed this space by converting it into a chapel.

During the Nasrid period, this space was much smaller and was organized around four central columns, where the characteristic Nasrid cubic capital, painted cobalt blue, can still be seen. These columns supported a lantern that provided overhead light, which was removed in the 16th century to create upper rooms and side windows.

To convert the space into a chapel, the floor was lowered and a small rectangular space was added at the back, now separated by a wooden balustrade that indicates where the upper choir was located.

The ceramic tiled plinth with star decoration was brought from elsewhere. Among its stars, one can alternately see: the coat of arms of the Nasrid Kingdom, that of Cardinal Mendoza, the double-headed eagle of the Austrians, the motto "There is no victor but God," and the Pillars of Hercules from the imperial coat of arms.

Above the plinth, a plaster epigraphic frieze repeats: “The Kingdom is God’s. Strength is God’s. Glory is God’s.” These inscriptions replace the Christian ejaculations: “Christus regnat. Christus vincit. Christus imperat.”

The current entrance to the Mexuar was opened in the modern period, changing the location of one of the Pillars of Hercules, bearing the motto "Plus Ultra," which was moved to the east wall. The plaster crown above the door remains in its original location.

At the back of the room, a door leads to the Oratory, which was originally accessed through the Machuca gallery.

This space is one of the most damaged in the Alhambra due to the explosion of a powder magazine in 1590. It was restored in 1917.

During the restoration, the floor level was lowered to prevent accidents and facilitate visits. A continuous ledge under the windows remains as a testament to the original level.

This impressive façade, extensively restored between the 19th and 20th centuries, was built by Muhammad V to commemorate the capture of Algeciras in 1369, which granted him dominion over the Strait of Gibraltar.

In this courtyard, the sultan received subjects who had a special audience. He sat in the central part of the façade, on a jamuga (wooden frame) between the two doors and beneath the great eaves, a masterpiece of Nasrid carpentry that crowned it.

The façade has a strong allegorical meaning. On it, subjects could read:

“My position is that of a crown and my gate a fork: the West believes that in me is the East.”
Al-Gani bi-llah has entrusted me with opening the door to the victory that is being announced.
Well, I'm waiting for him to appear as the horizon reveals itself in the morning.
May God make his work as beautiful as his character and figure are!

The door on the right served as access to the private quarters and service area, while the door on the left, through a curved corridor with benches for the guard, gives access to the Comares Palace, specifically to the Patio de los Arrayanes.

Subjects who obtained an audience waited in front of the façade, separated from the sultan by the royal guard, in the room now known as the Golden Room.

The name *Golden Quarter* comes from the period of the Catholic Monarchs, when the Nasrid coffered ceiling was repainted with golden motifs and the emblems of the monarchs were incorporated.

In the center of the courtyard is a low marble fountain with galloons, a replica of the Lindaraja fountain preserved in the Alhambra Museum. To one side of the fountain, a gate leads to a dark underground corridor used by the guards.

One of the characteristics of the Hispano-Muslim house is access through a curved hallway that leads to an open-air courtyard, the focal point of life and organization of the home, complete with a water feature and vegetation. This same concept is found in the Patio de los Arrayanes, but on a larger scale, measuring 36 meters long and 23 meters wide.

The Patio de los Arrayanes (Courtyard of the Myrtles) is the centerpiece of the Comares Palace, where the political and diplomatic activities of the Nasrid Kingdom took place. It is a rectangular courtyard of imposing dimensions, whose central axis is a large pool. In it, the still water acts as a mirror, lending depth and verticality to the space, thus creating a palace on water.

At both ends of the pool, jets gently introduce water so as not to disrupt the mirror effect or the stillness of the place.

Flanking the pool are two myrtle clumps, which give the current site its name: Patio de los Arrayanes (Courtyard of the Myrtles). In the past, it was also known as Patio de la Alberca (Courtyard of the Pool).

The presence of water and vegetation is not only a matter of ornamental or aesthetic considerations, but also a desire to create pleasant spaces, especially in summer. Water refreshes the environment, while vegetation retains moisture and provides fragrance.

On the longer sides of the courtyard are four independent dwellings. On the north side stands the Comares Tower, which houses the Throne Room or Ambassadors' Room.

On the south side, the façade acts as a trompe l'oeil, as the building that existed behind it was demolished to connect the Palace of Charles V with the Old Royal House.

Before entering the Nasrid Palaces, if we look to the left, we find two courtyards.

The first is the Patio de la Mezquita, named after the small mosque located in one of its corners. However, since the 20th century, it has also been known as the Madrasa de los Príncipes (Princes' Madrasa), as its structure bears similarities to the Madrasa of Granada.

Further on is the Patio de Machuca, named after the architect Pedro Machuca, who was in charge of supervising the construction of the Palace of Charles V in the 16th century and who resided there.

This courtyard is easily recognizable by the lobed-edged pool at its center, as well as by the arched cypress trees, which restore the architectural feel of the space in a non-invasive way.

The Boat Room is the anteroom to the Throne Room or Ambassadors' Room.

On the jambs of the arch leading into this room, we find facing niches carved in marble and decorated with colorful tiles. These are one of the most characteristic ornamental and functional elements of the Nasrid palaces: the taqas.

*Taqas* are small niches carved into walls, always arranged in pairs and facing each other. They were used to hold jars of fresh water for drinking or scented water for washing hands.

The current ceiling of the hall is a reproduction of the original, lost in a fire in 1890.

The name of this room comes from a phonetic alteration of the Arabic word *baraka*, meaning "blessing," which is repeated numerous times on the walls of this room. It does not derive, as is popularly believed, from the inverted boat-shaped roof.

It was in this place where the new sultans requested the blessing of their god before being crowned as such in the Throne Room.

Before entering the Throne Room, we find two side entrances: on the right, a small oratory with its mihrab; and on the left, the access door to the interior of the Comares Tower.

The Ambassadors' Hall, also called the Throne Hall or the Comares Hall, is the site of the sultan's throne and, therefore, the center of power of the Nasrid dynasty. Perhaps for this reason, it is located within the Comares Tower, the largest tower in the monumental complex, at 45 meters high. Its etymology comes from the Arabic *arsh*, meaning tent, pavilion, or throne.

The room is shaped like a perfect cube, and its walls are richly decorated up to the ceiling. On the sides are nine identical alcoves grouped in groups of three with windows. The one opposite the entrance features more elaborate decoration, as it was the sultan's seat, backlit, favoring the effect of dazzling and surprising.

In the past, the windows were covered with colored glass panels with geometric shapes called *cumarias*. These were lost due to the shock wave of a powder magazine that exploded in 1590 on the Carrera del Darro.

The decorative richness of the hall is extreme. It begins in the lower part with geometrically shaped tiles, creating a visual effect similar to that of a kaleidoscope. It continues on the walls with stuccos resembling hanging tapestries, decorated with plant motifs, flowers, shells, stars, and abundant inscriptions.

The current script is of two types: cursive, the most common and easily recognizable; and Kufic, a cultured script with rectilinear and angular forms.

Among all the inscriptions, the most notable is the one below the ceiling, on the top strip of the wall: sura 67 of the Quran, called *The Kingdom* or *of the Lordship*, which runs along the four walls. This sura was recited by the new sultans to proclaim that their power came directly from God.

The image of divine power is also represented in the ceiling, composed of 8,017 different pieces that, through wheels of stars, illustrate Islamic eschatology: the seven heavens and an eighth, paradise, the Throne of Allah, represented by the central dome of muqarnas.

To access the Christian Royal House, you must use one of the doors open in the left alcove of the Hall of the Two Sisters.

Charles V, grandson of the Catholic Monarchs, visited the Alhambra in June 1526 after marrying Isabella of Portugal in Seville. Upon arriving in Granada, the couple settled into the Alhambra itself and ordered the construction of new rooms, now known as the Emperor's Apartments.

These spaces completely break with Nasrid architecture and aesthetics. However, as they were built on garden areas between the Comares Palace and the Palace of the Lions, the upper part of the Royal Hammam, or Comares Hammam, can be seen through small windows to the left of the corridor. A few meters further on, other openings reveal the Hall of Beds and the Musicians' Gallery.

The Royal Baths were not only a place of hygiene, but also an ideal place to cultivate political and diplomatic relations in a relaxed and friendly manner, accompanied by music to liven up the occasion. This space is only open to the public on special occasions.

Through this corridor you enter the Emperor's Office, which stands out for its Renaissance fireplace with the imperial coat of arms and a wooden coffered ceiling designed by Pedro Machuca, architect of the Palace of Charles V. On the coffered ceiling you can read the inscription "PLUS ULTRA", a motto adopted by the Emperor, along with the initials K and Y, corresponding to Charles V and Isabella of Portugal.

Leaving the hall, on the right are the Imperial Rooms, currently closed to the public and only accessible on special occasions. These rooms are also known as Washington Irving's Rooms, as it was here that the American Romantic writer stayed during his stay in Granada. It was possibly here that he wrote his famous book *Tales of the Alhambra*. A commemorative plaque can be seen above the door.

Adjacent to the Patio de la Reja is the Patio de Lindaraja, adorned with carved boxwood hedges, cypress trees, and bitter orange trees. This patio owes its name to the Nasrid viewpoint located on its southern side, which bears the same name.

During the Nasrid period, the garden had a completely different appearance than it does today, as it was a space open to the landscape.

With the arrival of Charles V, the garden was enclosed, taking on a cloister-like layout thanks to a porticoed gallery. Columns from other parts of the Alhambra were used for its construction.

In the center of the courtyard stands a Baroque fountain, over which a Nasrid marble basin was superimposed at the beginning of the 17th century. The fountain we see today is a replica; the original is preserved in the Alhambra Museum.

The Patio de los Leones (Courtyard of the Lions) is the heart of this palace. It is a rectangular courtyard surrounded by a porticoed gallery with 124 columns, each one different from the other, which connect the different rooms of the palace. It bears a certain resemblance to a Christian cloister.

This space is considered one of the jewels of Islamic art, despite breaking with the usual patterns of Hispano-Muslim architecture.

The palace's symbolism revolves around the concept of a garden-paradise. The four water channels that radiate from the center of the courtyard could represent the four rivers of Islamic paradise, giving the courtyard a cruciform layout. The columns evoke a palm forest, like the oasis of paradise.

In the center is the famous Fountain of the Lions. The twelve lions, although in a similar position—alert and with their backs to the fountain—have different features. They are carved from white Macael marble, carefully selected to take advantage of the stone's natural veins and accentuate its distinctive features.

There are various theories about its symbolism. Some believe it represents the strength of the Nasrid dynasty or Sultan Muhammad V, the twelve signs of the zodiac, the twelve hours of the day, or even a water clock. Others maintain that it is a reinterpretation of the Bronze Sea of Judea, held up by twelve bulls, here replaced by twelve lions.

The central bowl was probably carved in situ and contains poetic inscriptions praising Muhammad V and the hydraulic system that feeds the fountain and regulates the flow of water to prevent overflow.

“In appearance, water and marble seem to merge without us knowing which of the two is sliding.
Don't you see how the water spills into the bowl, but its spouts immediately hide it?

He is a lover whose eyelids overflow with tears,
tears that she hides for fear of an informer.

Is it not, in reality, like a white cloud that pours its irrigation ditches upon the lions and seems like the hand of the caliph who, in the morning, lavishes his favors upon the lions of war?

The fountain underwent several transformations over time. In the 17th century, a second basin was added, which was removed in the 20th century and relocated to the Garden of the Adarves of the Alcazaba.

The Christian adaptation of the palace entailed the creation of direct access to the Comares Tower via a two-story open gallery. This gallery offers magnificent views of two of Granada's most iconic neighborhoods: the Albaicín and the Sacromonte.

From the gallery, looking to the right, you can also see the Queen's Dressing Room, which, like other areas mentioned above, can only be visited on special occasions or as a space of the month.

The Queen's Dressing Room is located in the Tower of Yusuf I, a tower set forward from the wall. Its Christian name comes from the use made of it by Isabella of Portugal, wife of Charles V, during her stay at the Alhambra.

Inside, the space was adapted to Christian aesthetics and houses valuable Renaissance paintings by Julius Achilles and Alexander Mayner, disciples of Raphael Sanzio, also known as Raphael of Urbino.

Descending from the gallery, we find the Patio de la Reja (Courtyard of the Grill). Its name comes from the continuous balcony with wrought iron railings, installed in the mid-17th century. These railings served as an open corridor to connect and protect the adjacent rooms.

The Hall of the Two Sisters gets its current name from the presence of two twin slabs of Macael marble located in the center of the room.

This room bears some resemblance to the Hall of the Abencerrajes: it is located higher than the courtyard and, beyond the entrance, has two doors. The one on the left led to the toilet, and the one on the right led to the upper rooms of the house.

Unlike its twin room, this one opens to the north towards the Sala de los Ajimeces and a small viewpoint: the Mirador de Lindaraja.

During the Nasrid dynasty, under Muhammad V, this room was known as *qubba al-kubra*, meaning the great qubba, the most important in the Palace of the Lions. The term *qubba* refers to a square floor plan covered with a dome.

The dome begins with an eight-pointed star, unfolding into a three-dimensional layout composed of 5,416 muqarnas, some of which still retain traces of polychromy. These muqarnas are distributed in sixteen small cupolas located above sixteen windows with lattices that bring changing light into the room depending on the time of day.

Before entering the western hall, also known as the Hall of the Abencerrajes, we find some wooden doors with remarkable carvings that have been preserved since medieval times.

The name of this room is linked to a legend according to which, due to a rumor about an affair between an Abencerraje knight and the sultan's favorite, or due to alleged plots by this family to overthrow the monarch, the sultan, filled with rage, summoned the Abencerraje knights. Thirty-six of them lost their lives as a result.

This story was recorded in the 16th century by the writer Ginés Pérez de Hita in his novel about the *Civil Wars of Granada*, where he narrates that the knights were murdered in this very room.

For this reason, some claim to see in the rust stains on the central fountain a symbolic vestige of the rivers of blood of those knights.

This legend also inspired the Spanish painter Mariano Fortuny, who captured it in his work entitled *The Massacre of the Abencerrajes*.

Upon entering the door, we found two entrances: the one on the right led to the toilet, and the one on the left to some stairs leading to the upper rooms.

The Hall of the Abencerrajes is a private and independent dwelling on the ground floor, structured around a large *qubba* (dome in Arabic).

The plaster dome is richly decorated with muqarnas originating from an eight-pointed star in a complex three-dimensional composition. The muqarnas are architectural elements based on hanging prisms with concave and convex shapes, reminiscent of stalactites.

As you enter the room, you notice a drop in temperature. This is because the only windows are located at the top, allowing hot air to escape. Meanwhile, the water from the central fountain cools the air, making the room, with the doors closed, function as a kind of cave, with an ideal temperature for the hottest summer days.

Beyond the Hall of the Two Sisters, to the north, we find a transverse nave covered by a muqarnas vault. This room is called the Hall of the Mullions (Ajimeces) because of the type of windows that must have closed the openings on either side of the central arch that leads to the Lindaraja Viewpoint.

The white walls of this room are believed to have been originally covered with silk fabrics.

The so-called Lindaraja Viewpoint owes its name to the derivation of the Arabic term *Ayn Dar Aisa*, which means “the eyes of the House of Aisa”.

Despite its small size, the interior of the viewing platform is remarkably decorated. On one hand, it features tiling with a succession of small, interlocking stars, which required meticulous work by the artisans. On the other hand, if you look up, you can see a ceiling with colored glass embedded in a wooden structure, resembling a skylight.

This lantern is a representative example of what many of the windows or mullioned windows of the Palatine Alhambra must have looked like. When sunlight hits the glass, it projects colorful reflections that illuminate the decoration, giving the space a unique, ever-changing atmosphere throughout the day.

During the Nasrid period, when the courtyard was still open, a person could sit on the floor of the belvedere, rest their arm on the windowsill, and enjoy spectacular views of the Albayzín neighborhood. These views were lost at the beginning of the 16th century, when the outbuildings intended to serve as the residence of Emperor Charles V were built.

The Hall of the Kings occupies the entire east side of the Patio de los Leones and, although it appears integrated into the palace, it is thought to have had its own function, probably of a recreational or courtly nature.

This space stands out for preserving one of the few examples of Nasrid figurative painting.

In the three alcoves, each approximately fifteen square meters in area, there are three false vaults decorated with paintings on lambskin. These skins were fixed to the wooden support with small bamboo nails, a technique that prevented the material from rusting.

The name of the room probably comes from the interpretation of the painting in the central alcove, which depicts ten figures that could correspond to the first ten sultans of the Alhambra.

In the side alcoves, chivalric scenes of fighting, hunting, games, and love can be seen. Their clothing clearly distinguishes the presence of Christian and Muslim figures sharing the same space.

The origin of these paintings has been widely debated. Due to their Linear Gothic style, it is thought that they were probably created by Christian artists familiar with the Muslim world. These works may be the result of the good relationship between Muhammad V, founder of this palace, and the Christian king Peter I of Castile.

The Room of Secrets is a square-shaped room, covered with a spherical vault.

Something very peculiar and curious happens in this room, making it one of the favorite attractions for visitors to the Alhambra, especially for the little ones.

The phenomenon is that if one person stands at one corner of the room and another at the opposite corner—both facing the wall and as close to it as possible—one of them can speak very quietly and the other will hear the message perfectly, as if they were right next to them.

It is thanks to this acoustic “game” that the room gets its name: **Room of Secrets**.

The palace known as the Palace of the Lions was commissioned during the second reign of Sultan Muhammad V, which began in 1362 and lasted until 1391. During this period, construction began on the Palace of the Lions, adjacent to the Palace of Comares, which had been built by his father, Sultan Yusuf I.

This new palace was also called *Riyad Palace*, as it is believed to have been built on the former Comares Gardens. The term *Riyad* means "garden."

It is thought that the original access to the palace was through the southeast corner, from Calle Real and through a curved entrance. Currently, due to Christian modifications after the conquest, the Sala de los Muqarnas is accessed directly from the Comares Palace.

The Hall of the Muqarnas takes its name from the impressive muqarnas vault that originally covered it, which almost completely collapsed as a result of the vibrations caused by the explosion of a powder magazine on the Carrera del Darro in 1590.

Remains of this vault can still be seen on one side. On the opposite side, remains of a later Christian vault appear, bearing the letters "FY," traditionally associated with Ferdinand and Isabella, although they actually correspond to Philip V and Isabella Farnese, who visited the Alhambra in 1729.

It is believed that the room may have functioned as a vestibule or waiting room for guests attending the sultan's celebrations, parties, and receptions.

The large space known today as Jardines del Partal owes its name to the Palacio del Pórtico, named after its porticoed gallery.

This is the oldest preserved palace in the monumental complex, whose construction is attributed to Sultan Muhammad III at the beginning of the 14th century.

This palace bears some similarity to the Comares Palace, although it is older: a rectangular courtyard, a central pool, and the portico's mirror-like reflection in the water. Its main distinguishing feature is the presence of a side tower, known since the 16th century as the Ladies' Tower, although it has also been called the Observatory, as Muhammad III was a great fan of astronomy. The tower has windows facing the four cardinal points, allowing for spectacular views.

A notable curiosity is that this palace was privately owned until March 12, 1891, when its owner, Arthur Von Gwinner, a German banker and consul, ceded the building and the surrounding land to the Spanish State.

Unfortunately, Von Gwinner dismantled the wooden roof of the viewing platform and moved it to Berlin, where it is now on display in the Pergamon Museum as one of the highlights of its Islamic art collection.

Adjacent to the Partal Palace, to the left of the Ladies' Tower, are several Nasrid houses. One of them was called the House of Paintings due to the discovery, at the beginning of the 20th century, of tempera paintings on 14th-century stucco. These highly valuable paintings are a rare example of Nasrid figurative mural painting, depicting court scenes, hunting scenes, and celebrations.

Due to their importance and for conservation reasons, these homes are not open to the public.

To the right of the Partal Palace, on the rampart of the wall, is the Partal Oratory, whose construction is attributed to Sultan Yusuf I. Access is via a small staircase, as it is elevated from ground level.

One of the pillars of Islam is to pray five times a day facing Mecca. The oratory functioned as a palace chapel, allowing the inhabitants of the nearby palace to fulfill this religious obligation.

Despite its small size (about twelve square meters), the oratory has a small vestibule and a prayer room. Its interior features rich plasterwork decoration with plant and geometric motifs, as well as Quranic inscriptions.

Upon ascending the stairs, just opposite the entrance door, you will find the mihrab on the southwest wall, facing Mecca. It has a polygonal floor plan, a voussoired horseshoe arch, and is covered by a dome with muqarnas.

Of particular note is the epigraphic inscription located on the imposts of the mihrab arch, which invites prayer: “Come and pray, and do not be among the negligent.”

Attached to the oratory is the House of Atasio de Bracamonte, which was given in 1550 to the former squire of the warden of the Alhambra, the Count of Tendilla.

On the highest plateau in the Partal area are the archaeological remains of the Palace of Yusuf III. This palace was granted in June 1492 by the Catholic Monarchs to the first governor of the Alhambra, Don Íñigo López de Mendoza, second Count of Tendilla. For this reason, it is also known as the Tendilla Palace.

The reason this palace is in ruins stems from disagreements that arose in the 18th century between the descendants of the Count of Tendilla and Philip V of Bourbon. Upon the death of Archduke Charles II of Austria without heirs, the Tendilla family supported Archduke Charles of Austria instead of Philip of Bourbon. After Philip V's accession, reprisals were taken: in 1718, the mayorship of the Alhambra was removed from them, and later the palace was dismantled and its materials sold.

Some of these materials reappeared in the 20th century in private collections. It is believed that the so-called "Fortuny Tile," housed at the Valencia Institute of Don Juan in Madrid, may have come from this palace.

From 1740 onwards, the palace site became an area of leased vegetable gardens.

It was in 1929 that this area was recovered by the Spanish State and returned to the Alhambra. Thanks to the work of Leopoldo Torres Balbás, architect and restorer of the Alhambra, this space was enhanced with the creation of an archaeological garden.

The Palatine city wall originally had more than thirty towers, of which only twenty remain today. Initially, these towers had a strictly defensive function, although over time some also adopted residential use.

At the exit of the Nasrid Palaces, from the Upper Partal area, a cobbled path leads to the Generalife. This route follows the stretch of wall, home to some of the complex's most emblematic towers, framed by a garden area with beautiful views of the Albaicín and the Generalife orchards.

One of the most notable towers is the Tower of the Peaks, built by Muhammad II and later renovated by other sultans. It is easily recognizable by its brick pyramid-shaped battlements, from which its name may derive. However, other authors believe the name comes from the protruding corbels at its upper corners, which supported the machicolations, defensive elements that allowed attacks from above to be countered.

The tower's main function was to protect the Arrabal Gate located at its base, which connected to the Cuesta del Rey Chico, facilitating access to the Albaicín neighborhood and the old medieval road that connected the Alhambra with the Generalife.

In Christian times, an outer bastion with stables was built to reinforce its protection, which is closed by a new entrance known as the Iron Gate.

Although towers are commonly associated with an exclusively military function, it is known that the Torre de los Picos also had a residential use, as evidenced by the ornamentation present in its interior.

The Torre de la Cautiva has received various names over time, such as Torre de la Ladrona or Torre de la Sultana, although the most popular one has finally prevailed: Torre de la Cautiva.

This name is not based on proven historical facts, but rather stems from a romantic legend according to which Isabel de Solís was imprisoned in this tower. She later converted to Islam under the name Zoraida and became Muley Hacén's favorite sultana. This situation caused tensions with Aixa, the previous sultana and Boabdil's mother, given that Zoraida—whose name means "morning star"—removed her position at court.

The construction of this tower is attributed to Sultan Yusuf I, who was also responsible for the Comares Palace. This attribution is supported by the inscriptions in the main hall, the work of the vizier Ibn al-Yayyab, which praise this sultan.

In the poems inscribed on the walls, the vizier repeatedly uses the term qal'ahurra, which has since been used to refer to fortified palaces, as is the case with this tower. In addition to serving defensive purposes, the tower houses a real palace with rich decoration inside.

Regarding its ornamentation, the main hall features a ceramic tiled plinth with geometric shapes in various colors. Purple stands out among these, as it was particularly difficult and expensive to obtain at the time, so it was reserved exclusively for important spaces.

The Tower of the Infantas, like the Tower of the Captive, owes its name to a legend.

This is the legend of the three princesses Zaida, Zoraida and Zorahaida, who lived in this tower, a story that was collected by Washington Irving in his famous *Tales of the Alhambra*.

The construction of this palace-tower, or *qalahurra*, is attributed to Sultan Muhammad VII, who reigned between 1392 and 1408. Therefore, it is one of the last towers built by the Nasrid dynasty.

This circumstance is reflected in the interior decoration, which shows signs of a certain decline compared to previous periods of greater artistic splendor.

At the end of the Paseo de las Torres, in the easternmost part of the northern wall, are the remains of a cylindrical tower: the Torre del Cabo de Carrera.

This tower was practically destroyed as a result of the explosions carried out in 1812 by Napoleon's troops during their retreat from the Alhambra.

It is believed to have been built or rebuilt by order of the Catholic Monarchs in 1502, as confirmed by a now-lost inscription.

Its name comes from its location at the end of the Calle Mayor of the Alhambra, marking the limit or "cap de carrera" of said road.

The Palace of Charles V, with its sixty-three meters wide and seventeen meters high, follows the proportions of classical architecture, which is why it is divided horizontally into two levels with clearly differentiated architecture and decoration.

Three types of stone were used to decorate its facades: gray, compact limestone from Sierra Elvira, white marble from Macael, and green serpentine from the Barranco de San Juan.

The exterior decoration exalts the image of Emperor Charles V, highlighting his virtues through mythological and historical references.

The most notable facades are those on the south and west sides, both designed as triumphal arches. The main entrance is on the west side, where the main door is crowned by winged victories. On either side are two small doors above which are medallions with figures of mounted soldiers in combat.

Symmetrically duplicated reliefs are displayed on the pedestals of the columns. The central reliefs symbolize Peace: they show two women seated on a mound of weapons, carrying olive branches and supporting the Pillars of Hercules, the globe with the imperial crown and the motto *PLUS ULTRA*, while cherubs fire war artillery.

The side reliefs depict war scenes, such as the Battle of Pavia, where Charles V defeated Francis I of France.

At the top are balconies flanked by medallions depicting two of the twelve labors of Hercules: one slaying the Nemean Lion and another facing the Cretan Bull. The central medallion features the coat of arms of Spain.

In the lower part of the palace, the rusticated ashlars stand out, designed to convey a sense of solidity. Above them are bronze rings held by animal figures such as lions—symbols of power and protection—and in the corners, double eagles, alluding to imperial power and the emperor's heraldic emblem: the double-headed eagle of Charles I of Spain and V of Germany.

Emperor Charles I of Spain and V of the Holy Roman Empire, grandson of the Catholic Monarchs and son of Joanna I of Castile and Philip the Fair, visited Granada in the summer of 1526 after marrying Isabella of Portugal in Seville, to spend his honeymoon.

Upon his arrival, the emperor was captivated by the charm of the city and the Alhambra, and decided to build a new palace in the palatine city. This palace would become known as the New Royal House, in contrast to the Nasrid Palaces, which were henceforth known as the Old Royal House.

The works were commissioned to the Toledo architect and painter Pedro Machuca, who is said to have been a disciple of Michelangelo, which would explain his deep knowledge of the Classical Renaissance.

Machuca designed a monumental palace in the Renaissance style, with a square floor plan and a circle integrated into its interior, inspired by the monuments of classical antiquity.

Construction began in 1527 and was largely financed by the tributes the Moriscos had to pay to continue living in Granada and preserve their customs and rituals.

In 1550, Pedro Machuca died without finishing the palace. His son Luis continued the project, but after his death, work was halted for a time. It was resumed in 1572 under the reign of Philip II, entrusted to Juan de Orea on the recommendation of Juan de Herrera, architect of the Monastery of El Escorial. However, due to the lack of resources caused by the Alpujarras War, no significant progress was made.

It wasn't until the 20th century that the palace was completed, first under the direction of architect-restorer Leopoldo Torres Balbás, and finally in 1958 by Francisco Prieto Moreno.

The Palace of Charles V was conceived as a symbol of universal peace, reflecting the emperor's political aspirations. However, Charles V never personally visited the palace he commissioned.

The Alhambra Museum is located on the ground floor of the Palace of Charles V and is divided into seven rooms dedicated to Hispano-Muslim culture and art.

It houses the finest existing collection of Nasrid art, composed of pieces found in excavations and restorations carried out in the Alhambra itself over time.

Among the works on display are plasterwork, columns, carpentry, ceramics of various styles—such as the famous Vase of the Gazelles—a copy of the lamp from the Great Mosque of the Alhambra, as well as tombstones, coins, and other objects of great historical value.

This collection is the ideal complement to a visit to the monumental complex, as it provides a better understanding of daily life and culture during the Nasrid period.

Admission to the museum is free, although it is important to note that it is closed on Mondays.

When Pedro Machuca designed the Palace of Charles V, he did so using geometric forms with strong Renaissance symbolism: the square to represent the earthly world, the inner circle as a symbol of the divine and creation, and the octagon—reserved for the chapel—as a union between both worlds.

Upon entering the palace, we find ourselves in an imposing circular porticoed courtyard, elevated from the exterior. This courtyard is surrounded by two superimposed galleries, both with thirty-two columns. On the ground floor, the columns are Doric-Tuscan, and on the upper floor, Ionic.

The columns were made of pudding stone, or almond stone, from the Granada town of El Turro. This material was chosen because it was more economical than the marble originally planned.

The lower gallery has a circular vault that was possibly intended to be decorated with frescoes. The upper gallery, meanwhile, has a wooden coffered ceiling.

The frieze that runs around the courtyard features *burocranios*, representations of ox skulls, a decorative motif with roots in ancient Greece and Rome, where they were used in friezes and tombs linked to ritual sacrifices.

The two floors of the courtyard are connected by two staircases: one on the north side, built in the 17th century, and another also to the north, designed in the 20th century by the Alhambra's conservation architect, Francisco Prieto Moreno.

Although it was never used as a royal residence, the palace currently houses two important museums: the Museum of Fine Arts on the upper floor, with an outstanding collection of Granada painting and sculpture from the 15th to the 20th centuries, and the Alhambra Museum on the ground floor, accessed through the western entrance hall.

In addition to its museum function, the central courtyard boasts exceptional acoustics, making it a prime setting for concerts and theatrical performances, especially during the Granada International Music and Dance Festival.

On Calle Real, on the site adjacent to the current Church of Santa María de la Alhambra, is the Mosque Bath.

This bath was built during the reign of Sultan Muhammad III and financed by the jizya, a tax charged to Christians for planting land on the border.

The use of the hammam The bath was essential to the daily life of an Islamic city, and the Alhambra was no exception. Due to its proximity to the mosque, this bath served a key religious function: allowing for ablutions, or purification rituals, before prayer.

However, its function was not exclusively religious. The hammam also served as a place for personal hygiene and was an important social gathering place.

Its use was regulated by schedules, being in the morning for men and in the afternoon for women.

Inspired by Roman baths, Muslim baths shared their chamber layout, although they were smaller and operated using steam, unlike Roman baths, which were immersion baths.

The bath consisted of four main spaces: a rest room or changing room, a cold or warm room, a hot room, and a boiler area attached to the latter.

The heating system used was the hypocaust, an underground heating system that heated the ground using hot air generated by a furnace and distributed through a chamber beneath the pavement.

The current Parador de Turismo was originally the Convent of San Francisco, built in 1494 on the site of an old Nasrid palace that, according to tradition, belonged to a Muslim prince.

After the capture of Granada, the Catholic Monarchs ceded this space to found the city's first Franciscan convent, thus fulfilling a promise made to the Patriarch of Assisi years before the conquest.

Over time, this spot became the first burial place of the Catholic Monarchs. A month and a half before her death in Medina del Campo in 1504, Queen Isabella left her will in her wish to be buried in this convent, dressed in a Franciscan habit. In 1516, King Ferdinand was buried next to her.

Both remained buried there until 1521, when their grandson, Emperor Charles V, ordered their remains to be transferred to the Royal Chapel of Granada, where they now rest alongside Joanna I of Castile, Philip the Handsome and Prince Miguel de Paz.

Today, this original burial site can be visited by entering the Parador's courtyard. Under a dome of muqarnas, the original tombstones of both monarchs are preserved.

Since June 1945, this building has housed the Parador de San Francisco, a high-class tourist accommodation owned and operated by the Spanish State.

The word “medina,” which means “city” in Arabic, referred to the highest part of Sabika Hill in the Alhambra.

This medina was home to intense daily activity, as it was the area where the trades and population that made life possible for the Nasrid court within the palatine city were concentrated.

Textiles, ceramics, bread, glass, and even coins were produced there. In addition to workers' housing, there were also essential public buildings such as baths, mosques, souks, cisterns, ovens, silos, and workshops.

For the proper functioning of this miniature city, the Alhambra had its own system of legislation, administration, and tax collection.

Today, only a few vestiges of the original Nasrid medina remain. The transformation of the area by Christian settlers after the conquest and, later, the gunpowder explosions caused by Napoleon's troops during their retreat contributed to its deterioration.

In the mid-20th century, an archaeological rehabilitation and adaptation program was launched in this area. As a result, a landscaped walkway was laid out along an old medieval street, which today connects with the Generalife.

In the royal medina, attached to the southern wall, are the remains of the so-called Palace of the Abencerrajes, the Castilianized name of the Banu Sarray family, a noble lineage of North African origin belonging to the Nasrid court.

The remains that can be seen today are the result of excavations that began in the 1930s, as the site had previously been severely damaged, largely due to explosions caused by Napoleon's troops during their retreat.

Thanks to these archaeological excavations, it has been possible to confirm the importance of this family in the Nasrid court, not only due to the size of the palace but also due to its privileged location: in the upper part of the medina, right on the main urban axis of the Alhambra.

The Gate of Justice, known in Arabic as Bab al-Sharia, is one of the four exterior gates of the Alhambra's palatine city. As an exterior entrance, it served an important defensive function, as evidenced by its double-bend structure and the steep slope of the terrain.

Its construction, integrated into a tower attached to the southern wall, is attributed to Sultan Yusuf I in 1348.

The gate features two pointed horseshoe arches. Between them is an open area, known as a skylight, from which it was possible to defend the entrance by throwing materials from the terrace in case of attack.

Beyond its strategic value, this gate has a strong symbolic significance in the Islamic context. Two decorative elements stand out in particular: the hand and the key.

The hand represents the five pillars of Islam and symbolizes protection and hospitality. The key, meanwhile, is an emblem of faith. Their presence together could be interpreted as an allegory of spiritual and earthly power.

Popular legend says that if one day the hand and the key touch, it will mean the fall of the Alhambra... and with it, the end of the world, as it would imply the loss of its splendor.

These Islamic symbols contrast with another Christian addition: a Gothic sculpture of the Virgin and Child, the work of Ruberto Alemán, placed in a niche above the interior arch by order of the Catholic Monarchs after the capture of Granada.

The Puerta de los Carros (Chariot Gate) is not an original opening in the Nasrid wall. It was opened between 1526 and 1536 for a very specific purpose: to allow access to carts transporting materials and columns for the construction of the Palace of Charles V.

Today, this gate still serves a practical purpose. It provides pedestrian access to the grounds without a ticket, allowing free access to the Palace of Charles V and the museums within.

Furthermore, it is the only gate open to authorized vehicles, including guests of hotels located within the Alhambra complex, taxis, special services, medical personnel, and maintenance vehicles.

The Alhambra's palatial city was surrounded by extensive walls with four main gates providing access from the outside. To ensure their defense, these gates were arranged in a characteristic curved pattern, making it difficult for potential attackers to advance and facilitating ambushes from within.

The Gate of the Seven Floors, located in the southern wall, is one of these entrances. In Nasrid times, it was known as Bib al-Gudur or “Puerta de los Pozos”, due to the nearby existence of silos or dungeons, possibly used as prisons.

Its current name comes from the popular belief that there are seven levels or floors beneath it. Although only two have been documented, this belief has fueled numerous legends and tales, such as Washington Irving's story "The Legend of the Moor's Legacy," which mentions a treasure hidden in the tower's secret cellars.

Tradition holds that this was the last gate used by Boabdil and his entourage on their way to the Vega de Granada on January 2, 1492, to deliver the keys to the Kingdom to the Catholic Monarchs. It was also through this gate that the first Christian troops entered without resistance.

The gate we see today is a reconstruction, as the original was largely destroyed by the explosion of Napoleon's troops during their retreat in 1812.

The Puerta del Vino (Wine Gate) was the main gateway to the Alhambra Medina. Its construction is attributed to Sultan Muhammad III in the early 14th century, although its doors were later remodeled by Muhammad V.

The name "Wine Gate" does not come from the Nasrid period, but from the Christian era, starting in 1556, when residents of the Alhambra were allowed to buy wine tax-free at this location.

As it is an interior gate, its layout is straight and direct, unlike exterior gates such as the Justice Gate or the Arms Gate, which were designed with a bend to improve defense.

Although it did not serve primary defensive functions, it had benches inside for the soldiers in charge of access control, as well as a room upstairs for the guards' residence and rest areas.

The western façade, facing the Alcazaba, was the entrance. Above the lintel of the horseshoe arch is the symbol of the key, a solemn emblem of welcome and of the Nasrid dynasty.

On the eastern façade, which faces the Palace of Charles V, the spandrels of the arch are particularly noteworthy, decorated with tiles made using the dry rope technique, offering a beautiful example of Hispano-Muslim decorative art.

During the time of the Nasrid dynasty, the site now occupied by the Church of Santa María de la Alhambra housed the Aljama Mosque or Great Mosque of the Alhambra, built at the beginning of the 14th century by Sultan Muhammad III.

After the capture of Granada on January 2, 1492, the mosque was blessed for Christian worship and the first Mass was celebrated there. By order of the Catholic Monarchs, it was consecrated under the patronage of Saint Mary, and the first archiepiscopal seat was established there.

By the end of the 16th century, the old mosque was in a state of disrepair, which led to its demolition and the construction of a new Christian temple, which was completed in 1618.

Few vestiges of the Islamic building remain. The most significant preserved element is a bronze lamp with an epigraphic inscription dated 1305, currently in the National Archaeological Museum in Madrid. A replica of this lamp can be seen in the Alhambra Museum, in the Palace of Charles V.

The Church of Santa María de la Alhambra has a simple layout with a single nave and three side chapels on each side. The most notable feature of its interior is the titular image: the Virgin of Angustias, an 18th-century work by Torcuato Ruiz del Peral.

This image, also known as the Virgin of Mercy, is the only one carried in procession in Granada every Holy Saturday, weather permitting. It is carried on a throne of great beauty, embossed in silver, imitating the arches of the emblematic Patio de los Leones.

As a curiosity, the Granada poet Federico García Lorca was a member of this brotherhood.

Before the current Parador de Turismo, and to the east, lie the remains of a medieval tannery or buffalo farm, a facility dedicated to the processing of hides: cleaning, tanning, and dyeing. This was a common activity throughout al-Andalus.

The Alhambra tannery is small compared to similar tannery stores in North Africa. However, it should be noted that its purpose was exclusively to meet the needs of the Nasrid court.

It had eight small pools of different sizes, both rectangular and circular, where the lime and dyes used in the leather tanning process were stored.

This activity required abundant water, which is why the tannery was located next to the Royal Canal, taking advantage of its constant flow. Its existence is also an indication of the large amount of water available in this area of the Alhambra.

The Water Tower is an imposing structure located in the southwest corner of the Alhambra wall, near the current main entrance from the ticket office. Although it served defensive purposes, its most important purpose was to protect the entrance to the Royal Canal, hence its name.

The irrigation ditch reached the palatine city after crossing an aqueduct and bordered the north face of the tower to supply water to the entire Alhambra.

The tower we see today is the result of extensive reconstruction. During the retreat of Napoleon's troops in 1812, it suffered severe damage from gunpowder explosions, and by the mid-20th century it was reduced almost to its massive base.

This tower was essential, as it allowed water—and therefore life—to enter the palatine city. Originally, Sabika Hill lacked natural water sources, which posed a significant challenge for the Nasrids.

For this reason, Sultan Muhammad I ordered a major hydraulic engineering project: the construction of the so-called Sultan's Ditch. This ditch captures water from the Darro River about six kilometers away, at a higher altitude, taking advantage of the slope to convey the water by gravity.

The infrastructure included a storage dam, an animal-powered waterwheel, and a brick-lined canal—the acequia—that runs underground through mountains, entering the upper part of the Generalife.

To overcome the steep slope between Cerro del Sol (Generalife) and Sabika Hill (Alhambra), engineers built an aqueduct, a key project to ensure the water supply to the entire monumental complex.

The Alcazaba is the most primitive part of the monumental complex, built on the remains of an ancient Zirid fortress.

The origins of the Nasrid Alcazaba date back to 1238, when the first sultan and founder of the Nasrid dynasty, Muhammad Ibn al-Alhmar, decided to move the seat of the sultanate from the Albaicín to the opposite hill, the Sabika.

The location chosen by Al-Ahmar was ideal since the Alcazaba, located at the western end of the hill and with a triangular layout, very similar to the prow of a ship, guaranteed optimal defense for what would become the palatine city of the Alhambra, built under its protection.

The Alcazaba, with its several walls and towers, was clearly intended to be defensive. It was, in fact, a surveillance center, due to its location two hundred meters above the city of Granada, thus guaranteeing visual control of the entire surrounding territory and simultaneously representing a symbol of power.

Inside, the military quarter is located, and over time, the Alcazaba was established as a small, independent micro-city for high-ranking soldiers, responsible for the defense and protection of the Alhambra and its sultans.

Upon entering the citadel, we find ourselves in what appears to be a labyrinth, although in reality it is a process of architectural restoration using anastylosis, which has allowed the restoration of the old military quarter that had remained buried until the beginning of the twentieth century.

The Sultan's elite guard and the rest of the military contingent responsible for the defense and security of the Alhambra resided in this neighborhood. It was, therefore, a small city within the Alhambra's palatial city, with everything necessary for daily life, such as housing, workshops, a bakehouse with an oven, warehouses, a cistern, a hammam, and so on. In this way, the military and civilian populations could be kept separate.

In this neighborhood, thanks to this restoration, we can contemplate the typical layout of the Muslim house: an entrance with a corner entrance, a small courtyard as the central axis of the house, rooms surrounding the courtyard, and a latrine.

Furthermore, at the beginning of the twentieth century, a dungeon was discovered underground. Easily recognizable from the outside by the modern spiral staircase leading down to it. This dungeon housed prisoners who could be used to obtain significant benefits, whether political or economic, or, in other words, individuals with significant market value.

This underground prison is shaped like an inverted funnel and has a circular floor plan. This made it impossible for these captives to escape. In fact, the prisoners were brought inside using a system of pulleys or ropes.

The Powder Tower served as a defensive reinforcement on the southern side of the Vela Tower and from there the military road that led to the Red Towers started.

Since 1957, it is in this tower where we can find some verses engraved on stone, whose authorship corresponds to the Mexican Francisco de Icaza:

“Give alms, woman, there is nothing in life,
like the penalty of being blind in Granada.”

The space occupied by the Garden of the Adarves dates back to the sixteenth century, when an artillery platform was built in the process of adapting the Alcazaba for artillery.

It was already in the seventeenth century when military use lost its importance and the fifth Marquis of Mondéjar, after being appointed warden of the Alhambra in 1624, decided to transform this space into a garden by filling the space between the outer and inner walls with earth.

There is a legend that it was in this place where gold-filled porcelain vases were found hidden, probably hidden by the last Muslims who inhabited the area. Some of the gold was used by the Marquis to finance the creation of this beautiful garden. It is thought that perhaps one of these vases is one of the twenty large Nasrid gilded earthenware vases preserved worldwide. We can see two of these vases in the National Museum of Hispano-Muslim Art, located on the ground floor of the Palace of Charles V.

One of the notable features of this garden is the presence in the central part of a kettledrum-shaped fountain. This fountain has had various locations, the most striking and notable being in the Patio de los Leones (Courtyard of the Lions), where it was placed in 1624 over the Lions' Fountain, causing significant damage. The bowl remained in that location until 1954, when it was removed and replaced here.

Under the Nasrid dynasty, this tower was known as the Torre Mayor, and from the sixteenth century onward, it was also called the Torre del Sol (Tower of the Sun), because the sun reflected off the tower at midday, acting as a sundial. However, its current name comes from the word velar (vellar), given that, thanks to its height of 27 meters, it provides a 360-degree view that would allow any movement to be detected.

The Tower's appearance has changed over time. It originally had battlements on its terrace, which were lost due to several earthquakes. The bell was added after the Christians captured Granada.

This bell was used to warn the population of any potential danger, such as earthquakes or fires. The sound of this bell was also used to regulate irrigation schedules in the Granada Valley.

Currently, and according to tradition, the bell is rung every January 2nd to commemorate the capture of Granada on January 2nd, 1492.

Located in the northern wall of the Alcazaba, the Puerta de las Armas was one of the main entrances to the Alhambra.

During the Nasrid dynasty, citizens crossed the Darro River via the Cadí Bridge and climbed the hill along a path now hidden by the San Pedro Forest until they reached the gate. Inside the gate, they had to deposit their weapons before entering the enclosure, hence the name "Gate of Arms."

From the terrace of this tower, we can now enjoy one of the best panoramic views of the city of Granada.

Just across the street is the Albaicín neighborhood, recognizable by its whitewashed houses and labyrinthine streets. This neighborhood was declared a UNESCO World Heritage Site in 1994.

It is in this neighborhood where one of Granada's most famous viewpoints is located: the Mirador de San Nicolás.

To the right of the Albaicín, is the Sacromonte neighborhood.

Sacromonte is Granada's quintessential old Gypsy neighborhood and the birthplace of flamenco. This neighborhood is also characterized by the presence of troglodyte dwellings: caves.

At the foot of the Albaicín and the Alhambra lies the Carrera del Darro, next to the banks of the river of the same name.

The Keep is one of the oldest towers in the Alcazaba, standing 26 meters tall. It has six floors, a terrace, and an underground dungeon.

Due to the tower's height, communication with the kingdom's watchtowers was established from its terrace. This communication was established through a system of mirrors during the day or smoke with bonfires at night.

It is thought that, due to the tower's protruding position on the hill, it was probably the place chosen for the display of the banners and red flags of the Nasrid dynasty.

The base of this tower was reinforced by the Christians with the so-called Cube Tower.

After the capture of Granada, the Catholic Monarchs planned a series of renovations to adapt the Alcazaba to artillery. Thus, the Cube Tower was built over the Tahona Tower. Thanks to its cylindrical shape, it provides greater protection against potential impacts compared to the square-shaped Nasrid towers.

The Generalife, located on Cerro del Sol, was the sultan's almunia, or in other words, a palatial country house with orchards, where, in addition to farming, animals were raised for the Nasrid court and hunting was practiced. Its construction is estimated to have begun in the late 13th century by Sultan Muhammad II, son of the founder of the Nasrid dynasty.

The name Generalife comes from the Arabic "yannat-al-arif," meaning "the architect's garden." It was a much larger space in the Nasrid period, with at least four vegetable gardens, and extended to a place known today as "the partridge plain."

This country house, which the vizier Ibn al-Yayyab called the Royal House of Happiness, was a palace: the sultan's summer palace. Despite its proximity to the Alhambra, it afforded him enough privacy to escape and relax from the stresses of court and government life, as well as to enjoy more pleasant temperatures. Due to its location at a higher altitude than the palatine city of the Alhambra, the temperature inside dropped.

When Granada was captured, the Generalife became the property of the Catholic Monarchs, who placed it under the protection of an alcaide or commander. Philip II eventually ceded the perpetual alcaidía and ownership of the site to the Granada Venegas family (a family of converted Moriscos). The State only recovered the site after a dispute that lasted almost 100 years and ended with an out-of-court settlement in 1921.

Agreement by which the Generalife would become a national heritage site and would be managed together with the Alhambra through the Board of Trustees, thus forming the Board of Trustees of the Alhambra and the Generalife.

The open-air amphitheater we encountered on our way to the Generalife Palace was built in 1952 with the intention of hosting, as it does every summer, the Granada International Music and Dance Festival.

Since 2002, a Flamenco Festival has also been held, dedicated to Granada's most famous poet: Federico García Lorca.

Under the Nasrid dynasty, the road that connected the palatine city and the Generalife started from the Puerta del Arabal, framed by the so-called Torre de los Picos, so named because its battlements end in brick pyramids.

It was a winding, sloping road, protected on both sides by high walls for greater security, and led to the entrance to the Patio del Descabalgamiento.

These ruins or foundations are the archaeological remains of what was once the so-called House of Friends. Its name and purpose have come down to us thanks to Ibn Luyún's "Treatise on Agriculture" in the 14th century.

It was therefore a dwelling intended for people, friends or relatives whom the sultan held in esteem and considered important to have close to him, but without invading their privacy, so it was an isolated dwelling.

This Oleander Walk was built in the mid-19th century for the visit of Queen Elizabeth II and to create a more monumental access to the upper part of the palace.

Oleander is another name for the pink laurel, which appears in the form of an ornamental canopy along this walkway. At the beginning of the walk, behind the High Gardens, is one of the oldest examples of the Moorish myrtle, which was nearly lost and whose genetic traces are still being investigated today.

It is one of the most characteristic plants of the Alhambra, distinguished by its curled leaves, which are larger than the common myrtle.

The Paseo de las Adelfas connects with the Paseo de los Cipreses, which serves as a link leading visitors to the Alhambra.

One of the best-preserved and unique elements of the Generalife is the so-called Water Staircase. It is believed that, under the Nasrid dynasty, this staircase—divided into four flights with three intermediate landings—had water channels that flowed through the two glazed ceramic handrails, fed by the Royal Canal.

This water pipe reached a small oratory, of which no archaeological information survives. In its place, since 1836, there has been a romantic belvedere erected by the estate manager at the time.

The climb up this staircase, framed by a laurel vault and the murmur of water, probably created an ideal environment for stimulating the senses, entering into a climate conducive to meditation, and performing ablutions prior to prayer.

In the grounds surrounding the palace, it is estimated that there must have been at least four large vegetable gardens organized on different levels, or paratas, enclosed by adobe walls. The names of these gardens that have survived to the present day are: Grande, Colorada, Mercería, and Fuente Peña.

These gardens have continued to be cultivated, to a greater or lesser extent, since the 14th century, using the same traditional medieval techniques. Thanks to this agricultural production, the Nasrid court maintained a certain independence from other external agricultural suppliers, allowing it to meet its own food needs.

They were used not only for vegetable gardens, but also for fruit trees and animal pastures. For example, today they grow artichokes, eggplants, beans, figs, pomegranates, and almond trees.

Today, the preserved orchards continue to use the same agricultural production techniques employed in medieval times, giving this space great anthropological value.

These gardens are accessed from the Patio de la Sultana via a steep 19th-century staircase, called the Lions' Staircase, due to the two glazed earthenware figures above the gate.

These gardens can be considered an example of a Romantic garden. They are located on pillars and form the highest part of the Generalife, offering spectacular views of the entire monumental complex.

The presence of beautiful magnolias stands out.

The Rose Gardens date back to the 1930s and 1950s, when the State acquired the Generalife in 1921.

The need then arose to enhance the value of an abandoned area and strategically connect it to the Alhambra through a gradual and smooth transition.

The Patio de la Acequia, also called the Patio de la Ría in the 19th century, today has a rectangular structure with two facing pavilions and a bay.

The courtyard's name comes from the Royal Canal that runs through this palace, around which four gardens are arranged in orthogonal parterres at a lower level. On both sides of the canal are fountains that form one of the palace's most popular images. However, these fountains are not original, as they disrupt the tranquility and serenity the sultan sought during his moments of rest and meditation.

This palace has undergone extensive transformations, as this courtyard was originally closed to the views we find today through the gallery of 18 belvedere-style arches. The only part that would allow a view of the landscape would be the central viewing platform. From this original viewing platform, sitting on the floor and leaning on the windowsill, one could contemplate the panoramic views of the palatine city of the Alhambra.

As a testament to its past, we find Nasrid decoration in the viewing platform, where the plasterwork of Sultan Ismail I is superimposed over that of Muhammad III stands out. This demonstrates that each sultan had different tastes and needs and adapted the palaces accordingly, leaving their own mark or imprint.

As we pass the viewpoint, and if we look at the intrados of the arches, we will also find emblems of the Catholic Monarchs such as the Yoke and the Arrows, as well as the motto "Tanto Monta".

The east side of the courtyard is recent due to a fire that occurred in 1958.

Before entering the Patio de la Acequia, we come across the Patio de la Guardia. A simple courtyard with porticoed galleries and a fountain in its center, it is also decorated with bitter orange trees. This courtyard must have served as a control area and antechamber before accessing the sultan's summer quarters.

What stands out about this place is that, after climbing some steep stairs, we find a doorway framed by a lintel decorated with tiles in shades of blue, green, and black on a white background. We can also see, although worn by the passage of time, the Nasrid key.

As we climb the steps and pass through this doorway, we come across a bend, the guard benches, and a steep, narrow staircase that leads us to the palace.

The Patio de la Sultana is one of the most transformed spaces. It is thought that the site now occupied by this courtyard—also called the Patio del Ciprés—was the area used for the former hammam, the Generalife baths.

In the 16th century, it lost this function and became a garden. Over time, a northern gallery was added, along with a U-shaped pool, a fountain in its center, and thirty-eight noisy jets.

The only elements preserved from the Nasrid period are the Acequia Real waterfall, protected behind a fence, and a small section of canal that directs the water towards the Patio de la Acequia.

The name "Cypress Courtyard" is due to the centuries-old dead cypress tree, of which only its trunk remains today. Next to it is a Granada ceramic plaque that tells of the 16th-century legend by Ginés Pérez de Hita, according to which this cypress witnessed the amorous encounters of the last sultan's favorite, Boabdil, with a noble Abencerraje knight.

The Patio del Descabalgamiento, also known as Patio Polo, is the first courtyard we encounter upon entering the Generalife Palace.

The Sultan used a horse as a means of transportation to access the Generalife, and as such, he needed a place to dismount and house these animals. This courtyard is thought to have been intended for this purpose, as it housed the stables.

It had benches for support for horses to get on and off, and two stables in the side aisles, which served as stables on the lower level and haylofts on the upper level. A drinking trough with fresh water for the horses was also essential.

Worth noting here: above the lintel of the door leading to the next courtyard, we find the Alhambra key, a symbol of the Nasrid dynasty, representing salutation and ownership.

The north portico is the best preserved and was intended to house the sultan's quarters.

We find a portico with five arches supported by columns and alhamíes at their ends. Beyond this portico, and to access the Royal Hall, one passes through a triple archway in which poems speak of the Battle of La Vega or Sierra Elvira in 1319, which gives us information about the dating of the site.

On the sides of this triple arch there are also *taqas*, small niches excavated in the wall where water was placed.

The Royal Hall, located in a square tower decorated with plasterwork, was the place where the sultan—despite this being a leisure palace—received urgent audiences. These audiences, according to verses engraved there, were supposed to be brief and to the point so as not to unduly disturb the emir's rest.

The Nasrid Palaces constitute the most emblematic and striking part of the monumental complex. They were built in the 14th century, a period that can be considered a time of great splendor for the Nasrid dynasty.

These palaces were the area reserved for the sultan and his close relatives, where family life took place, but also the official and administrative life of the kingdom.

The Palaces are: the Mexuar, the Comares Palace and the Palace of the Lions.

Each of these palaces was built independently, at different times, and with their own distinct functions. It was after the Capture of Granada that the palaces were unified, and from that moment on, they became known as the Royal House, and later as the Old Royal House, when Charles V decided to build his own palace.

The Mexuar is the oldest part of the Nasrid Palaces, but it is also the space that has undergone the greatest transformations over time. Its name comes from the Arabic *Maswar*, which refers to the place where the *Sura* or Council of Ministers of the Sultan met, thus revealing one of its functions. It was also the antechamber where the Sultan administered justice.

The construction of the Mexuar is attributed to Sultan Isma'il I (1314–1325), and was modified by his grandson Muhammad V. However, it was the Christians who most transformed this space by converting it into a chapel.

During the Nasrid period, this space was much smaller and was organized around four central columns, where the characteristic Nasrid cubic capital, painted cobalt blue, can still be seen. These columns supported a lantern that provided overhead light, which was removed in the 16th century to create upper rooms and side windows.

To convert the space into a chapel, the floor was lowered and a small rectangular space was added at the back, now separated by a wooden balustrade that indicates where the upper choir was located.

The ceramic tiled plinth with star decoration was brought from elsewhere. Among its stars, one can alternately see: the coat of arms of the Nasrid Kingdom, that of Cardinal Mendoza, the double-headed eagle of the Austrians, the motto "There is no victor but God," and the Pillars of Hercules from the imperial coat of arms.

Above the plinth, a plaster epigraphic frieze repeats: “The Kingdom is God’s. Strength is God’s. Glory is God’s.” These inscriptions replace the Christian ejaculations: “Christus regnat. Christus vincit. Christus imperat.”

The current entrance to the Mexuar was opened in the modern period, changing the location of one of the Pillars of Hercules, bearing the motto "Plus Ultra," which was moved to the east wall. The plaster crown above the door remains in its original location.

At the back of the room, a door leads to the Oratory, which was originally accessed through the Machuca gallery.

This space is one of the most damaged in the Alhambra due to the explosion of a powder magazine in 1590. It was restored in 1917.

During the restoration, the floor level was lowered to prevent accidents and facilitate visits. A continuous ledge under the windows remains as a testament to the original level.

This impressive façade, extensively restored between the 19th and 20th centuries, was built by Muhammad V to commemorate the capture of Algeciras in 1369, which granted him dominion over the Strait of Gibraltar.

In this courtyard, the sultan received subjects who had a special audience. He sat in the central part of the façade, on a jamuga (wooden frame) between the two doors and beneath the great eaves, a masterpiece of Nasrid carpentry that crowned it.

The façade has a strong allegorical meaning. On it, subjects could read:

“My position is that of a crown and my gate a fork: the West believes that in me is the East.”
Al-Gani bi-llah has entrusted me with opening the door to the victory that is being announced.
Well, I'm waiting for him to appear as the horizon reveals itself in the morning.
May God make his work as beautiful as his character and figure are!

The door on the right served as access to the private quarters and service area, while the door on the left, through a curved corridor with benches for the guard, gives access to the Comares Palace, specifically to the Patio de los Arrayanes.

Subjects who obtained an audience waited in front of the façade, separated from the sultan by the royal guard, in the room now known as the Golden Room.

The name *Golden Quarter* comes from the period of the Catholic Monarchs, when the Nasrid coffered ceiling was repainted with golden motifs and the emblems of the monarchs were incorporated.

In the center of the courtyard is a low marble fountain with galloons, a replica of the Lindaraja fountain preserved in the Alhambra Museum. To one side of the fountain, a gate leads to a dark underground corridor used by the guards.

One of the characteristics of the Hispano-Muslim house is access through a curved hallway that leads to an open-air courtyard, the focal point of life and organization of the home, complete with a water feature and vegetation. This same concept is found in the Patio de los Arrayanes, but on a larger scale, measuring 36 meters long and 23 meters wide.

The Patio de los Arrayanes (Courtyard of the Myrtles) is the centerpiece of the Comares Palace, where the political and diplomatic activities of the Nasrid Kingdom took place. It is a rectangular courtyard of imposing dimensions, whose central axis is a large pool. In it, the still water acts as a mirror, lending depth and verticality to the space, thus creating a palace on water.

At both ends of the pool, jets gently introduce water so as not to disrupt the mirror effect or the stillness of the place.

Flanking the pool are two myrtle clumps, which give the current site its name: Patio de los Arrayanes (Courtyard of the Myrtles). In the past, it was also known as Patio de la Alberca (Courtyard of the Pool).

The presence of water and vegetation is not only a matter of ornamental or aesthetic considerations, but also a desire to create pleasant spaces, especially in summer. Water refreshes the environment, while vegetation retains moisture and provides fragrance.

On the longer sides of the courtyard are four independent dwellings. On the north side stands the Comares Tower, which houses the Throne Room or Ambassadors' Room.

On the south side, the façade acts as a trompe l'oeil, as the building that existed behind it was demolished to connect the Palace of Charles V with the Old Royal House.

Before entering the Nasrid Palaces, if we look to the left, we find two courtyards.

The first is the Patio de la Mezquita, named after the small mosque located in one of its corners. However, since the 20th century, it has also been known as the Madrasa de los Príncipes (Princes' Madrasa), as its structure bears similarities to the Madrasa of Granada.

Further on is the Patio de Machuca, named after the architect Pedro Machuca, who was in charge of supervising the construction of the Palace of Charles V in the 16th century and who resided there.

This courtyard is easily recognizable by the lobed-edged pool at its center, as well as by the arched cypress trees, which restore the architectural feel of the space in a non-invasive way.

The Boat Room is the anteroom to the Throne Room or Ambassadors' Room.

On the jambs of the arch leading into this room, we find facing niches carved in marble and decorated with colorful tiles. These are one of the most characteristic ornamental and functional elements of the Nasrid palaces: the taqas.

*Taqas* are small niches carved into walls, always arranged in pairs and facing each other. They were used to hold jars of fresh water for drinking or scented water for washing hands.

The current ceiling of the hall is a reproduction of the original, lost in a fire in 1890.

The name of this room comes from a phonetic alteration of the Arabic word *baraka*, meaning "blessing," which is repeated numerous times on the walls of this room. It does not derive, as is popularly believed, from the inverted boat-shaped roof.

It was in this place where the new sultans requested the blessing of their god before being crowned as such in the Throne Room.

Before entering the Throne Room, we find two side entrances: on the right, a small oratory with its mihrab; and on the left, the access door to the interior of the Comares Tower.

The Ambassadors' Hall, also called the Throne Hall or the Comares Hall, is the site of the sultan's throne and, therefore, the center of power of the Nasrid dynasty. Perhaps for this reason, it is located within the Comares Tower, the largest tower in the monumental complex, at 45 meters high. Its etymology comes from the Arabic *arsh*, meaning tent, pavilion, or throne.

The room is shaped like a perfect cube, and its walls are richly decorated up to the ceiling. On the sides are nine identical alcoves grouped in groups of three with windows. The one opposite the entrance features more elaborate decoration, as it was the sultan's seat, backlit, favoring the effect of dazzling and surprising.

In the past, the windows were covered with colored glass panels with geometric shapes called *cumarias*. These were lost due to the shock wave of a powder magazine that exploded in 1590 on the Carrera del Darro.

The decorative richness of the hall is extreme. It begins in the lower part with geometrically shaped tiles, creating a visual effect similar to that of a kaleidoscope. It continues on the walls with stuccos resembling hanging tapestries, decorated with plant motifs, flowers, shells, stars, and abundant inscriptions.

The current script is of two types: cursive, the most common and easily recognizable; and Kufic, a cultured script with rectilinear and angular forms.

Among all the inscriptions, the most notable is the one below the ceiling, on the top strip of the wall: sura 67 of the Quran, called *The Kingdom* or *of the Lordship*, which runs along the four walls. This sura was recited by the new sultans to proclaim that their power came directly from God.

The image of divine power is also represented in the ceiling, composed of 8,017 different pieces that, through wheels of stars, illustrate Islamic eschatology: the seven heavens and an eighth, paradise, the Throne of Allah, represented by the central dome of muqarnas.

To access the Christian Royal House, you must use one of the doors open in the left alcove of the Hall of the Two Sisters.

Charles V, grandson of the Catholic Monarchs, visited the Alhambra in June 1526 after marrying Isabella of Portugal in Seville. Upon arriving in Granada, the couple settled into the Alhambra itself and ordered the construction of new rooms, now known as the Emperor's Apartments.

These spaces completely break with Nasrid architecture and aesthetics. However, as they were built on garden areas between the Comares Palace and the Palace of the Lions, the upper part of the Royal Hammam, or Comares Hammam, can be seen through small windows to the left of the corridor. A few meters further on, other openings reveal the Hall of Beds and the Musicians' Gallery.

The Royal Baths were not only a place of hygiene, but also an ideal place to cultivate political and diplomatic relations in a relaxed and friendly manner, accompanied by music to liven up the occasion. This space is only open to the public on special occasions.

Through this corridor you enter the Emperor's Office, which stands out for its Renaissance fireplace with the imperial coat of arms and a wooden coffered ceiling designed by Pedro Machuca, architect of the Palace of Charles V. On the coffered ceiling you can read the inscription "PLUS ULTRA", a motto adopted by the Emperor, along with the initials K and Y, corresponding to Charles V and Isabella of Portugal.

Leaving the hall, on the right are the Imperial Rooms, currently closed to the public and only accessible on special occasions. These rooms are also known as Washington Irving's Rooms, as it was here that the American Romantic writer stayed during his stay in Granada. It was possibly here that he wrote his famous book *Tales of the Alhambra*. A commemorative plaque can be seen above the door.

Adjacent to the Patio de la Reja is the Patio de Lindaraja, adorned with carved boxwood hedges, cypress trees, and bitter orange trees. This patio owes its name to the Nasrid viewpoint located on its southern side, which bears the same name.

During the Nasrid period, the garden had a completely different appearance than it does today, as it was a space open to the landscape.

With the arrival of Charles V, the garden was enclosed, taking on a cloister-like layout thanks to a porticoed gallery. Columns from other parts of the Alhambra were used for its construction.

In the center of the courtyard stands a Baroque fountain, over which a Nasrid marble basin was superimposed at the beginning of the 17th century. The fountain we see today is a replica; the original is preserved in the Alhambra Museum.

The Patio de los Leones (Courtyard of the Lions) is the heart of this palace. It is a rectangular courtyard surrounded by a porticoed gallery with 124 columns, each one different from the other, which connect the different rooms of the palace. It bears a certain resemblance to a Christian cloister.

This space is considered one of the jewels of Islamic art, despite breaking with the usual patterns of Hispano-Muslim architecture.

The palace's symbolism revolves around the concept of a garden-paradise. The four water channels that radiate from the center of the courtyard could represent the four rivers of Islamic paradise, giving the courtyard a cruciform layout. The columns evoke a palm forest, like the oasis of paradise.

In the center is the famous Fountain of the Lions. The twelve lions, although in a similar position—alert and with their backs to the fountain—have different features. They are carved from white Macael marble, carefully selected to take advantage of the stone's natural veins and accentuate its distinctive features.

There are various theories about its symbolism. Some believe it represents the strength of the Nasrid dynasty or Sultan Muhammad V, the twelve signs of the zodiac, the twelve hours of the day, or even a water clock. Others maintain that it is a reinterpretation of the Bronze Sea of Judea, held up by twelve bulls, here replaced by twelve lions.

The central bowl was probably carved in situ and contains poetic inscriptions praising Muhammad V and the hydraulic system that feeds the fountain and regulates the flow of water to prevent overflow.

“In appearance, water and marble seem to merge without us knowing which of the two is sliding.
Don't you see how the water spills into the bowl, but its spouts immediately hide it?

He is a lover whose eyelids overflow with tears,
tears that she hides for fear of an informer.

Is it not, in reality, like a white cloud that pours its irrigation ditches upon the lions and seems like the hand of the caliph who, in the morning, lavishes his favors upon the lions of war?

The fountain underwent several transformations over time. In the 17th century, a second basin was added, which was removed in the 20th century and relocated to the Garden of the Adarves of the Alcazaba.

The Christian adaptation of the palace entailed the creation of direct access to the Comares Tower via a two-story open gallery. This gallery offers magnificent views of two of Granada's most iconic neighborhoods: the Albaicín and the Sacromonte.

From the gallery, looking to the right, you can also see the Queen's Dressing Room, which, like other areas mentioned above, can only be visited on special occasions or as a space of the month.

The Queen's Dressing Room is located in the Tower of Yusuf I, a tower set forward from the wall. Its Christian name comes from the use made of it by Isabella of Portugal, wife of Charles V, during her stay at the Alhambra.

Inside, the space was adapted to Christian aesthetics and houses valuable Renaissance paintings by Julius Achilles and Alexander Mayner, disciples of Raphael Sanzio, also known as Raphael of Urbino.

Descending from the gallery, we find the Patio de la Reja (Courtyard of the Grill). Its name comes from the continuous balcony with wrought iron railings, installed in the mid-17th century. These railings served as an open corridor to connect and protect the adjacent rooms.

The Hall of the Two Sisters gets its current name from the presence of two twin slabs of Macael marble located in the center of the room.

This room bears some resemblance to the Hall of the Abencerrajes: it is located higher than the courtyard and, beyond the entrance, has two doors. The one on the left led to the toilet, and the one on the right led to the upper rooms of the house.

Unlike its twin room, this one opens to the north towards the Sala de los Ajimeces and a small viewpoint: the Mirador de Lindaraja.

During the Nasrid dynasty, under Muhammad V, this room was known as *qubba al-kubra*, meaning the great qubba, the most important in the Palace of the Lions. The term *qubba* refers to a square floor plan covered with a dome.

The dome begins with an eight-pointed star, unfolding into a three-dimensional layout composed of 5,416 muqarnas, some of which still retain traces of polychromy. These muqarnas are distributed in sixteen small cupolas located above sixteen windows with lattices that bring changing light into the room depending on the time of day.

Before entering the western hall, also known as the Hall of the Abencerrajes, we find some wooden doors with remarkable carvings that have been preserved since medieval times.

The name of this room is linked to a legend according to which, due to a rumor about an affair between an Abencerraje knight and the sultan's favorite, or due to alleged plots by this family to overthrow the monarch, the sultan, filled with rage, summoned the Abencerraje knights. Thirty-six of them lost their lives as a result.

This story was recorded in the 16th century by the writer Ginés Pérez de Hita in his novel about the *Civil Wars of Granada*, where he narrates that the knights were murdered in this very room.

For this reason, some claim to see in the rust stains on the central fountain a symbolic vestige of the rivers of blood of those knights.

This legend also inspired the Spanish painter Mariano Fortuny, who captured it in his work entitled *The Massacre of the Abencerrajes*.

Upon entering the door, we found two entrances: the one on the right led to the toilet, and the one on the left to some stairs leading to the upper rooms.

The Hall of the Abencerrajes is a private and independent dwelling on the ground floor, structured around a large *qubba* (dome in Arabic).

The plaster dome is richly decorated with muqarnas originating from an eight-pointed star in a complex three-dimensional composition. The muqarnas are architectural elements based on hanging prisms with concave and convex shapes, reminiscent of stalactites.

As you enter the room, you notice a drop in temperature. This is because the only windows are located at the top, allowing hot air to escape. Meanwhile, the water from the central fountain cools the air, making the room, with the doors closed, function as a kind of cave, with an ideal temperature for the hottest summer days.

Beyond the Hall of the Two Sisters, to the north, we find a transverse nave covered by a muqarnas vault. This room is called the Hall of the Mullions (Ajimeces) because of the type of windows that must have closed the openings on either side of the central arch that leads to the Lindaraja Viewpoint.

The white walls of this room are believed to have been originally covered with silk fabrics.

The so-called Lindaraja Viewpoint owes its name to the derivation of the Arabic term *Ayn Dar Aisa*, which means “the eyes of the House of Aisa”.

Despite its small size, the interior of the viewing platform is remarkably decorated. On one hand, it features tiling with a succession of small, interlocking stars, which required meticulous work by the artisans. On the other hand, if you look up, you can see a ceiling with colored glass embedded in a wooden structure, resembling a skylight.

This lantern is a representative example of what many of the windows or mullioned windows of the Palatine Alhambra must have looked like. When sunlight hits the glass, it projects colorful reflections that illuminate the decoration, giving the space a unique, ever-changing atmosphere throughout the day.

During the Nasrid period, when the courtyard was still open, a person could sit on the floor of the belvedere, rest their arm on the windowsill, and enjoy spectacular views of the Albayzín neighborhood. These views were lost at the beginning of the 16th century, when the outbuildings intended to serve as the residence of Emperor Charles V were built.

The Hall of the Kings occupies the entire east side of the Patio de los Leones and, although it appears integrated into the palace, it is thought to have had its own function, probably of a recreational or courtly nature.

This space stands out for preserving one of the few examples of Nasrid figurative painting.

In the three alcoves, each approximately fifteen square meters in area, there are three false vaults decorated with paintings on lambskin. These skins were fixed to the wooden support with small bamboo nails, a technique that prevented the material from rusting.

The name of the room probably comes from the interpretation of the painting in the central alcove, which depicts ten figures that could correspond to the first ten sultans of the Alhambra.

In the side alcoves, chivalric scenes of fighting, hunting, games, and love can be seen. Their clothing clearly distinguishes the presence of Christian and Muslim figures sharing the same space.

The origin of these paintings has been widely debated. Due to their Linear Gothic style, it is thought that they were probably created by Christian artists familiar with the Muslim world. These works may be the result of the good relationship between Muhammad V, founder of this palace, and the Christian king Peter I of Castile.

The Room of Secrets is a square-shaped room, covered with a spherical vault.

Something very peculiar and curious happens in this room, making it one of the favorite attractions for visitors to the Alhambra, especially for the little ones.

The phenomenon is that if one person stands at one corner of the room and another at the opposite corner—both facing the wall and as close to it as possible—one of them can speak very quietly and the other will hear the message perfectly, as if they were right next to them.

It is thanks to this acoustic “game” that the room gets its name: **Room of Secrets**.

The palace known as the Palace of the Lions was commissioned during the second reign of Sultan Muhammad V, which began in 1362 and lasted until 1391. During this period, construction began on the Palace of the Lions, adjacent to the Palace of Comares, which had been built by his father, Sultan Yusuf I.

This new palace was also called *Riyad Palace*, as it is believed to have been built on the former Comares Gardens. The term *Riyad* means "garden."

It is thought that the original access to the palace was through the southeast corner, from Calle Real and through a curved entrance. Currently, due to Christian modifications after the conquest, the Sala de los Muqarnas is accessed directly from the Comares Palace.

The Hall of the Muqarnas takes its name from the impressive muqarnas vault that originally covered it, which almost completely collapsed as a result of the vibrations caused by the explosion of a powder magazine on the Carrera del Darro in 1590.

Remains of this vault can still be seen on one side. On the opposite side, remains of a later Christian vault appear, bearing the letters "FY," traditionally associated with Ferdinand and Isabella, although they actually correspond to Philip V and Isabella Farnese, who visited the Alhambra in 1729.

It is believed that the room may have functioned as a vestibule or waiting room for guests attending the sultan's celebrations, parties, and receptions.

The large space known today as Jardines del Partal owes its name to the Palacio del Pórtico, named after its porticoed gallery.

This is the oldest preserved palace in the monumental complex, whose construction is attributed to Sultan Muhammad III at the beginning of the 14th century.

This palace bears some similarity to the Comares Palace, although it is older: a rectangular courtyard, a central pool, and the portico's mirror-like reflection in the water. Its main distinguishing feature is the presence of a side tower, known since the 16th century as the Ladies' Tower, although it has also been called the Observatory, as Muhammad III was a great fan of astronomy. The tower has windows facing the four cardinal points, allowing for spectacular views.

A notable curiosity is that this palace was privately owned until March 12, 1891, when its owner, Arthur Von Gwinner, a German banker and consul, ceded the building and the surrounding land to the Spanish State.

Unfortunately, Von Gwinner dismantled the wooden roof of the viewing platform and moved it to Berlin, where it is now on display in the Pergamon Museum as one of the highlights of its Islamic art collection.

Adjacent to the Partal Palace, to the left of the Ladies' Tower, are several Nasrid houses. One of them was called the House of Paintings due to the discovery, at the beginning of the 20th century, of tempera paintings on 14th-century stucco. These highly valuable paintings are a rare example of Nasrid figurative mural painting, depicting court scenes, hunting scenes, and celebrations.

Due to their importance and for conservation reasons, these homes are not open to the public.

To the right of the Partal Palace, on the rampart of the wall, is the Partal Oratory, whose construction is attributed to Sultan Yusuf I. Access is via a small staircase, as it is elevated from ground level.

One of the pillars of Islam is to pray five times a day facing Mecca. The oratory functioned as a palace chapel, allowing the inhabitants of the nearby palace to fulfill this religious obligation.

Despite its small size (about twelve square meters), the oratory has a small vestibule and a prayer room. Its interior features rich plasterwork decoration with plant and geometric motifs, as well as Quranic inscriptions.

Upon ascending the stairs, just opposite the entrance door, you will find the mihrab on the southwest wall, facing Mecca. It has a polygonal floor plan, a voussoired horseshoe arch, and is covered by a dome with muqarnas.

Of particular note is the epigraphic inscription located on the imposts of the mihrab arch, which invites prayer: “Come and pray, and do not be among the negligent.”

Attached to the oratory is the House of Atasio de Bracamonte, which was given in 1550 to the former squire of the warden of the Alhambra, the Count of Tendilla.

On the highest plateau in the Partal area are the archaeological remains of the Palace of Yusuf III. This palace was granted in June 1492 by the Catholic Monarchs to the first governor of the Alhambra, Don Íñigo López de Mendoza, second Count of Tendilla. For this reason, it is also known as the Tendilla Palace.

The reason this palace is in ruins stems from disagreements that arose in the 18th century between the descendants of the Count of Tendilla and Philip V of Bourbon. Upon the death of Archduke Charles II of Austria without heirs, the Tendilla family supported Archduke Charles of Austria instead of Philip of Bourbon. After Philip V's accession, reprisals were taken: in 1718, the mayorship of the Alhambra was removed from them, and later the palace was dismantled and its materials sold.

Some of these materials reappeared in the 20th century in private collections. It is believed that the so-called "Fortuny Tile," housed at the Valencia Institute of Don Juan in Madrid, may have come from this palace.

From 1740 onwards, the palace site became an area of leased vegetable gardens.

It was in 1929 that this area was recovered by the Spanish State and returned to the Alhambra. Thanks to the work of Leopoldo Torres Balbás, architect and restorer of the Alhambra, this space was enhanced with the creation of an archaeological garden.

The Palatine city wall originally had more than thirty towers, of which only twenty remain today. Initially, these towers had a strictly defensive function, although over time some also adopted residential use.

At the exit of the Nasrid Palaces, from the Upper Partal area, a cobbled path leads to the Generalife. This route follows the stretch of wall, home to some of the complex's most emblematic towers, framed by a garden area with beautiful views of the Albaicín and the Generalife orchards.

One of the most notable towers is the Tower of the Peaks, built by Muhammad II and later renovated by other sultans. It is easily recognizable by its brick pyramid-shaped battlements, from which its name may derive. However, other authors believe the name comes from the protruding corbels at its upper corners, which supported the machicolations, defensive elements that allowed attacks from above to be countered.

The tower's main function was to protect the Arrabal Gate located at its base, which connected to the Cuesta del Rey Chico, facilitating access to the Albaicín neighborhood and the old medieval road that connected the Alhambra with the Generalife.

In Christian times, an outer bastion with stables was built to reinforce its protection, which is closed by a new entrance known as the Iron Gate.

Although towers are commonly associated with an exclusively military function, it is known that the Torre de los Picos also had a residential use, as evidenced by the ornamentation present in its interior.

The Torre de la Cautiva has received various names over time, such as Torre de la Ladrona or Torre de la Sultana, although the most popular one has finally prevailed: Torre de la Cautiva.

This name is not based on proven historical facts, but rather stems from a romantic legend according to which Isabel de Solís was imprisoned in this tower. She later converted to Islam under the name Zoraida and became Muley Hacén's favorite sultana. This situation caused tensions with Aixa, the previous sultana and Boabdil's mother, given that Zoraida—whose name means "morning star"—removed her position at court.

The construction of this tower is attributed to Sultan Yusuf I, who was also responsible for the Comares Palace. This attribution is supported by the inscriptions in the main hall, the work of the vizier Ibn al-Yayyab, which praise this sultan.

In the poems inscribed on the walls, the vizier repeatedly uses the term qal'ahurra, which has since been used to refer to fortified palaces, as is the case with this tower. In addition to serving defensive purposes, the tower houses a real palace with rich decoration inside.

Regarding its ornamentation, the main hall features a ceramic tiled plinth with geometric shapes in various colors. Purple stands out among these, as it was particularly difficult and expensive to obtain at the time, so it was reserved exclusively for important spaces.

The Tower of the Infantas, like the Tower of the Captive, owes its name to a legend.

This is the legend of the three princesses Zaida, Zoraida and Zorahaida, who lived in this tower, a story that was collected by Washington Irving in his famous *Tales of the Alhambra*.

The construction of this palace-tower, or *qalahurra*, is attributed to Sultan Muhammad VII, who reigned between 1392 and 1408. Therefore, it is one of the last towers built by the Nasrid dynasty.

This circumstance is reflected in the interior decoration, which shows signs of a certain decline compared to previous periods of greater artistic splendor.

At the end of the Paseo de las Torres, in the easternmost part of the northern wall, are the remains of a cylindrical tower: the Torre del Cabo de Carrera.

This tower was practically destroyed as a result of the explosions carried out in 1812 by Napoleon's troops during their retreat from the Alhambra.

It is believed to have been built or rebuilt by order of the Catholic Monarchs in 1502, as confirmed by a now-lost inscription.

Its name comes from its location at the end of the Calle Mayor of the Alhambra, marking the limit or "cap de carrera" of said road.

The Palace of Charles V, with its sixty-three meters wide and seventeen meters high, follows the proportions of classical architecture, which is why it is divided horizontally into two levels with clearly differentiated architecture and decoration.

Three types of stone were used to decorate its facades: gray, compact limestone from Sierra Elvira, white marble from Macael, and green serpentine from the Barranco de San Juan.

The exterior decoration exalts the image of Emperor Charles V, highlighting his virtues through mythological and historical references.

The most notable facades are those on the south and west sides, both designed as triumphal arches. The main entrance is on the west side, where the main door is crowned by winged victories. On either side are two small doors above which are medallions with figures of mounted soldiers in combat.

Symmetrically duplicated reliefs are displayed on the pedestals of the columns. The central reliefs symbolize Peace: they show two women seated on a mound of weapons, carrying olive branches and supporting the Pillars of Hercules, the globe with the imperial crown and the motto *PLUS ULTRA*, while cherubs fire war artillery.

The side reliefs depict war scenes, such as the Battle of Pavia, where Charles V defeated Francis I of France.

At the top are balconies flanked by medallions depicting two of the twelve labors of Hercules: one slaying the Nemean Lion and another facing the Cretan Bull. The central medallion features the coat of arms of Spain.

In the lower part of the palace, the rusticated ashlars stand out, designed to convey a sense of solidity. Above them are bronze rings held by animal figures such as lions—symbols of power and protection—and in the corners, double eagles, alluding to imperial power and the emperor's heraldic emblem: the double-headed eagle of Charles I of Spain and V of Germany.

Emperor Charles I of Spain and V of the Holy Roman Empire, grandson of the Catholic Monarchs and son of Joanna I of Castile and Philip the Fair, visited Granada in the summer of 1526 after marrying Isabella of Portugal in Seville, to spend his honeymoon.

Upon his arrival, the emperor was captivated by the charm of the city and the Alhambra, and decided to build a new palace in the palatine city. This palace would become known as the New Royal House, in contrast to the Nasrid Palaces, which were henceforth known as the Old Royal House.

The works were commissioned to the Toledo architect and painter Pedro Machuca, who is said to have been a disciple of Michelangelo, which would explain his deep knowledge of the Classical Renaissance.

Machuca designed a monumental palace in the Renaissance style, with a square floor plan and a circle integrated into its interior, inspired by the monuments of classical antiquity.

Construction began in 1527 and was largely financed by the tributes the Moriscos had to pay to continue living in Granada and preserve their customs and rituals.

In 1550, Pedro Machuca died without finishing the palace. His son Luis continued the project, but after his death, work was halted for a time. It was resumed in 1572 under the reign of Philip II, entrusted to Juan de Orea on the recommendation of Juan de Herrera, architect of the Monastery of El Escorial. However, due to the lack of resources caused by the Alpujarras War, no significant progress was made.

It wasn't until the 20th century that the palace was completed, first under the direction of architect-restorer Leopoldo Torres Balbás, and finally in 1958 by Francisco Prieto Moreno.

The Palace of Charles V was conceived as a symbol of universal peace, reflecting the emperor's political aspirations. However, Charles V never personally visited the palace he commissioned.

The Alhambra Museum is located on the ground floor of the Palace of Charles V and is divided into seven rooms dedicated to Hispano-Muslim culture and art.

It houses the finest existing collection of Nasrid art, composed of pieces found in excavations and restorations carried out in the Alhambra itself over time.

Among the works on display are plasterwork, columns, carpentry, ceramics of various styles—such as the famous Vase of the Gazelles—a copy of the lamp from the Great Mosque of the Alhambra, as well as tombstones, coins, and other objects of great historical value.

This collection is the ideal complement to a visit to the monumental complex, as it provides a better understanding of daily life and culture during the Nasrid period.

Admission to the museum is free, although it is important to note that it is closed on Mondays.

When Pedro Machuca designed the Palace of Charles V, he did so using geometric forms with strong Renaissance symbolism: the square to represent the earthly world, the inner circle as a symbol of the divine and creation, and the octagon—reserved for the chapel—as a union between both worlds.

Upon entering the palace, we find ourselves in an imposing circular porticoed courtyard, elevated from the exterior. This courtyard is surrounded by two superimposed galleries, both with thirty-two columns. On the ground floor, the columns are Doric-Tuscan, and on the upper floor, Ionic.

The columns were made of pudding stone, or almond stone, from the Granada town of El Turro. This material was chosen because it was more economical than the marble originally planned.

The lower gallery has a circular vault that was possibly intended to be decorated with frescoes. The upper gallery, meanwhile, has a wooden coffered ceiling.

The frieze that runs around the courtyard features *burocranios*, representations of ox skulls, a decorative motif with roots in ancient Greece and Rome, where they were used in friezes and tombs linked to ritual sacrifices.

The two floors of the courtyard are connected by two staircases: one on the north side, built in the 17th century, and another also to the north, designed in the 20th century by the Alhambra's conservation architect, Francisco Prieto Moreno.

Although it was never used as a royal residence, the palace currently houses two important museums: the Museum of Fine Arts on the upper floor, with an outstanding collection of Granada painting and sculpture from the 15th to the 20th centuries, and the Alhambra Museum on the ground floor, accessed through the western entrance hall.

In addition to its museum function, the central courtyard boasts exceptional acoustics, making it a prime setting for concerts and theatrical performances, especially during the Granada International Music and Dance Festival.

On Calle Real, on the site adjacent to the current Church of Santa María de la Alhambra, is the Mosque Bath.

This bath was built during the reign of Sultan Muhammad III and financed by the jizya, a tax charged to Christians for planting land on the border.

The use of the hammam The bath was essential to the daily life of an Islamic city, and the Alhambra was no exception. Due to its proximity to the mosque, this bath served a key religious function: allowing for ablutions, or purification rituals, before prayer.

However, its function was not exclusively religious. The hammam also served as a place for personal hygiene and was an important social gathering place.

Its use was regulated by schedules, being in the morning for men and in the afternoon for women.

Inspired by Roman baths, Muslim baths shared their chamber layout, although they were smaller and operated using steam, unlike Roman baths, which were immersion baths.

The bath consisted of four main spaces: a rest room or changing room, a cold or warm room, a hot room, and a boiler area attached to the latter.

The heating system used was the hypocaust, an underground heating system that heated the ground using hot air generated by a furnace and distributed through a chamber beneath the pavement.

The current Parador de Turismo was originally the Convent of San Francisco, built in 1494 on the site of an old Nasrid palace that, according to tradition, belonged to a Muslim prince.

After the capture of Granada, the Catholic Monarchs ceded this space to found the city's first Franciscan convent, thus fulfilling a promise made to the Patriarch of Assisi years before the conquest.

Over time, this spot became the first burial place of the Catholic Monarchs. A month and a half before her death in Medina del Campo in 1504, Queen Isabella left her will in her wish to be buried in this convent, dressed in a Franciscan habit. In 1516, King Ferdinand was buried next to her.

Both remained buried there until 1521, when their grandson, Emperor Charles V, ordered their remains to be transferred to the Royal Chapel of Granada, where they now rest alongside Joanna I of Castile, Philip the Handsome and Prince Miguel de Paz.

Today, this original burial site can be visited by entering the Parador's courtyard. Under a dome of muqarnas, the original tombstones of both monarchs are preserved.

Since June 1945, this building has housed the Parador de San Francisco, a high-class tourist accommodation owned and operated by the Spanish State.

The word “medina,” which means “city” in Arabic, referred to the highest part of Sabika Hill in the Alhambra.

This medina was home to intense daily activity, as it was the area where the trades and population that made life possible for the Nasrid court within the palatine city were concentrated.

Textiles, ceramics, bread, glass, and even coins were produced there. In addition to workers' housing, there were also essential public buildings such as baths, mosques, souks, cisterns, ovens, silos, and workshops.

For the proper functioning of this miniature city, the Alhambra had its own system of legislation, administration, and tax collection.

Today, only a few vestiges of the original Nasrid medina remain. The transformation of the area by Christian settlers after the conquest and, later, the gunpowder explosions caused by Napoleon's troops during their retreat contributed to its deterioration.

In the mid-20th century, an archaeological rehabilitation and adaptation program was launched in this area. As a result, a landscaped walkway was laid out along an old medieval street, which today connects with the Generalife.

In the royal medina, attached to the southern wall, are the remains of the so-called Palace of the Abencerrajes, the Castilianized name of the Banu Sarray family, a noble lineage of North African origin belonging to the Nasrid court.

The remains that can be seen today are the result of excavations that began in the 1930s, as the site had previously been severely damaged, largely due to explosions caused by Napoleon's troops during their retreat.

Thanks to these archaeological excavations, it has been possible to confirm the importance of this family in the Nasrid court, not only due to the size of the palace but also due to its privileged location: in the upper part of the medina, right on the main urban axis of the Alhambra.

The Gate of Justice, known in Arabic as Bab al-Sharia, is one of the four exterior gates of the Alhambra's palatine city. As an exterior entrance, it served an important defensive function, as evidenced by its double-bend structure and the steep slope of the terrain.

Its construction, integrated into a tower attached to the southern wall, is attributed to Sultan Yusuf I in 1348.

The gate features two pointed horseshoe arches. Between them is an open area, known as a skylight, from which it was possible to defend the entrance by throwing materials from the terrace in case of attack.

Beyond its strategic value, this gate has a strong symbolic significance in the Islamic context. Two decorative elements stand out in particular: the hand and the key.

The hand represents the five pillars of Islam and symbolizes protection and hospitality. The key, meanwhile, is an emblem of faith. Their presence together could be interpreted as an allegory of spiritual and earthly power.

Popular legend says that if one day the hand and the key touch, it will mean the fall of the Alhambra... and with it, the end of the world, as it would imply the loss of its splendor.

These Islamic symbols contrast with another Christian addition: a Gothic sculpture of the Virgin and Child, the work of Ruberto Alemán, placed in a niche above the interior arch by order of the Catholic Monarchs after the capture of Granada.

The Puerta de los Carros (Chariot Gate) is not an original opening in the Nasrid wall. It was opened between 1526 and 1536 for a very specific purpose: to allow access to carts transporting materials and columns for the construction of the Palace of Charles V.

Today, this gate still serves a practical purpose. It provides pedestrian access to the grounds without a ticket, allowing free access to the Palace of Charles V and the museums within.

Furthermore, it is the only gate open to authorized vehicles, including guests of hotels located within the Alhambra complex, taxis, special services, medical personnel, and maintenance vehicles.

The Alhambra's palatial city was surrounded by extensive walls with four main gates providing access from the outside. To ensure their defense, these gates were arranged in a characteristic curved pattern, making it difficult for potential attackers to advance and facilitating ambushes from within.

The Gate of the Seven Floors, located in the southern wall, is one of these entrances. In Nasrid times, it was known as Bib al-Gudur or “Puerta de los Pozos”, due to the nearby existence of silos or dungeons, possibly used as prisons.

Its current name comes from the popular belief that there are seven levels or floors beneath it. Although only two have been documented, this belief has fueled numerous legends and tales, such as Washington Irving's story "The Legend of the Moor's Legacy," which mentions a treasure hidden in the tower's secret cellars.

Tradition holds that this was the last gate used by Boabdil and his entourage on their way to the Vega de Granada on January 2, 1492, to deliver the keys to the Kingdom to the Catholic Monarchs. It was also through this gate that the first Christian troops entered without resistance.

The gate we see today is a reconstruction, as the original was largely destroyed by the explosion of Napoleon's troops during their retreat in 1812.

The Puerta del Vino (Wine Gate) was the main gateway to the Alhambra Medina. Its construction is attributed to Sultan Muhammad III in the early 14th century, although its doors were later remodeled by Muhammad V.

The name "Wine Gate" does not come from the Nasrid period, but from the Christian era, starting in 1556, when residents of the Alhambra were allowed to buy wine tax-free at this location.

As it is an interior gate, its layout is straight and direct, unlike exterior gates such as the Justice Gate or the Arms Gate, which were designed with a bend to improve defense.

Although it did not serve primary defensive functions, it had benches inside for the soldiers in charge of access control, as well as a room upstairs for the guards' residence and rest areas.

The western façade, facing the Alcazaba, was the entrance. Above the lintel of the horseshoe arch is the symbol of the key, a solemn emblem of welcome and of the Nasrid dynasty.

On the eastern façade, which faces the Palace of Charles V, the spandrels of the arch are particularly noteworthy, decorated with tiles made using the dry rope technique, offering a beautiful example of Hispano-Muslim decorative art.

During the time of the Nasrid dynasty, the site now occupied by the Church of Santa María de la Alhambra housed the Aljama Mosque or Great Mosque of the Alhambra, built at the beginning of the 14th century by Sultan Muhammad III.

After the capture of Granada on January 2, 1492, the mosque was blessed for Christian worship and the first Mass was celebrated there. By order of the Catholic Monarchs, it was consecrated under the patronage of Saint Mary, and the first archiepiscopal seat was established there.

By the end of the 16th century, the old mosque was in a state of disrepair, which led to its demolition and the construction of a new Christian temple, which was completed in 1618.

Few vestiges of the Islamic building remain. The most significant preserved element is a bronze lamp with an epigraphic inscription dated 1305, currently in the National Archaeological Museum in Madrid. A replica of this lamp can be seen in the Alhambra Museum, in the Palace of Charles V.

The Church of Santa María de la Alhambra has a simple layout with a single nave and three side chapels on each side. The most notable feature of its interior is the titular image: the Virgin of Angustias, an 18th-century work by Torcuato Ruiz del Peral.

This image, also known as the Virgin of Mercy, is the only one carried in procession in Granada every Holy Saturday, weather permitting. It is carried on a throne of great beauty, embossed in silver, imitating the arches of the emblematic Patio de los Leones.

As a curiosity, the Granada poet Federico García Lorca was a member of this brotherhood.

Before the current Parador de Turismo, and to the east, lie the remains of a medieval tannery or buffalo farm, a facility dedicated to the processing of hides: cleaning, tanning, and dyeing. This was a common activity throughout al-Andalus.

The Alhambra tannery is small compared to similar tannery stores in North Africa. However, it should be noted that its purpose was exclusively to meet the needs of the Nasrid court.

It had eight small pools of different sizes, both rectangular and circular, where the lime and dyes used in the leather tanning process were stored.

This activity required abundant water, which is why the tannery was located next to the Royal Canal, taking advantage of its constant flow. Its existence is also an indication of the large amount of water available in this area of the Alhambra.

The Water Tower is an imposing structure located in the southwest corner of the Alhambra wall, near the current main entrance from the ticket office. Although it served defensive purposes, its most important purpose was to protect the entrance to the Royal Canal, hence its name.

The irrigation ditch reached the palatine city after crossing an aqueduct and bordered the north face of the tower to supply water to the entire Alhambra.

The tower we see today is the result of extensive reconstruction. During the retreat of Napoleon's troops in 1812, it suffered severe damage from gunpowder explosions, and by the mid-20th century it was reduced almost to its massive base.

This tower was essential, as it allowed water—and therefore life—to enter the palatine city. Originally, Sabika Hill lacked natural water sources, which posed a significant challenge for the Nasrids.

For this reason, Sultan Muhammad I ordered a major hydraulic engineering project: the construction of the so-called Sultan's Ditch. This ditch captures water from the Darro River about six kilometers away, at a higher altitude, taking advantage of the slope to convey the water by gravity.

The infrastructure included a storage dam, an animal-powered waterwheel, and a brick-lined canal—the acequia—that runs underground through mountains, entering the upper part of the Generalife.

To overcome the steep slope between Cerro del Sol (Generalife) and Sabika Hill (Alhambra), engineers built an aqueduct, a key project to ensure the water supply to the entire monumental complex.

The Alcazaba is the most primitive part of the monumental complex, built on the remains of an ancient Zirid fortress.

The origins of the Nasrid Alcazaba date back to 1238, when the first sultan and founder of the Nasrid dynasty, Muhammad Ibn al-Alhmar, decided to move the seat of the sultanate from the Albaicín to the opposite hill, the Sabika.

The location chosen by Al-Ahmar was ideal since the Alcazaba, located at the western end of the hill and with a triangular layout, very similar to the prow of a ship, guaranteed optimal defense for what would become the palatine city of the Alhambra, built under its protection.

The Alcazaba, with its several walls and towers, was clearly intended to be defensive. It was, in fact, a surveillance center, due to its location two hundred meters above the city of Granada, thus guaranteeing visual control of the entire surrounding territory and simultaneously representing a symbol of power.

Inside, the military quarter is located, and over time, the Alcazaba was established as a small, independent micro-city for high-ranking soldiers, responsible for the defense and protection of the Alhambra and its sultans.

Upon entering the citadel, we find ourselves in what appears to be a labyrinth, although in reality it is a process of architectural restoration using anastylosis, which has allowed the restoration of the old military quarter that had remained buried until the beginning of the twentieth century.

The Sultan's elite guard and the rest of the military contingent responsible for the defense and security of the Alhambra resided in this neighborhood. It was, therefore, a small city within the Alhambra's palatial city, with everything necessary for daily life, such as housing, workshops, a bakehouse with an oven, warehouses, a cistern, a hammam, and so on. In this way, the military and civilian populations could be kept separate.

In this neighborhood, thanks to this restoration, we can contemplate the typical layout of the Muslim house: an entrance with a corner entrance, a small courtyard as the central axis of the house, rooms surrounding the courtyard, and a latrine.

Furthermore, at the beginning of the twentieth century, a dungeon was discovered underground. Easily recognizable from the outside by the modern spiral staircase leading down to it. This dungeon housed prisoners who could be used to obtain significant benefits, whether political or economic, or, in other words, individuals with significant market value.

This underground prison is shaped like an inverted funnel and has a circular floor plan. This made it impossible for these captives to escape. In fact, the prisoners were brought inside using a system of pulleys or ropes.

The Powder Tower served as a defensive reinforcement on the southern side of the Vela Tower and from there the military road that led to the Red Towers started.

Since 1957, it is in this tower where we can find some verses engraved on stone, whose authorship corresponds to the Mexican Francisco de Icaza:

“Give alms, woman, there is nothing in life,
like the penalty of being blind in Granada.”

The space occupied by the Garden of the Adarves dates back to the sixteenth century, when an artillery platform was built in the process of adapting the Alcazaba for artillery.

It was already in the seventeenth century when military use lost its importance and the fifth Marquis of Mondéjar, after being appointed warden of the Alhambra in 1624, decided to transform this space into a garden by filling the space between the outer and inner walls with earth.

There is a legend that it was in this place where gold-filled porcelain vases were found hidden, probably hidden by the last Muslims who inhabited the area. Some of the gold was used by the Marquis to finance the creation of this beautiful garden. It is thought that perhaps one of these vases is one of the twenty large Nasrid gilded earthenware vases preserved worldwide. We can see two of these vases in the National Museum of Hispano-Muslim Art, located on the ground floor of the Palace of Charles V.

One of the notable features of this garden is the presence in the central part of a kettledrum-shaped fountain. This fountain has had various locations, the most striking and notable being in the Patio de los Leones (Courtyard of the Lions), where it was placed in 1624 over the Lions' Fountain, causing significant damage. The bowl remained in that location until 1954, when it was removed and replaced here.

Under the Nasrid dynasty, this tower was known as the Torre Mayor, and from the sixteenth century onward, it was also called the Torre del Sol (Tower of the Sun), because the sun reflected off the tower at midday, acting as a sundial. However, its current name comes from the word velar (vellar), given that, thanks to its height of 27 meters, it provides a 360-degree view that would allow any movement to be detected.

The Tower's appearance has changed over time. It originally had battlements on its terrace, which were lost due to several earthquakes. The bell was added after the Christians captured Granada.

This bell was used to warn the population of any potential danger, such as earthquakes or fires. The sound of this bell was also used to regulate irrigation schedules in the Granada Valley.

Currently, and according to tradition, the bell is rung every January 2nd to commemorate the capture of Granada on January 2nd, 1492.

Located in the northern wall of the Alcazaba, the Puerta de las Armas was one of the main entrances to the Alhambra.

During the Nasrid dynasty, citizens crossed the Darro River via the Cadí Bridge and climbed the hill along a path now hidden by the San Pedro Forest until they reached the gate. Inside the gate, they had to deposit their weapons before entering the enclosure, hence the name "Gate of Arms."

From the terrace of this tower, we can now enjoy one of the best panoramic views of the city of Granada.

Just across the street is the Albaicín neighborhood, recognizable by its whitewashed houses and labyrinthine streets. This neighborhood was declared a UNESCO World Heritage Site in 1994.

It is in this neighborhood where one of Granada's most famous viewpoints is located: the Mirador de San Nicolás.

To the right of the Albaicín, is the Sacromonte neighborhood.

Sacromonte is Granada's quintessential old Gypsy neighborhood and the birthplace of flamenco. This neighborhood is also characterized by the presence of troglodyte dwellings: caves.

At the foot of the Albaicín and the Alhambra lies the Carrera del Darro, next to the banks of the river of the same name.

The Keep is one of the oldest towers in the Alcazaba, standing 26 meters tall. It has six floors, a terrace, and an underground dungeon.

Due to the tower's height, communication with the kingdom's watchtowers was established from its terrace. This communication was established through a system of mirrors during the day or smoke with bonfires at night.

It is thought that, due to the tower's protruding position on the hill, it was probably the place chosen for the display of the banners and red flags of the Nasrid dynasty.

The base of this tower was reinforced by the Christians with the so-called Cube Tower.

After the capture of Granada, the Catholic Monarchs planned a series of renovations to adapt the Alcazaba to artillery. Thus, the Cube Tower was built over the Tahona Tower. Thanks to its cylindrical shape, it provides greater protection against potential impacts compared to the square-shaped Nasrid towers.

The Generalife, located on Cerro del Sol, was the sultan's almunia, or in other words, a palatial country house with orchards, where, in addition to farming, animals were raised for the Nasrid court and hunting was practiced. Its construction is estimated to have begun in the late 13th century by Sultan Muhammad II, son of the founder of the Nasrid dynasty.

The name Generalife comes from the Arabic "yannat-al-arif," meaning "the architect's garden." It was a much larger space in the Nasrid period, with at least four vegetable gardens, and extended to a place known today as "the partridge plain."

This country house, which the vizier Ibn al-Yayyab called the Royal House of Happiness, was a palace: the sultan's summer palace. Despite its proximity to the Alhambra, it afforded him enough privacy to escape and relax from the stresses of court and government life, as well as to enjoy more pleasant temperatures. Due to its location at a higher altitude than the palatine city of the Alhambra, the temperature inside dropped.

When Granada was captured, the Generalife became the property of the Catholic Monarchs, who placed it under the protection of an alcaide or commander. Philip II eventually ceded the perpetual alcaidía and ownership of the site to the Granada Venegas family (a family of converted Moriscos). The State only recovered the site after a dispute that lasted almost 100 years and ended with an out-of-court settlement in 1921.

Agreement by which the Generalife would become a national heritage site and would be managed together with the Alhambra through the Board of Trustees, thus forming the Board of Trustees of the Alhambra and the Generalife.

The open-air amphitheater we encountered on our way to the Generalife Palace was built in 1952 with the intention of hosting, as it does every summer, the Granada International Music and Dance Festival.

Since 2002, a Flamenco Festival has also been held, dedicated to Granada's most famous poet: Federico García Lorca.

Under the Nasrid dynasty, the road that connected the palatine city and the Generalife started from the Puerta del Arabal, framed by the so-called Torre de los Picos, so named because its battlements end in brick pyramids.

It was a winding, sloping road, protected on both sides by high walls for greater security, and led to the entrance to the Patio del Descabalgamiento.

These ruins or foundations are the archaeological remains of what was once the so-called House of Friends. Its name and purpose have come down to us thanks to Ibn Luyún's "Treatise on Agriculture" in the 14th century.

It was therefore a dwelling intended for people, friends or relatives whom the sultan held in esteem and considered important to have close to him, but without invading their privacy, so it was an isolated dwelling.

This Oleander Walk was built in the mid-19th century for the visit of Queen Elizabeth II and to create a more monumental access to the upper part of the palace.

Oleander is another name for the pink laurel, which appears in the form of an ornamental canopy along this walkway. At the beginning of the walk, behind the High Gardens, is one of the oldest examples of the Moorish myrtle, which was nearly lost and whose genetic traces are still being investigated today.

It is one of the most characteristic plants of the Alhambra, distinguished by its curled leaves, which are larger than the common myrtle.

The Paseo de las Adelfas connects with the Paseo de los Cipreses, which serves as a link leading visitors to the Alhambra.

One of the best-preserved and unique elements of the Generalife is the so-called Water Staircase. It is believed that, under the Nasrid dynasty, this staircase—divided into four flights with three intermediate landings—had water channels that flowed through the two glazed ceramic handrails, fed by the Royal Canal.

This water pipe reached a small oratory, of which no archaeological information survives. In its place, since 1836, there has been a romantic belvedere erected by the estate manager at the time.

The climb up this staircase, framed by a laurel vault and the murmur of water, probably created an ideal environment for stimulating the senses, entering into a climate conducive to meditation, and performing ablutions prior to prayer.

In the grounds surrounding the palace, it is estimated that there must have been at least four large vegetable gardens organized on different levels, or paratas, enclosed by adobe walls. The names of these gardens that have survived to the present day are: Grande, Colorada, Mercería, and Fuente Peña.

These gardens have continued to be cultivated, to a greater or lesser extent, since the 14th century, using the same traditional medieval techniques. Thanks to this agricultural production, the Nasrid court maintained a certain independence from other external agricultural suppliers, allowing it to meet its own food needs.

They were used not only for vegetable gardens, but also for fruit trees and animal pastures. For example, today they grow artichokes, eggplants, beans, figs, pomegranates, and almond trees.

Today, the preserved orchards continue to use the same agricultural production techniques employed in medieval times, giving this space great anthropological value.

These gardens are accessed from the Patio de la Sultana via a steep 19th-century staircase, called the Lions' Staircase, due to the two glazed earthenware figures above the gate.

These gardens can be considered an example of a Romantic garden. They are located on pillars and form the highest part of the Generalife, offering spectacular views of the entire monumental complex.

The presence of beautiful magnolias stands out.

The Rose Gardens date back to the 1930s and 1950s, when the State acquired the Generalife in 1921.

The need then arose to enhance the value of an abandoned area and strategically connect it to the Alhambra through a gradual and smooth transition.

The Patio de la Acequia, also called the Patio de la Ría in the 19th century, today has a rectangular structure with two facing pavilions and a bay.

The courtyard's name comes from the Royal Canal that runs through this palace, around which four gardens are arranged in orthogonal parterres at a lower level. On both sides of the canal are fountains that form one of the palace's most popular images. However, these fountains are not original, as they disrupt the tranquility and serenity the sultan sought during his moments of rest and meditation.

This palace has undergone extensive transformations, as this courtyard was originally closed to the views we find today through the gallery of 18 belvedere-style arches. The only part that would allow a view of the landscape would be the central viewing platform. From this original viewing platform, sitting on the floor and leaning on the windowsill, one could contemplate the panoramic views of the palatine city of the Alhambra.

As a testament to its past, we find Nasrid decoration in the viewing platform, where the plasterwork of Sultan Ismail I is superimposed over that of Muhammad III stands out. This demonstrates that each sultan had different tastes and needs and adapted the palaces accordingly, leaving their own mark or imprint.

As we pass the viewpoint, and if we look at the intrados of the arches, we will also find emblems of the Catholic Monarchs such as the Yoke and the Arrows, as well as the motto "Tanto Monta".

The east side of the courtyard is recent due to a fire that occurred in 1958.

Before entering the Patio de la Acequia, we come across the Patio de la Guardia. A simple courtyard with porticoed galleries and a fountain in its center, it is also decorated with bitter orange trees. This courtyard must have served as a control area and antechamber before accessing the sultan's summer quarters.

What stands out about this place is that, after climbing some steep stairs, we find a doorway framed by a lintel decorated with tiles in shades of blue, green, and black on a white background. We can also see, although worn by the passage of time, the Nasrid key.

As we climb the steps and pass through this doorway, we come across a bend, the guard benches, and a steep, narrow staircase that leads us to the palace.

The Patio de la Sultana is one of the most transformed spaces. It is thought that the site now occupied by this courtyard—also called the Patio del Ciprés—was the area used for the former hammam, the Generalife baths.

In the 16th century, it lost this function and became a garden. Over time, a northern gallery was added, along with a U-shaped pool, a fountain in its center, and thirty-eight noisy jets.

The only elements preserved from the Nasrid period are the Acequia Real waterfall, protected behind a fence, and a small section of canal that directs the water towards the Patio de la Acequia.

The name "Cypress Courtyard" is due to the centuries-old dead cypress tree, of which only its trunk remains today. Next to it is a Granada ceramic plaque that tells of the 16th-century legend by Ginés Pérez de Hita, according to which this cypress witnessed the amorous encounters of the last sultan's favorite, Boabdil, with a noble Abencerraje knight.

The Patio del Descabalgamiento, also known as Patio Polo, is the first courtyard we encounter upon entering the Generalife Palace.

The Sultan used a horse as a means of transportation to access the Generalife, and as such, he needed a place to dismount and house these animals. This courtyard is thought to have been intended for this purpose, as it housed the stables.

It had benches for support for horses to get on and off, and two stables in the side aisles, which served as stables on the lower level and haylofts on the upper level. A drinking trough with fresh water for the horses was also essential.

Worth noting here: above the lintel of the door leading to the next courtyard, we find the Alhambra key, a symbol of the Nasrid dynasty, representing salutation and ownership.

The north portico is the best preserved and was intended to house the sultan's quarters.

We find a portico with five arches supported by columns and alhamíes at their ends. Beyond this portico, and to access the Royal Hall, one passes through a triple archway in which poems speak of the Battle of La Vega or Sierra Elvira in 1319, which gives us information about the dating of the site.

On the sides of this triple arch there are also *taqas*, small niches excavated in the wall where water was placed.

The Royal Hall, located in a square tower decorated with plasterwork, was the place where the sultan—despite this being a leisure palace—received urgent audiences. These audiences, according to verses engraved there, were supposed to be brief and to the point so as not to unduly disturb the emir's rest.

The Nasrid Palaces constitute the most emblematic and striking part of the monumental complex. They were built in the 14th century, a period that can be considered a time of great splendor for the Nasrid dynasty.

These palaces were the area reserved for the sultan and his close relatives, where family life took place, but also the official and administrative life of the kingdom.

The Palaces are: the Mexuar, the Comares Palace and the Palace of the Lions.

Each of these palaces was built independently, at different times, and with their own distinct functions. It was after the Capture of Granada that the palaces were unified, and from that moment on, they became known as the Royal House, and later as the Old Royal House, when Charles V decided to build his own palace.

The Mexuar is the oldest part of the Nasrid Palaces, but it is also the space that has undergone the greatest transformations over time. Its name comes from the Arabic *Maswar*, which refers to the place where the *Sura* or Council of Ministers of the Sultan met, thus revealing one of its functions. It was also the antechamber where the Sultan administered justice.

The construction of the Mexuar is attributed to Sultan Isma'il I (1314–1325), and was modified by his grandson Muhammad V. However, it was the Christians who most transformed this space by converting it into a chapel.

During the Nasrid period, this space was much smaller and was organized around four central columns, where the characteristic Nasrid cubic capital, painted cobalt blue, can still be seen. These columns supported a lantern that provided overhead light, which was removed in the 16th century to create upper rooms and side windows.

To convert the space into a chapel, the floor was lowered and a small rectangular space was added at the back, now separated by a wooden balustrade that indicates where the upper choir was located.

The ceramic tiled plinth with star decoration was brought from elsewhere. Among its stars, one can alternately see: the coat of arms of the Nasrid Kingdom, that of Cardinal Mendoza, the double-headed eagle of the Austrians, the motto "There is no victor but God," and the Pillars of Hercules from the imperial coat of arms.

Above the plinth, a plaster epigraphic frieze repeats: “The Kingdom is God’s. Strength is God’s. Glory is God’s.” These inscriptions replace the Christian ejaculations: “Christus regnat. Christus vincit. Christus imperat.”

The current entrance to the Mexuar was opened in the modern period, changing the location of one of the Pillars of Hercules, bearing the motto "Plus Ultra," which was moved to the east wall. The plaster crown above the door remains in its original location.

At the back of the room, a door leads to the Oratory, which was originally accessed through the Machuca gallery.

This space is one of the most damaged in the Alhambra due to the explosion of a powder magazine in 1590. It was restored in 1917.

During the restoration, the floor level was lowered to prevent accidents and facilitate visits. A continuous ledge under the windows remains as a testament to the original level.

This impressive façade, extensively restored between the 19th and 20th centuries, was built by Muhammad V to commemorate the capture of Algeciras in 1369, which granted him dominion over the Strait of Gibraltar.

In this courtyard, the sultan received subjects who had a special audience. He sat in the central part of the façade, on a jamuga (wooden frame) between the two doors and beneath the great eaves, a masterpiece of Nasrid carpentry that crowned it.

The façade has a strong allegorical meaning. On it, subjects could read:

“My position is that of a crown and my gate a fork: the West believes that in me is the East.”
Al-Gani bi-llah has entrusted me with opening the door to the victory that is being announced.
Well, I'm waiting for him to appear as the horizon reveals itself in the morning.
May God make his work as beautiful as his character and figure are!

The door on the right served as access to the private quarters and service area, while the door on the left, through a curved corridor with benches for the guard, gives access to the Comares Palace, specifically to the Patio de los Arrayanes.

Subjects who obtained an audience waited in front of the façade, separated from the sultan by the royal guard, in the room now known as the Golden Room.

The name *Golden Quarter* comes from the period of the Catholic Monarchs, when the Nasrid coffered ceiling was repainted with golden motifs and the emblems of the monarchs were incorporated.

In the center of the courtyard is a low marble fountain with galloons, a replica of the Lindaraja fountain preserved in the Alhambra Museum. To one side of the fountain, a gate leads to a dark underground corridor used by the guards.

One of the characteristics of the Hispano-Muslim house is access through a curved hallway that leads to an open-air courtyard, the focal point of life and organization of the home, complete with a water feature and vegetation. This same concept is found in the Patio de los Arrayanes, but on a larger scale, measuring 36 meters long and 23 meters wide.

The Patio de los Arrayanes (Courtyard of the Myrtles) is the centerpiece of the Comares Palace, where the political and diplomatic activities of the Nasrid Kingdom took place. It is a rectangular courtyard of imposing dimensions, whose central axis is a large pool. In it, the still water acts as a mirror, lending depth and verticality to the space, thus creating a palace on water.

At both ends of the pool, jets gently introduce water so as not to disrupt the mirror effect or the stillness of the place.

Flanking the pool are two myrtle clumps, which give the current site its name: Patio de los Arrayanes (Courtyard of the Myrtles). In the past, it was also known as Patio de la Alberca (Courtyard of the Pool).

The presence of water and vegetation is not only a matter of ornamental or aesthetic considerations, but also a desire to create pleasant spaces, especially in summer. Water refreshes the environment, while vegetation retains moisture and provides fragrance.

On the longer sides of the courtyard are four independent dwellings. On the north side stands the Comares Tower, which houses the Throne Room or Ambassadors' Room.

On the south side, the façade acts as a trompe l'oeil, as the building that existed behind it was demolished to connect the Palace of Charles V with the Old Royal House.

Before entering the Nasrid Palaces, if we look to the left, we find two courtyards.

The first is the Patio de la Mezquita, named after the small mosque located in one of its corners. However, since the 20th century, it has also been known as the Madrasa de los Príncipes (Princes' Madrasa), as its structure bears similarities to the Madrasa of Granada.

Further on is the Patio de Machuca, named after the architect Pedro Machuca, who was in charge of supervising the construction of the Palace of Charles V in the 16th century and who resided there.

This courtyard is easily recognizable by the lobed-edged pool at its center, as well as by the arched cypress trees, which restore the architectural feel of the space in a non-invasive way.

The Boat Room is the anteroom to the Throne Room or Ambassadors' Room.

On the jambs of the arch leading into this room, we find facing niches carved in marble and decorated with colorful tiles. These are one of the most characteristic ornamental and functional elements of the Nasrid palaces: the taqas.

*Taqas* are small niches carved into walls, always arranged in pairs and facing each other. They were used to hold jars of fresh water for drinking or scented water for washing hands.

The current ceiling of the hall is a reproduction of the original, lost in a fire in 1890.

The name of this room comes from a phonetic alteration of the Arabic word *baraka*, meaning "blessing," which is repeated numerous times on the walls of this room. It does not derive, as is popularly believed, from the inverted boat-shaped roof.

It was in this place where the new sultans requested the blessing of their god before being crowned as such in the Throne Room.

Before entering the Throne Room, we find two side entrances: on the right, a small oratory with its mihrab; and on the left, the access door to the interior of the Comares Tower.

The Ambassadors' Hall, also called the Throne Hall or the Comares Hall, is the site of the sultan's throne and, therefore, the center of power of the Nasrid dynasty. Perhaps for this reason, it is located within the Comares Tower, the largest tower in the monumental complex, at 45 meters high. Its etymology comes from the Arabic *arsh*, meaning tent, pavilion, or throne.

The room is shaped like a perfect cube, and its walls are richly decorated up to the ceiling. On the sides are nine identical alcoves grouped in groups of three with windows. The one opposite the entrance features more elaborate decoration, as it was the sultan's seat, backlit, favoring the effect of dazzling and surprising.

In the past, the windows were covered with colored glass panels with geometric shapes called *cumarias*. These were lost due to the shock wave of a powder magazine that exploded in 1590 on the Carrera del Darro.

The decorative richness of the hall is extreme. It begins in the lower part with geometrically shaped tiles, creating a visual effect similar to that of a kaleidoscope. It continues on the walls with stuccos resembling hanging tapestries, decorated with plant motifs, flowers, shells, stars, and abundant inscriptions.

The current script is of two types: cursive, the most common and easily recognizable; and Kufic, a cultured script with rectilinear and angular forms.

Among all the inscriptions, the most notable is the one below the ceiling, on the top strip of the wall: sura 67 of the Quran, called *The Kingdom* or *of the Lordship*, which runs along the four walls. This sura was recited by the new sultans to proclaim that their power came directly from God.

The image of divine power is also represented in the ceiling, composed of 8,017 different pieces that, through wheels of stars, illustrate Islamic eschatology: the seven heavens and an eighth, paradise, the Throne of Allah, represented by the central dome of muqarnas.

To access the Christian Royal House, you must use one of the doors open in the left alcove of the Hall of the Two Sisters.

Charles V, grandson of the Catholic Monarchs, visited the Alhambra in June 1526 after marrying Isabella of Portugal in Seville. Upon arriving in Granada, the couple settled into the Alhambra itself and ordered the construction of new rooms, now known as the Emperor's Apartments.

These spaces completely break with Nasrid architecture and aesthetics. However, as they were built on garden areas between the Comares Palace and the Palace of the Lions, the upper part of the Royal Hammam, or Comares Hammam, can be seen through small windows to the left of the corridor. A few meters further on, other openings reveal the Hall of Beds and the Musicians' Gallery.

The Royal Baths were not only a place of hygiene, but also an ideal place to cultivate political and diplomatic relations in a relaxed and friendly manner, accompanied by music to liven up the occasion. This space is only open to the public on special occasions.

Through this corridor you enter the Emperor's Office, which stands out for its Renaissance fireplace with the imperial coat of arms and a wooden coffered ceiling designed by Pedro Machuca, architect of the Palace of Charles V. On the coffered ceiling you can read the inscription "PLUS ULTRA", a motto adopted by the Emperor, along with the initials K and Y, corresponding to Charles V and Isabella of Portugal.

Leaving the hall, on the right are the Imperial Rooms, currently closed to the public and only accessible on special occasions. These rooms are also known as Washington Irving's Rooms, as it was here that the American Romantic writer stayed during his stay in Granada. It was possibly here that he wrote his famous book *Tales of the Alhambra*. A commemorative plaque can be seen above the door.

Adjacent to the Patio de la Reja is the Patio de Lindaraja, adorned with carved boxwood hedges, cypress trees, and bitter orange trees. This patio owes its name to the Nasrid viewpoint located on its southern side, which bears the same name.

During the Nasrid period, the garden had a completely different appearance than it does today, as it was a space open to the landscape.

With the arrival of Charles V, the garden was enclosed, taking on a cloister-like layout thanks to a porticoed gallery. Columns from other parts of the Alhambra were used for its construction.

In the center of the courtyard stands a Baroque fountain, over which a Nasrid marble basin was superimposed at the beginning of the 17th century. The fountain we see today is a replica; the original is preserved in the Alhambra Museum.

The Patio de los Leones (Courtyard of the Lions) is the heart of this palace. It is a rectangular courtyard surrounded by a porticoed gallery with 124 columns, each one different from the other, which connect the different rooms of the palace. It bears a certain resemblance to a Christian cloister.

This space is considered one of the jewels of Islamic art, despite breaking with the usual patterns of Hispano-Muslim architecture.

The palace's symbolism revolves around the concept of a garden-paradise. The four water channels that radiate from the center of the courtyard could represent the four rivers of Islamic paradise, giving the courtyard a cruciform layout. The columns evoke a palm forest, like the oasis of paradise.

In the center is the famous Fountain of the Lions. The twelve lions, although in a similar position—alert and with their backs to the fountain—have different features. They are carved from white Macael marble, carefully selected to take advantage of the stone's natural veins and accentuate its distinctive features.

There are various theories about its symbolism. Some believe it represents the strength of the Nasrid dynasty or Sultan Muhammad V, the twelve signs of the zodiac, the twelve hours of the day, or even a water clock. Others maintain that it is a reinterpretation of the Bronze Sea of Judea, held up by twelve bulls, here replaced by twelve lions.

The central bowl was probably carved in situ and contains poetic inscriptions praising Muhammad V and the hydraulic system that feeds the fountain and regulates the flow of water to prevent overflow.

“In appearance, water and marble seem to merge without us knowing which of the two is sliding.
Don't you see how the water spills into the bowl, but its spouts immediately hide it?

He is a lover whose eyelids overflow with tears,
tears that she hides for fear of an informer.

Is it not, in reality, like a white cloud that pours its irrigation ditches upon the lions and seems like the hand of the caliph who, in the morning, lavishes his favors upon the lions of war?

The fountain underwent several transformations over time. In the 17th century, a second basin was added, which was removed in the 20th century and relocated to the Garden of the Adarves of the Alcazaba.

The Christian adaptation of the palace entailed the creation of direct access to the Comares Tower via a two-story open gallery. This gallery offers magnificent views of two of Granada's most iconic neighborhoods: the Albaicín and the Sacromonte.

From the gallery, looking to the right, you can also see the Queen's Dressing Room, which, like other areas mentioned above, can only be visited on special occasions or as a space of the month.

The Queen's Dressing Room is located in the Tower of Yusuf I, a tower set forward from the wall. Its Christian name comes from the use made of it by Isabella of Portugal, wife of Charles V, during her stay at the Alhambra.

Inside, the space was adapted to Christian aesthetics and houses valuable Renaissance paintings by Julius Achilles and Alexander Mayner, disciples of Raphael Sanzio, also known as Raphael of Urbino.

Descending from the gallery, we find the Patio de la Reja (Courtyard of the Grill). Its name comes from the continuous balcony with wrought iron railings, installed in the mid-17th century. These railings served as an open corridor to connect and protect the adjacent rooms.

The Hall of the Two Sisters gets its current name from the presence of two twin slabs of Macael marble located in the center of the room.

This room bears some resemblance to the Hall of the Abencerrajes: it is located higher than the courtyard and, beyond the entrance, has two doors. The one on the left led to the toilet, and the one on the right led to the upper rooms of the house.

Unlike its twin room, this one opens to the north towards the Sala de los Ajimeces and a small viewpoint: the Mirador de Lindaraja.

During the Nasrid dynasty, under Muhammad V, this room was known as *qubba al-kubra*, meaning the great qubba, the most important in the Palace of the Lions. The term *qubba* refers to a square floor plan covered with a dome.

The dome begins with an eight-pointed star, unfolding into a three-dimensional layout composed of 5,416 muqarnas, some of which still retain traces of polychromy. These muqarnas are distributed in sixteen small cupolas located above sixteen windows with lattices that bring changing light into the room depending on the time of day.

Before entering the western hall, also known as the Hall of the Abencerrajes, we find some wooden doors with remarkable carvings that have been preserved since medieval times.

The name of this room is linked to a legend according to which, due to a rumor about an affair between an Abencerraje knight and the sultan's favorite, or due to alleged plots by this family to overthrow the monarch, the sultan, filled with rage, summoned the Abencerraje knights. Thirty-six of them lost their lives as a result.

This story was recorded in the 16th century by the writer Ginés Pérez de Hita in his novel about the *Civil Wars of Granada*, where he narrates that the knights were murdered in this very room.

For this reason, some claim to see in the rust stains on the central fountain a symbolic vestige of the rivers of blood of those knights.

This legend also inspired the Spanish painter Mariano Fortuny, who captured it in his work entitled *The Massacre of the Abencerrajes*.

Upon entering the door, we found two entrances: the one on the right led to the toilet, and the one on the left to some stairs leading to the upper rooms.

The Hall of the Abencerrajes is a private and independent dwelling on the ground floor, structured around a large *qubba* (dome in Arabic).

The plaster dome is richly decorated with muqarnas originating from an eight-pointed star in a complex three-dimensional composition. The muqarnas are architectural elements based on hanging prisms with concave and convex shapes, reminiscent of stalactites.

As you enter the room, you notice a drop in temperature. This is because the only windows are located at the top, allowing hot air to escape. Meanwhile, the water from the central fountain cools the air, making the room, with the doors closed, function as a kind of cave, with an ideal temperature for the hottest summer days.

Beyond the Hall of the Two Sisters, to the north, we find a transverse nave covered by a muqarnas vault. This room is called the Hall of the Mullions (Ajimeces) because of the type of windows that must have closed the openings on either side of the central arch that leads to the Lindaraja Viewpoint.

The white walls of this room are believed to have been originally covered with silk fabrics.

The so-called Lindaraja Viewpoint owes its name to the derivation of the Arabic term *Ayn Dar Aisa*, which means “the eyes of the House of Aisa”.

Despite its small size, the interior of the viewing platform is remarkably decorated. On one hand, it features tiling with a succession of small, interlocking stars, which required meticulous work by the artisans. On the other hand, if you look up, you can see a ceiling with colored glass embedded in a wooden structure, resembling a skylight.

This lantern is a representative example of what many of the windows or mullioned windows of the Palatine Alhambra must have looked like. When sunlight hits the glass, it projects colorful reflections that illuminate the decoration, giving the space a unique, ever-changing atmosphere throughout the day.

During the Nasrid period, when the courtyard was still open, a person could sit on the floor of the belvedere, rest their arm on the windowsill, and enjoy spectacular views of the Albayzín neighborhood. These views were lost at the beginning of the 16th century, when the outbuildings intended to serve as the residence of Emperor Charles V were built.

The Hall of the Kings occupies the entire east side of the Patio de los Leones and, although it appears integrated into the palace, it is thought to have had its own function, probably of a recreational or courtly nature.

This space stands out for preserving one of the few examples of Nasrid figurative painting.

In the three alcoves, each approximately fifteen square meters in area, there are three false vaults decorated with paintings on lambskin. These skins were fixed to the wooden support with small bamboo nails, a technique that prevented the material from rusting.

The name of the room probably comes from the interpretation of the painting in the central alcove, which depicts ten figures that could correspond to the first ten sultans of the Alhambra.

In the side alcoves, chivalric scenes of fighting, hunting, games, and love can be seen. Their clothing clearly distinguishes the presence of Christian and Muslim figures sharing the same space.

The origin of these paintings has been widely debated. Due to their Linear Gothic style, it is thought that they were probably created by Christian artists familiar with the Muslim world. These works may be the result of the good relationship between Muhammad V, founder of this palace, and the Christian king Peter I of Castile.

The Room of Secrets is a square-shaped room, covered with a spherical vault.

Something very peculiar and curious happens in this room, making it one of the favorite attractions for visitors to the Alhambra, especially for the little ones.

The phenomenon is that if one person stands at one corner of the room and another at the opposite corner—both facing the wall and as close to it as possible—one of them can speak very quietly and the other will hear the message perfectly, as if they were right next to them.

It is thanks to this acoustic “game” that the room gets its name: **Room of Secrets**.

The palace known as the Palace of the Lions was commissioned during the second reign of Sultan Muhammad V, which began in 1362 and lasted until 1391. During this period, construction began on the Palace of the Lions, adjacent to the Palace of Comares, which had been built by his father, Sultan Yusuf I.

This new palace was also called *Riyad Palace*, as it is believed to have been built on the former Comares Gardens. The term *Riyad* means "garden."

It is thought that the original access to the palace was through the southeast corner, from Calle Real and through a curved entrance. Currently, due to Christian modifications after the conquest, the Sala de los Muqarnas is accessed directly from the Comares Palace.

The Hall of the Muqarnas takes its name from the impressive muqarnas vault that originally covered it, which almost completely collapsed as a result of the vibrations caused by the explosion of a powder magazine on the Carrera del Darro in 1590.

Remains of this vault can still be seen on one side. On the opposite side, remains of a later Christian vault appear, bearing the letters "FY," traditionally associated with Ferdinand and Isabella, although they actually correspond to Philip V and Isabella Farnese, who visited the Alhambra in 1729.

It is believed that the room may have functioned as a vestibule or waiting room for guests attending the sultan's celebrations, parties, and receptions.

The large space known today as Jardines del Partal owes its name to the Palacio del Pórtico, named after its porticoed gallery.

This is the oldest preserved palace in the monumental complex, whose construction is attributed to Sultan Muhammad III at the beginning of the 14th century.

This palace bears some similarity to the Comares Palace, although it is older: a rectangular courtyard, a central pool, and the portico's mirror-like reflection in the water. Its main distinguishing feature is the presence of a side tower, known since the 16th century as the Ladies' Tower, although it has also been called the Observatory, as Muhammad III was a great fan of astronomy. The tower has windows facing the four cardinal points, allowing for spectacular views.

A notable curiosity is that this palace was privately owned until March 12, 1891, when its owner, Arthur Von Gwinner, a German banker and consul, ceded the building and the surrounding land to the Spanish State.

Unfortunately, Von Gwinner dismantled the wooden roof of the viewing platform and moved it to Berlin, where it is now on display in the Pergamon Museum as one of the highlights of its Islamic art collection.

Adjacent to the Partal Palace, to the left of the Ladies' Tower, are several Nasrid houses. One of them was called the House of Paintings due to the discovery, at the beginning of the 20th century, of tempera paintings on 14th-century stucco. These highly valuable paintings are a rare example of Nasrid figurative mural painting, depicting court scenes, hunting scenes, and celebrations.

Due to their importance and for conservation reasons, these homes are not open to the public.

To the right of the Partal Palace, on the rampart of the wall, is the Partal Oratory, whose construction is attributed to Sultan Yusuf I. Access is via a small staircase, as it is elevated from ground level.

One of the pillars of Islam is to pray five times a day facing Mecca. The oratory functioned as a palace chapel, allowing the inhabitants of the nearby palace to fulfill this religious obligation.

Despite its small size (about twelve square meters), the oratory has a small vestibule and a prayer room. Its interior features rich plasterwork decoration with plant and geometric motifs, as well as Quranic inscriptions.

Upon ascending the stairs, just opposite the entrance door, you will find the mihrab on the southwest wall, facing Mecca. It has a polygonal floor plan, a voussoired horseshoe arch, and is covered by a dome with muqarnas.

Of particular note is the epigraphic inscription located on the imposts of the mihrab arch, which invites prayer: “Come and pray, and do not be among the negligent.”

Attached to the oratory is the House of Atasio de Bracamonte, which was given in 1550 to the former squire of the warden of the Alhambra, the Count of Tendilla.

On the highest plateau in the Partal area are the archaeological remains of the Palace of Yusuf III. This palace was granted in June 1492 by the Catholic Monarchs to the first governor of the Alhambra, Don Íñigo López de Mendoza, second Count of Tendilla. For this reason, it is also known as the Tendilla Palace.

The reason this palace is in ruins stems from disagreements that arose in the 18th century between the descendants of the Count of Tendilla and Philip V of Bourbon. Upon the death of Archduke Charles II of Austria without heirs, the Tendilla family supported Archduke Charles of Austria instead of Philip of Bourbon. After Philip V's accession, reprisals were taken: in 1718, the mayorship of the Alhambra was removed from them, and later the palace was dismantled and its materials sold.

Some of these materials reappeared in the 20th century in private collections. It is believed that the so-called "Fortuny Tile," housed at the Valencia Institute of Don Juan in Madrid, may have come from this palace.

From 1740 onwards, the palace site became an area of leased vegetable gardens.

It was in 1929 that this area was recovered by the Spanish State and returned to the Alhambra. Thanks to the work of Leopoldo Torres Balbás, architect and restorer of the Alhambra, this space was enhanced with the creation of an archaeological garden.

The Palatine city wall originally had more than thirty towers, of which only twenty remain today. Initially, these towers had a strictly defensive function, although over time some also adopted residential use.

At the exit of the Nasrid Palaces, from the Upper Partal area, a cobbled path leads to the Generalife. This route follows the stretch of wall, home to some of the complex's most emblematic towers, framed by a garden area with beautiful views of the Albaicín and the Generalife orchards.

One of the most notable towers is the Tower of the Peaks, built by Muhammad II and later renovated by other sultans. It is easily recognizable by its brick pyramid-shaped battlements, from which its name may derive. However, other authors believe the name comes from the protruding corbels at its upper corners, which supported the machicolations, defensive elements that allowed attacks from above to be countered.

The tower's main function was to protect the Arrabal Gate located at its base, which connected to the Cuesta del Rey Chico, facilitating access to the Albaicín neighborhood and the old medieval road that connected the Alhambra with the Generalife.

In Christian times, an outer bastion with stables was built to reinforce its protection, which is closed by a new entrance known as the Iron Gate.

Although towers are commonly associated with an exclusively military function, it is known that the Torre de los Picos also had a residential use, as evidenced by the ornamentation present in its interior.

The Torre de la Cautiva has received various names over time, such as Torre de la Ladrona or Torre de la Sultana, although the most popular one has finally prevailed: Torre de la Cautiva.

This name is not based on proven historical facts, but rather stems from a romantic legend according to which Isabel de Solís was imprisoned in this tower. She later converted to Islam under the name Zoraida and became Muley Hacén's favorite sultana. This situation caused tensions with Aixa, the previous sultana and Boabdil's mother, given that Zoraida—whose name means "morning star"—removed her position at court.

The construction of this tower is attributed to Sultan Yusuf I, who was also responsible for the Comares Palace. This attribution is supported by the inscriptions in the main hall, the work of the vizier Ibn al-Yayyab, which praise this sultan.

In the poems inscribed on the walls, the vizier repeatedly uses the term qal'ahurra, which has since been used to refer to fortified palaces, as is the case with this tower. In addition to serving defensive purposes, the tower houses a real palace with rich decoration inside.

Regarding its ornamentation, the main hall features a ceramic tiled plinth with geometric shapes in various colors. Purple stands out among these, as it was particularly difficult and expensive to obtain at the time, so it was reserved exclusively for important spaces.

The Tower of the Infantas, like the Tower of the Captive, owes its name to a legend.

This is the legend of the three princesses Zaida, Zoraida and Zorahaida, who lived in this tower, a story that was collected by Washington Irving in his famous *Tales of the Alhambra*.

The construction of this palace-tower, or *qalahurra*, is attributed to Sultan Muhammad VII, who reigned between 1392 and 1408. Therefore, it is one of the last towers built by the Nasrid dynasty.

This circumstance is reflected in the interior decoration, which shows signs of a certain decline compared to previous periods of greater artistic splendor.

At the end of the Paseo de las Torres, in the easternmost part of the northern wall, are the remains of a cylindrical tower: the Torre del Cabo de Carrera.

This tower was practically destroyed as a result of the explosions carried out in 1812 by Napoleon's troops during their retreat from the Alhambra.

It is believed to have been built or rebuilt by order of the Catholic Monarchs in 1502, as confirmed by a now-lost inscription.

Its name comes from its location at the end of the Calle Mayor of the Alhambra, marking the limit or "cap de carrera" of said road.

The Palace of Charles V, with its sixty-three meters wide and seventeen meters high, follows the proportions of classical architecture, which is why it is divided horizontally into two levels with clearly differentiated architecture and decoration.

Three types of stone were used to decorate its facades: gray, compact limestone from Sierra Elvira, white marble from Macael, and green serpentine from the Barranco de San Juan.

The exterior decoration exalts the image of Emperor Charles V, highlighting his virtues through mythological and historical references.

The most notable facades are those on the south and west sides, both designed as triumphal arches. The main entrance is on the west side, where the main door is crowned by winged victories. On either side are two small doors above which are medallions with figures of mounted soldiers in combat.

Symmetrically duplicated reliefs are displayed on the pedestals of the columns. The central reliefs symbolize Peace: they show two women seated on a mound of weapons, carrying olive branches and supporting the Pillars of Hercules, the globe with the imperial crown and the motto *PLUS ULTRA*, while cherubs fire war artillery.

The side reliefs depict war scenes, such as the Battle of Pavia, where Charles V defeated Francis I of France.

At the top are balconies flanked by medallions depicting two of the twelve labors of Hercules: one slaying the Nemean Lion and another facing the Cretan Bull. The central medallion features the coat of arms of Spain.

In the lower part of the palace, the rusticated ashlars stand out, designed to convey a sense of solidity. Above them are bronze rings held by animal figures such as lions—symbols of power and protection—and in the corners, double eagles, alluding to imperial power and the emperor's heraldic emblem: the double-headed eagle of Charles I of Spain and V of Germany.

Emperor Charles I of Spain and V of the Holy Roman Empire, grandson of the Catholic Monarchs and son of Joanna I of Castile and Philip the Fair, visited Granada in the summer of 1526 after marrying Isabella of Portugal in Seville, to spend his honeymoon.

Upon his arrival, the emperor was captivated by the charm of the city and the Alhambra, and decided to build a new palace in the palatine city. This palace would become known as the New Royal House, in contrast to the Nasrid Palaces, which were henceforth known as the Old Royal House.

The works were commissioned to the Toledo architect and painter Pedro Machuca, who is said to have been a disciple of Michelangelo, which would explain his deep knowledge of the Classical Renaissance.

Machuca designed a monumental palace in the Renaissance style, with a square floor plan and a circle integrated into its interior, inspired by the monuments of classical antiquity.

Construction began in 1527 and was largely financed by the tributes the Moriscos had to pay to continue living in Granada and preserve their customs and rituals.

In 1550, Pedro Machuca died without finishing the palace. His son Luis continued the project, but after his death, work was halted for a time. It was resumed in 1572 under the reign of Philip II, entrusted to Juan de Orea on the recommendation of Juan de Herrera, architect of the Monastery of El Escorial. However, due to the lack of resources caused by the Alpujarras War, no significant progress was made.

It wasn't until the 20th century that the palace was completed, first under the direction of architect-restorer Leopoldo Torres Balbás, and finally in 1958 by Francisco Prieto Moreno.

The Palace of Charles V was conceived as a symbol of universal peace, reflecting the emperor's political aspirations. However, Charles V never personally visited the palace he commissioned.

The Alhambra Museum is located on the ground floor of the Palace of Charles V and is divided into seven rooms dedicated to Hispano-Muslim culture and art.

It houses the finest existing collection of Nasrid art, composed of pieces found in excavations and restorations carried out in the Alhambra itself over time.

Among the works on display are plasterwork, columns, carpentry, ceramics of various styles—such as the famous Vase of the Gazelles—a copy of the lamp from the Great Mosque of the Alhambra, as well as tombstones, coins, and other objects of great historical value.

This collection is the ideal complement to a visit to the monumental complex, as it provides a better understanding of daily life and culture during the Nasrid period.

Admission to the museum is free, although it is important to note that it is closed on Mondays.

When Pedro Machuca designed the Palace of Charles V, he did so using geometric forms with strong Renaissance symbolism: the square to represent the earthly world, the inner circle as a symbol of the divine and creation, and the octagon—reserved for the chapel—as a union between both worlds.

Upon entering the palace, we find ourselves in an imposing circular porticoed courtyard, elevated from the exterior. This courtyard is surrounded by two superimposed galleries, both with thirty-two columns. On the ground floor, the columns are Doric-Tuscan, and on the upper floor, Ionic.

The columns were made of pudding stone, or almond stone, from the Granada town of El Turro. This material was chosen because it was more economical than the marble originally planned.

The lower gallery has a circular vault that was possibly intended to be decorated with frescoes. The upper gallery, meanwhile, has a wooden coffered ceiling.

The frieze that runs around the courtyard features *burocranios*, representations of ox skulls, a decorative motif with roots in ancient Greece and Rome, where they were used in friezes and tombs linked to ritual sacrifices.

The two floors of the courtyard are connected by two staircases: one on the north side, built in the 17th century, and another also to the north, designed in the 20th century by the Alhambra's conservation architect, Francisco Prieto Moreno.

Although it was never used as a royal residence, the palace currently houses two important museums: the Museum of Fine Arts on the upper floor, with an outstanding collection of Granada painting and sculpture from the 15th to the 20th centuries, and the Alhambra Museum on the ground floor, accessed through the western entrance hall.

In addition to its museum function, the central courtyard boasts exceptional acoustics, making it a prime setting for concerts and theatrical performances, especially during the Granada International Music and Dance Festival.

On Calle Real, on the site adjacent to the current Church of Santa María de la Alhambra, is the Mosque Bath.

This bath was built during the reign of Sultan Muhammad III and financed by the jizya, a tax charged to Christians for planting land on the border.

The use of the hammam The bath was essential to the daily life of an Islamic city, and the Alhambra was no exception. Due to its proximity to the mosque, this bath served a key religious function: allowing for ablutions, or purification rituals, before prayer.

However, its function was not exclusively religious. The hammam also served as a place for personal hygiene and was an important social gathering place.

Its use was regulated by schedules, being in the morning for men and in the afternoon for women.

Inspired by Roman baths, Muslim baths shared their chamber layout, although they were smaller and operated using steam, unlike Roman baths, which were immersion baths.

The bath consisted of four main spaces: a rest room or changing room, a cold or warm room, a hot room, and a boiler area attached to the latter.

The heating system used was the hypocaust, an underground heating system that heated the ground using hot air generated by a furnace and distributed through a chamber beneath the pavement.

The current Parador de Turismo was originally the Convent of San Francisco, built in 1494 on the site of an old Nasrid palace that, according to tradition, belonged to a Muslim prince.

After the capture of Granada, the Catholic Monarchs ceded this space to found the city's first Franciscan convent, thus fulfilling a promise made to the Patriarch of Assisi years before the conquest.

Over time, this spot became the first burial place of the Catholic Monarchs. A month and a half before her death in Medina del Campo in 1504, Queen Isabella left her will in her wish to be buried in this convent, dressed in a Franciscan habit. In 1516, King Ferdinand was buried next to her.

Both remained buried there until 1521, when their grandson, Emperor Charles V, ordered their remains to be transferred to the Royal Chapel of Granada, where they now rest alongside Joanna I of Castile, Philip the Handsome and Prince Miguel de Paz.

Today, this original burial site can be visited by entering the Parador's courtyard. Under a dome of muqarnas, the original tombstones of both monarchs are preserved.

Since June 1945, this building has housed the Parador de San Francisco, a high-class tourist accommodation owned and operated by the Spanish State.

The word “medina,” which means “city” in Arabic, referred to the highest part of Sabika Hill in the Alhambra.

This medina was home to intense daily activity, as it was the area where the trades and population that made life possible for the Nasrid court within the palatine city were concentrated.

Textiles, ceramics, bread, glass, and even coins were produced there. In addition to workers' housing, there were also essential public buildings such as baths, mosques, souks, cisterns, ovens, silos, and workshops.

For the proper functioning of this miniature city, the Alhambra had its own system of legislation, administration, and tax collection.

Today, only a few vestiges of the original Nasrid medina remain. The transformation of the area by Christian settlers after the conquest and, later, the gunpowder explosions caused by Napoleon's troops during their retreat contributed to its deterioration.

In the mid-20th century, an archaeological rehabilitation and adaptation program was launched in this area. As a result, a landscaped walkway was laid out along an old medieval street, which today connects with the Generalife.

In the royal medina, attached to the southern wall, are the remains of the so-called Palace of the Abencerrajes, the Castilianized name of the Banu Sarray family, a noble lineage of North African origin belonging to the Nasrid court.

The remains that can be seen today are the result of excavations that began in the 1930s, as the site had previously been severely damaged, largely due to explosions caused by Napoleon's troops during their retreat.

Thanks to these archaeological excavations, it has been possible to confirm the importance of this family in the Nasrid court, not only due to the size of the palace but also due to its privileged location: in the upper part of the medina, right on the main urban axis of the Alhambra.

The Gate of Justice, known in Arabic as Bab al-Sharia, is one of the four exterior gates of the Alhambra's palatine city. As an exterior entrance, it served an important defensive function, as evidenced by its double-bend structure and the steep slope of the terrain.

Its construction, integrated into a tower attached to the southern wall, is attributed to Sultan Yusuf I in 1348.

The gate features two pointed horseshoe arches. Between them is an open area, known as a skylight, from which it was possible to defend the entrance by throwing materials from the terrace in case of attack.

Beyond its strategic value, this gate has a strong symbolic significance in the Islamic context. Two decorative elements stand out in particular: the hand and the key.

The hand represents the five pillars of Islam and symbolizes protection and hospitality. The key, meanwhile, is an emblem of faith. Their presence together could be interpreted as an allegory of spiritual and earthly power.

Popular legend says that if one day the hand and the key touch, it will mean the fall of the Alhambra... and with it, the end of the world, as it would imply the loss of its splendor.

These Islamic symbols contrast with another Christian addition: a Gothic sculpture of the Virgin and Child, the work of Ruberto Alemán, placed in a niche above the interior arch by order of the Catholic Monarchs after the capture of Granada.

The Puerta de los Carros (Chariot Gate) is not an original opening in the Nasrid wall. It was opened between 1526 and 1536 for a very specific purpose: to allow access to carts transporting materials and columns for the construction of the Palace of Charles V.

Today, this gate still serves a practical purpose. It provides pedestrian access to the grounds without a ticket, allowing free access to the Palace of Charles V and the museums within.

Furthermore, it is the only gate open to authorized vehicles, including guests of hotels located within the Alhambra complex, taxis, special services, medical personnel, and maintenance vehicles.

The Alhambra's palatial city was surrounded by extensive walls with four main gates providing access from the outside. To ensure their defense, these gates were arranged in a characteristic curved pattern, making it difficult for potential attackers to advance and facilitating ambushes from within.

The Gate of the Seven Floors, located in the southern wall, is one of these entrances. In Nasrid times, it was known as Bib al-Gudur or “Puerta de los Pozos”, due to the nearby existence of silos or dungeons, possibly used as prisons.

Its current name comes from the popular belief that there are seven levels or floors beneath it. Although only two have been documented, this belief has fueled numerous legends and tales, such as Washington Irving's story "The Legend of the Moor's Legacy," which mentions a treasure hidden in the tower's secret cellars.

Tradition holds that this was the last gate used by Boabdil and his entourage on their way to the Vega de Granada on January 2, 1492, to deliver the keys to the Kingdom to the Catholic Monarchs. It was also through this gate that the first Christian troops entered without resistance.

The gate we see today is a reconstruction, as the original was largely destroyed by the explosion of Napoleon's troops during their retreat in 1812.

The Puerta del Vino (Wine Gate) was the main gateway to the Alhambra Medina. Its construction is attributed to Sultan Muhammad III in the early 14th century, although its doors were later remodeled by Muhammad V.

The name "Wine Gate" does not come from the Nasrid period, but from the Christian era, starting in 1556, when residents of the Alhambra were allowed to buy wine tax-free at this location.

As it is an interior gate, its layout is straight and direct, unlike exterior gates such as the Justice Gate or the Arms Gate, which were designed with a bend to improve defense.

Although it did not serve primary defensive functions, it had benches inside for the soldiers in charge of access control, as well as a room upstairs for the guards' residence and rest areas.

The western façade, facing the Alcazaba, was the entrance. Above the lintel of the horseshoe arch is the symbol of the key, a solemn emblem of welcome and of the Nasrid dynasty.

On the eastern façade, which faces the Palace of Charles V, the spandrels of the arch are particularly noteworthy, decorated with tiles made using the dry rope technique, offering a beautiful example of Hispano-Muslim decorative art.

During the time of the Nasrid dynasty, the site now occupied by the Church of Santa María de la Alhambra housed the Aljama Mosque or Great Mosque of the Alhambra, built at the beginning of the 14th century by Sultan Muhammad III.

After the capture of Granada on January 2, 1492, the mosque was blessed for Christian worship and the first Mass was celebrated there. By order of the Catholic Monarchs, it was consecrated under the patronage of Saint Mary, and the first archiepiscopal seat was established there.

By the end of the 16th century, the old mosque was in a state of disrepair, which led to its demolition and the construction of a new Christian temple, which was completed in 1618.

Few vestiges of the Islamic building remain. The most significant preserved element is a bronze lamp with an epigraphic inscription dated 1305, currently in the National Archaeological Museum in Madrid. A replica of this lamp can be seen in the Alhambra Museum, in the Palace of Charles V.

The Church of Santa María de la Alhambra has a simple layout with a single nave and three side chapels on each side. The most notable feature of its interior is the titular image: the Virgin of Angustias, an 18th-century work by Torcuato Ruiz del Peral.

This image, also known as the Virgin of Mercy, is the only one carried in procession in Granada every Holy Saturday, weather permitting. It is carried on a throne of great beauty, embossed in silver, imitating the arches of the emblematic Patio de los Leones.

As a curiosity, the Granada poet Federico García Lorca was a member of this brotherhood.

Before the current Parador de Turismo, and to the east, lie the remains of a medieval tannery or buffalo farm, a facility dedicated to the processing of hides: cleaning, tanning, and dyeing. This was a common activity throughout al-Andalus.

The Alhambra tannery is small compared to similar tannery stores in North Africa. However, it should be noted that its purpose was exclusively to meet the needs of the Nasrid court.

It had eight small pools of different sizes, both rectangular and circular, where the lime and dyes used in the leather tanning process were stored.

This activity required abundant water, which is why the tannery was located next to the Royal Canal, taking advantage of its constant flow. Its existence is also an indication of the large amount of water available in this area of the Alhambra.

The Water Tower is an imposing structure located in the southwest corner of the Alhambra wall, near the current main entrance from the ticket office. Although it served defensive purposes, its most important purpose was to protect the entrance to the Royal Canal, hence its name.

The irrigation ditch reached the palatine city after crossing an aqueduct and bordered the north face of the tower to supply water to the entire Alhambra.

The tower we see today is the result of extensive reconstruction. During the retreat of Napoleon's troops in 1812, it suffered severe damage from gunpowder explosions, and by the mid-20th century it was reduced almost to its massive base.

This tower was essential, as it allowed water—and therefore life—to enter the palatine city. Originally, Sabika Hill lacked natural water sources, which posed a significant challenge for the Nasrids.

For this reason, Sultan Muhammad I ordered a major hydraulic engineering project: the construction of the so-called Sultan's Ditch. This ditch captures water from the Darro River about six kilometers away, at a higher altitude, taking advantage of the slope to convey the water by gravity.

The infrastructure included a storage dam, an animal-powered waterwheel, and a brick-lined canal—the acequia—that runs underground through mountains, entering the upper part of the Generalife.

To overcome the steep slope between Cerro del Sol (Generalife) and Sabika Hill (Alhambra), engineers built an aqueduct, a key project to ensure the water supply to the entire monumental complex.

The Alcazaba is the most primitive part of the monumental complex, built on the remains of an ancient Zirid fortress.

The origins of the Nasrid Alcazaba date back to 1238, when the first sultan and founder of the Nasrid dynasty, Muhammad Ibn al-Alhmar, decided to move the seat of the sultanate from the Albaicín to the opposite hill, the Sabika.

The location chosen by Al-Ahmar was ideal since the Alcazaba, located at the western end of the hill and with a triangular layout, very similar to the prow of a ship, guaranteed optimal defense for what would become the palatine city of the Alhambra, built under its protection.

The Alcazaba, with its several walls and towers, was clearly intended to be defensive. It was, in fact, a surveillance center, due to its location two hundred meters above the city of Granada, thus guaranteeing visual control of the entire surrounding territory and simultaneously representing a symbol of power.

Inside, the military quarter is located, and over time, the Alcazaba was established as a small, independent micro-city for high-ranking soldiers, responsible for the defense and protection of the Alhambra and its sultans.

Upon entering the citadel, we find ourselves in what appears to be a labyrinth, although in reality it is a process of architectural restoration using anastylosis, which has allowed the restoration of the old military quarter that had remained buried until the beginning of the twentieth century.

The Sultan's elite guard and the rest of the military contingent responsible for the defense and security of the Alhambra resided in this neighborhood. It was, therefore, a small city within the Alhambra's palatial city, with everything necessary for daily life, such as housing, workshops, a bakehouse with an oven, warehouses, a cistern, a hammam, and so on. In this way, the military and civilian populations could be kept separate.

In this neighborhood, thanks to this restoration, we can contemplate the typical layout of the Muslim house: an entrance with a corner entrance, a small courtyard as the central axis of the house, rooms surrounding the courtyard, and a latrine.

Furthermore, at the beginning of the twentieth century, a dungeon was discovered underground. Easily recognizable from the outside by the modern spiral staircase leading down to it. This dungeon housed prisoners who could be used to obtain significant benefits, whether political or economic, or, in other words, individuals with significant market value.

This underground prison is shaped like an inverted funnel and has a circular floor plan. This made it impossible for these captives to escape. In fact, the prisoners were brought inside using a system of pulleys or ropes.

The Powder Tower served as a defensive reinforcement on the southern side of the Vela Tower and from there the military road that led to the Red Towers started.

Since 1957, it is in this tower where we can find some verses engraved on stone, whose authorship corresponds to the Mexican Francisco de Icaza:

“Give alms, woman, there is nothing in life,
like the penalty of being blind in Granada.”

The space occupied by the Garden of the Adarves dates back to the sixteenth century, when an artillery platform was built in the process of adapting the Alcazaba for artillery.

It was already in the seventeenth century when military use lost its importance and the fifth Marquis of Mondéjar, after being appointed warden of the Alhambra in 1624, decided to transform this space into a garden by filling the space between the outer and inner walls with earth.

There is a legend that it was in this place where gold-filled porcelain vases were found hidden, probably hidden by the last Muslims who inhabited the area. Some of the gold was used by the Marquis to finance the creation of this beautiful garden. It is thought that perhaps one of these vases is one of the twenty large Nasrid gilded earthenware vases preserved worldwide. We can see two of these vases in the National Museum of Hispano-Muslim Art, located on the ground floor of the Palace of Charles V.

One of the notable features of this garden is the presence in the central part of a kettledrum-shaped fountain. This fountain has had various locations, the most striking and notable being in the Patio de los Leones (Courtyard of the Lions), where it was placed in 1624 over the Lions' Fountain, causing significant damage. The bowl remained in that location until 1954, when it was removed and replaced here.

Under the Nasrid dynasty, this tower was known as the Torre Mayor, and from the sixteenth century onward, it was also called the Torre del Sol (Tower of the Sun), because the sun reflected off the tower at midday, acting as a sundial. However, its current name comes from the word velar (vellar), given that, thanks to its height of 27 meters, it provides a 360-degree view that would allow any movement to be detected.

The Tower's appearance has changed over time. It originally had battlements on its terrace, which were lost due to several earthquakes. The bell was added after the Christians captured Granada.

This bell was used to warn the population of any potential danger, such as earthquakes or fires. The sound of this bell was also used to regulate irrigation schedules in the Granada Valley.

Currently, and according to tradition, the bell is rung every January 2nd to commemorate the capture of Granada on January 2nd, 1492.

Located in the northern wall of the Alcazaba, the Puerta de las Armas was one of the main entrances to the Alhambra.

During the Nasrid dynasty, citizens crossed the Darro River via the Cadí Bridge and climbed the hill along a path now hidden by the San Pedro Forest until they reached the gate. Inside the gate, they had to deposit their weapons before entering the enclosure, hence the name "Gate of Arms."

From the terrace of this tower, we can now enjoy one of the best panoramic views of the city of Granada.

Just across the street is the Albaicín neighborhood, recognizable by its whitewashed houses and labyrinthine streets. This neighborhood was declared a UNESCO World Heritage Site in 1994.

It is in this neighborhood where one of Granada's most famous viewpoints is located: the Mirador de San Nicolás.

To the right of the Albaicín, is the Sacromonte neighborhood.

Sacromonte is Granada's quintessential old Gypsy neighborhood and the birthplace of flamenco. This neighborhood is also characterized by the presence of troglodyte dwellings: caves.

At the foot of the Albaicín and the Alhambra lies the Carrera del Darro, next to the banks of the river of the same name.

The Keep is one of the oldest towers in the Alcazaba, standing 26 meters tall. It has six floors, a terrace, and an underground dungeon.

Due to the tower's height, communication with the kingdom's watchtowers was established from its terrace. This communication was established through a system of mirrors during the day or smoke with bonfires at night.

It is thought that, due to the tower's protruding position on the hill, it was probably the place chosen for the display of the banners and red flags of the Nasrid dynasty.

The base of this tower was reinforced by the Christians with the so-called Cube Tower.

After the capture of Granada, the Catholic Monarchs planned a series of renovations to adapt the Alcazaba to artillery. Thus, the Cube Tower was built over the Tahona Tower. Thanks to its cylindrical shape, it provides greater protection against potential impacts compared to the square-shaped Nasrid towers.

The Generalife, located on Cerro del Sol, was the sultan's almunia, or in other words, a palatial country house with orchards, where, in addition to farming, animals were raised for the Nasrid court and hunting was practiced. Its construction is estimated to have begun in the late 13th century by Sultan Muhammad II, son of the founder of the Nasrid dynasty.

The name Generalife comes from the Arabic "yannat-al-arif," meaning "the architect's garden." It was a much larger space in the Nasrid period, with at least four vegetable gardens, and extended to a place known today as "the partridge plain."

This country house, which the vizier Ibn al-Yayyab called the Royal House of Happiness, was a palace: the sultan's summer palace. Despite its proximity to the Alhambra, it afforded him enough privacy to escape and relax from the stresses of court and government life, as well as to enjoy more pleasant temperatures. Due to its location at a higher altitude than the palatine city of the Alhambra, the temperature inside dropped.

When Granada was captured, the Generalife became the property of the Catholic Monarchs, who placed it under the protection of an alcaide or commander. Philip II eventually ceded the perpetual alcaidía and ownership of the site to the Granada Venegas family (a family of converted Moriscos). The State only recovered the site after a dispute that lasted almost 100 years and ended with an out-of-court settlement in 1921.

Agreement by which the Generalife would become a national heritage site and would be managed together with the Alhambra through the Board of Trustees, thus forming the Board of Trustees of the Alhambra and the Generalife.

The open-air amphitheater we encountered on our way to the Generalife Palace was built in 1952 with the intention of hosting, as it does every summer, the Granada International Music and Dance Festival.

Since 2002, a Flamenco Festival has also been held, dedicated to Granada's most famous poet: Federico García Lorca.

Under the Nasrid dynasty, the road that connected the palatine city and the Generalife started from the Puerta del Arabal, framed by the so-called Torre de los Picos, so named because its battlements end in brick pyramids.

It was a winding, sloping road, protected on both sides by high walls for greater security, and led to the entrance to the Patio del Descabalgamiento.

These ruins or foundations are the archaeological remains of what was once the so-called House of Friends. Its name and purpose have come down to us thanks to Ibn Luyún's "Treatise on Agriculture" in the 14th century.

It was therefore a dwelling intended for people, friends or relatives whom the sultan held in esteem and considered important to have close to him, but without invading their privacy, so it was an isolated dwelling.

This Oleander Walk was built in the mid-19th century for the visit of Queen Elizabeth II and to create a more monumental access to the upper part of the palace.

Oleander is another name for the pink laurel, which appears in the form of an ornamental canopy along this walkway. At the beginning of the walk, behind the High Gardens, is one of the oldest examples of the Moorish myrtle, which was nearly lost and whose genetic traces are still being investigated today.

It is one of the most characteristic plants of the Alhambra, distinguished by its curled leaves, which are larger than the common myrtle.

The Paseo de las Adelfas connects with the Paseo de los Cipreses, which serves as a link leading visitors to the Alhambra.

One of the best-preserved and unique elements of the Generalife is the so-called Water Staircase. It is believed that, under the Nasrid dynasty, this staircase—divided into four flights with three intermediate landings—had water channels that flowed through the two glazed ceramic handrails, fed by the Royal Canal.

This water pipe reached a small oratory, of which no archaeological information survives. In its place, since 1836, there has been a romantic belvedere erected by the estate manager at the time.

The climb up this staircase, framed by a laurel vault and the murmur of water, probably created an ideal environment for stimulating the senses, entering into a climate conducive to meditation, and performing ablutions prior to prayer.

In the grounds surrounding the palace, it is estimated that there must have been at least four large vegetable gardens organized on different levels, or paratas, enclosed by adobe walls. The names of these gardens that have survived to the present day are: Grande, Colorada, Mercería, and Fuente Peña.

These gardens have continued to be cultivated, to a greater or lesser extent, since the 14th century, using the same traditional medieval techniques. Thanks to this agricultural production, the Nasrid court maintained a certain independence from other external agricultural suppliers, allowing it to meet its own food needs.

They were used not only for vegetable gardens, but also for fruit trees and animal pastures. For example, today they grow artichokes, eggplants, beans, figs, pomegranates, and almond trees.

Today, the preserved orchards continue to use the same agricultural production techniques employed in medieval times, giving this space great anthropological value.

These gardens are accessed from the Patio de la Sultana via a steep 19th-century staircase, called the Lions' Staircase, due to the two glazed earthenware figures above the gate.

These gardens can be considered an example of a Romantic garden. They are located on pillars and form the highest part of the Generalife, offering spectacular views of the entire monumental complex.

The presence of beautiful magnolias stands out.

The Rose Gardens date back to the 1930s and 1950s, when the State acquired the Generalife in 1921.

The need then arose to enhance the value of an abandoned area and strategically connect it to the Alhambra through a gradual and smooth transition.

The Patio de la Acequia, also called the Patio de la Ría in the 19th century, today has a rectangular structure with two facing pavilions and a bay.

The courtyard's name comes from the Royal Canal that runs through this palace, around which four gardens are arranged in orthogonal parterres at a lower level. On both sides of the canal are fountains that form one of the palace's most popular images. However, these fountains are not original, as they disrupt the tranquility and serenity the sultan sought during his moments of rest and meditation.

This palace has undergone extensive transformations, as this courtyard was originally closed to the views we find today through the gallery of 18 belvedere-style arches. The only part that would allow a view of the landscape would be the central viewing platform. From this original viewing platform, sitting on the floor and leaning on the windowsill, one could contemplate the panoramic views of the palatine city of the Alhambra.

As a testament to its past, we find Nasrid decoration in the viewing platform, where the plasterwork of Sultan Ismail I is superimposed over that of Muhammad III stands out. This demonstrates that each sultan had different tastes and needs and adapted the palaces accordingly, leaving their own mark or imprint.

As we pass the viewpoint, and if we look at the intrados of the arches, we will also find emblems of the Catholic Monarchs such as the Yoke and the Arrows, as well as the motto "Tanto Monta".

The east side of the courtyard is recent due to a fire that occurred in 1958.

Before entering the Patio de la Acequia, we come across the Patio de la Guardia. A simple courtyard with porticoed galleries and a fountain in its center, it is also decorated with bitter orange trees. This courtyard must have served as a control area and antechamber before accessing the sultan's summer quarters.

What stands out about this place is that, after climbing some steep stairs, we find a doorway framed by a lintel decorated with tiles in shades of blue, green, and black on a white background. We can also see, although worn by the passage of time, the Nasrid key.

As we climb the steps and pass through this doorway, we come across a bend, the guard benches, and a steep, narrow staircase that leads us to the palace.

The Patio de la Sultana is one of the most transformed spaces. It is thought that the site now occupied by this courtyard—also called the Patio del Ciprés—was the area used for the former hammam, the Generalife baths.

In the 16th century, it lost this function and became a garden. Over time, a northern gallery was added, along with a U-shaped pool, a fountain in its center, and thirty-eight noisy jets.

The only elements preserved from the Nasrid period are the Acequia Real waterfall, protected behind a fence, and a small section of canal that directs the water towards the Patio de la Acequia.

The name "Cypress Courtyard" is due to the centuries-old dead cypress tree, of which only its trunk remains today. Next to it is a Granada ceramic plaque that tells of the 16th-century legend by Ginés Pérez de Hita, according to which this cypress witnessed the amorous encounters of the last sultan's favorite, Boabdil, with a noble Abencerraje knight.

The Patio del Descabalgamiento, also known as Patio Polo, is the first courtyard we encounter upon entering the Generalife Palace.

The Sultan used a horse as a means of transportation to access the Generalife, and as such, he needed a place to dismount and house these animals. This courtyard is thought to have been intended for this purpose, as it housed the stables.

It had benches for support for horses to get on and off, and two stables in the side aisles, which served as stables on the lower level and haylofts on the upper level. A drinking trough with fresh water for the horses was also essential.

Worth noting here: above the lintel of the door leading to the next courtyard, we find the Alhambra key, a symbol of the Nasrid dynasty, representing salutation and ownership.

The north portico is the best preserved and was intended to house the sultan's quarters.

We find a portico with five arches supported by columns and alhamíes at their ends. Beyond this portico, and to access the Royal Hall, one passes through a triple archway in which poems speak of the Battle of La Vega or Sierra Elvira in 1319, which gives us information about the dating of the site.

On the sides of this triple arch there are also *taqas*, small niches excavated in the wall where water was placed.

The Royal Hall, located in a square tower decorated with plasterwork, was the place where the sultan—despite this being a leisure palace—received urgent audiences. These audiences, according to verses engraved there, were supposed to be brief and to the point so as not to unduly disturb the emir's rest.

The Nasrid Palaces constitute the most emblematic and striking part of the monumental complex. They were built in the 14th century, a period that can be considered a time of great splendor for the Nasrid dynasty.

These palaces were the area reserved for the sultan and his close relatives, where family life took place, but also the official and administrative life of the kingdom.

The Palaces are: the Mexuar, the Comares Palace and the Palace of the Lions.

Each of these palaces was built independently, at different times, and with their own distinct functions. It was after the Capture of Granada that the palaces were unified, and from that moment on, they became known as the Royal House, and later as the Old Royal House, when Charles V decided to build his own palace.

The Mexuar is the oldest part of the Nasrid Palaces, but it is also the space that has undergone the greatest transformations over time. Its name comes from the Arabic *Maswar*, which refers to the place where the *Sura* or Council of Ministers of the Sultan met, thus revealing one of its functions. It was also the antechamber where the Sultan administered justice.

The construction of the Mexuar is attributed to Sultan Isma'il I (1314–1325), and was modified by his grandson Muhammad V. However, it was the Christians who most transformed this space by converting it into a chapel.

During the Nasrid period, this space was much smaller and was organized around four central columns, where the characteristic Nasrid cubic capital, painted cobalt blue, can still be seen. These columns supported a lantern that provided overhead light, which was removed in the 16th century to create upper rooms and side windows.

To convert the space into a chapel, the floor was lowered and a small rectangular space was added at the back, now separated by a wooden balustrade that indicates where the upper choir was located.

The ceramic tiled plinth with star decoration was brought from elsewhere. Among its stars, one can alternately see: the coat of arms of the Nasrid Kingdom, that of Cardinal Mendoza, the double-headed eagle of the Austrians, the motto "There is no victor but God," and the Pillars of Hercules from the imperial coat of arms.

Above the plinth, a plaster epigraphic frieze repeats: “The Kingdom is God’s. Strength is God’s. Glory is God’s.” These inscriptions replace the Christian ejaculations: “Christus regnat. Christus vincit. Christus imperat.”

The current entrance to the Mexuar was opened in the modern period, changing the location of one of the Pillars of Hercules, bearing the motto "Plus Ultra," which was moved to the east wall. The plaster crown above the door remains in its original location.

At the back of the room, a door leads to the Oratory, which was originally accessed through the Machuca gallery.

This space is one of the most damaged in the Alhambra due to the explosion of a powder magazine in 1590. It was restored in 1917.

During the restoration, the floor level was lowered to prevent accidents and facilitate visits. A continuous ledge under the windows remains as a testament to the original level.

This impressive façade, extensively restored between the 19th and 20th centuries, was built by Muhammad V to commemorate the capture of Algeciras in 1369, which granted him dominion over the Strait of Gibraltar.

In this courtyard, the sultan received subjects who had a special audience. He sat in the central part of the façade, on a jamuga (wooden frame) between the two doors and beneath the great eaves, a masterpiece of Nasrid carpentry that crowned it.

The façade has a strong allegorical meaning. On it, subjects could read:

“My position is that of a crown and my gate a fork: the West believes that in me is the East.”
Al-Gani bi-llah has entrusted me with opening the door to the victory that is being announced.
Well, I'm waiting for him to appear as the horizon reveals itself in the morning.
May God make his work as beautiful as his character and figure are!

The door on the right served as access to the private quarters and service area, while the door on the left, through a curved corridor with benches for the guard, gives access to the Comares Palace, specifically to the Patio de los Arrayanes.

Subjects who obtained an audience waited in front of the façade, separated from the sultan by the royal guard, in the room now known as the Golden Room.

The name *Golden Quarter* comes from the period of the Catholic Monarchs, when the Nasrid coffered ceiling was repainted with golden motifs and the emblems of the monarchs were incorporated.

In the center of the courtyard is a low marble fountain with galloons, a replica of the Lindaraja fountain preserved in the Alhambra Museum. To one side of the fountain, a gate leads to a dark underground corridor used by the guards.

One of the characteristics of the Hispano-Muslim house is access through a curved hallway that leads to an open-air courtyard, the focal point of life and organization of the home, complete with a water feature and vegetation. This same concept is found in the Patio de los Arrayanes, but on a larger scale, measuring 36 meters long and 23 meters wide.

The Patio de los Arrayanes (Courtyard of the Myrtles) is the centerpiece of the Comares Palace, where the political and diplomatic activities of the Nasrid Kingdom took place. It is a rectangular courtyard of imposing dimensions, whose central axis is a large pool. In it, the still water acts as a mirror, lending depth and verticality to the space, thus creating a palace on water.

At both ends of the pool, jets gently introduce water so as not to disrupt the mirror effect or the stillness of the place.

Flanking the pool are two myrtle clumps, which give the current site its name: Patio de los Arrayanes (Courtyard of the Myrtles). In the past, it was also known as Patio de la Alberca (Courtyard of the Pool).

The presence of water and vegetation is not only a matter of ornamental or aesthetic considerations, but also a desire to create pleasant spaces, especially in summer. Water refreshes the environment, while vegetation retains moisture and provides fragrance.

On the longer sides of the courtyard are four independent dwellings. On the north side stands the Comares Tower, which houses the Throne Room or Ambassadors' Room.

On the south side, the façade acts as a trompe l'oeil, as the building that existed behind it was demolished to connect the Palace of Charles V with the Old Royal House.

Before entering the Nasrid Palaces, if we look to the left, we find two courtyards.

The first is the Patio de la Mezquita, named after the small mosque located in one of its corners. However, since the 20th century, it has also been known as the Madrasa de los Príncipes (Princes' Madrasa), as its structure bears similarities to the Madrasa of Granada.

Further on is the Patio de Machuca, named after the architect Pedro Machuca, who was in charge of supervising the construction of the Palace of Charles V in the 16th century and who resided there.

This courtyard is easily recognizable by the lobed-edged pool at its center, as well as by the arched cypress trees, which restore the architectural feel of the space in a non-invasive way.

The Boat Room is the anteroom to the Throne Room or Ambassadors' Room.

On the jambs of the arch leading into this room, we find facing niches carved in marble and decorated with colorful tiles. These are one of the most characteristic ornamental and functional elements of the Nasrid palaces: the taqas.

*Taqas* are small niches carved into walls, always arranged in pairs and facing each other. They were used to hold jars of fresh water for drinking or scented water for washing hands.

The current ceiling of the hall is a reproduction of the original, lost in a fire in 1890.

The name of this room comes from a phonetic alteration of the Arabic word *baraka*, meaning "blessing," which is repeated numerous times on the walls of this room. It does not derive, as is popularly believed, from the inverted boat-shaped roof.

It was in this place where the new sultans requested the blessing of their god before being crowned as such in the Throne Room.

Before entering the Throne Room, we find two side entrances: on the right, a small oratory with its mihrab; and on the left, the access door to the interior of the Comares Tower.

The Ambassadors' Hall, also called the Throne Hall or the Comares Hall, is the site of the sultan's throne and, therefore, the center of power of the Nasrid dynasty. Perhaps for this reason, it is located within the Comares Tower, the largest tower in the monumental complex, at 45 meters high. Its etymology comes from the Arabic *arsh*, meaning tent, pavilion, or throne.

The room is shaped like a perfect cube, and its walls are richly decorated up to the ceiling. On the sides are nine identical alcoves grouped in groups of three with windows. The one opposite the entrance features more elaborate decoration, as it was the sultan's seat, backlit, favoring the effect of dazzling and surprising.

In the past, the windows were covered with colored glass panels with geometric shapes called *cumarias*. These were lost due to the shock wave of a powder magazine that exploded in 1590 on the Carrera del Darro.

The decorative richness of the hall is extreme. It begins in the lower part with geometrically shaped tiles, creating a visual effect similar to that of a kaleidoscope. It continues on the walls with stuccos resembling hanging tapestries, decorated with plant motifs, flowers, shells, stars, and abundant inscriptions.

The current script is of two types: cursive, the most common and easily recognizable; and Kufic, a cultured script with rectilinear and angular forms.

Among all the inscriptions, the most notable is the one below the ceiling, on the top strip of the wall: sura 67 of the Quran, called *The Kingdom* or *of the Lordship*, which runs along the four walls. This sura was recited by the new sultans to proclaim that their power came directly from God.

The image of divine power is also represented in the ceiling, composed of 8,017 different pieces that, through wheels of stars, illustrate Islamic eschatology: the seven heavens and an eighth, paradise, the Throne of Allah, represented by the central dome of muqarnas.

To access the Christian Royal House, you must use one of the doors open in the left alcove of the Hall of the Two Sisters.

Charles V, grandson of the Catholic Monarchs, visited the Alhambra in June 1526 after marrying Isabella of Portugal in Seville. Upon arriving in Granada, the couple settled into the Alhambra itself and ordered the construction of new rooms, now known as the Emperor's Apartments.

These spaces completely break with Nasrid architecture and aesthetics. However, as they were built on garden areas between the Comares Palace and the Palace of the Lions, the upper part of the Royal Hammam, or Comares Hammam, can be seen through small windows to the left of the corridor. A few meters further on, other openings reveal the Hall of Beds and the Musicians' Gallery.

The Royal Baths were not only a place of hygiene, but also an ideal place to cultivate political and diplomatic relations in a relaxed and friendly manner, accompanied by music to liven up the occasion. This space is only open to the public on special occasions.

Through this corridor you enter the Emperor's Office, which stands out for its Renaissance fireplace with the imperial coat of arms and a wooden coffered ceiling designed by Pedro Machuca, architect of the Palace of Charles V. On the coffered ceiling you can read the inscription "PLUS ULTRA", a motto adopted by the Emperor, along with the initials K and Y, corresponding to Charles V and Isabella of Portugal.

Leaving the hall, on the right are the Imperial Rooms, currently closed to the public and only accessible on special occasions. These rooms are also known as Washington Irving's Rooms, as it was here that the American Romantic writer stayed during his stay in Granada. It was possibly here that he wrote his famous book *Tales of the Alhambra*. A commemorative plaque can be seen above the door.

Adjacent to the Patio de la Reja is the Patio de Lindaraja, adorned with carved boxwood hedges, cypress trees, and bitter orange trees. This patio owes its name to the Nasrid viewpoint located on its southern side, which bears the same name.

During the Nasrid period, the garden had a completely different appearance than it does today, as it was a space open to the landscape.

With the arrival of Charles V, the garden was enclosed, taking on a cloister-like layout thanks to a porticoed gallery. Columns from other parts of the Alhambra were used for its construction.

In the center of the courtyard stands a Baroque fountain, over which a Nasrid marble basin was superimposed at the beginning of the 17th century. The fountain we see today is a replica; the original is preserved in the Alhambra Museum.

The Patio de los Leones (Courtyard of the Lions) is the heart of this palace. It is a rectangular courtyard surrounded by a porticoed gallery with 124 columns, each one different from the other, which connect the different rooms of the palace. It bears a certain resemblance to a Christian cloister.

This space is considered one of the jewels of Islamic art, despite breaking with the usual patterns of Hispano-Muslim architecture.

The palace's symbolism revolves around the concept of a garden-paradise. The four water channels that radiate from the center of the courtyard could represent the four rivers of Islamic paradise, giving the courtyard a cruciform layout. The columns evoke a palm forest, like the oasis of paradise.

In the center is the famous Fountain of the Lions. The twelve lions, although in a similar position—alert and with their backs to the fountain—have different features. They are carved from white Macael marble, carefully selected to take advantage of the stone's natural veins and accentuate its distinctive features.

There are various theories about its symbolism. Some believe it represents the strength of the Nasrid dynasty or Sultan Muhammad V, the twelve signs of the zodiac, the twelve hours of the day, or even a water clock. Others maintain that it is a reinterpretation of the Bronze Sea of Judea, held up by twelve bulls, here replaced by twelve lions.

The central bowl was probably carved in situ and contains poetic inscriptions praising Muhammad V and the hydraulic system that feeds the fountain and regulates the flow of water to prevent overflow.

“In appearance, water and marble seem to merge without us knowing which of the two is sliding.
Don't you see how the water spills into the bowl, but its spouts immediately hide it?

He is a lover whose eyelids overflow with tears,
tears that she hides for fear of an informer.

Is it not, in reality, like a white cloud that pours its irrigation ditches upon the lions and seems like the hand of the caliph who, in the morning, lavishes his favors upon the lions of war?

The fountain underwent several transformations over time. In the 17th century, a second basin was added, which was removed in the 20th century and relocated to the Garden of the Adarves of the Alcazaba.

The Christian adaptation of the palace entailed the creation of direct access to the Comares Tower via a two-story open gallery. This gallery offers magnificent views of two of Granada's most iconic neighborhoods: the Albaicín and the Sacromonte.

From the gallery, looking to the right, you can also see the Queen's Dressing Room, which, like other areas mentioned above, can only be visited on special occasions or as a space of the month.

The Queen's Dressing Room is located in the Tower of Yusuf I, a tower set forward from the wall. Its Christian name comes from the use made of it by Isabella of Portugal, wife of Charles V, during her stay at the Alhambra.

Inside, the space was adapted to Christian aesthetics and houses valuable Renaissance paintings by Julius Achilles and Alexander Mayner, disciples of Raphael Sanzio, also known as Raphael of Urbino.

Descending from the gallery, we find the Patio de la Reja (Courtyard of the Grill). Its name comes from the continuous balcony with wrought iron railings, installed in the mid-17th century. These railings served as an open corridor to connect and protect the adjacent rooms.

The Hall of the Two Sisters gets its current name from the presence of two twin slabs of Macael marble located in the center of the room.

This room bears some resemblance to the Hall of the Abencerrajes: it is located higher than the courtyard and, beyond the entrance, has two doors. The one on the left led to the toilet, and the one on the right led to the upper rooms of the house.

Unlike its twin room, this one opens to the north towards the Sala de los Ajimeces and a small viewpoint: the Mirador de Lindaraja.

During the Nasrid dynasty, under Muhammad V, this room was known as *qubba al-kubra*, meaning the great qubba, the most important in the Palace of the Lions. The term *qubba* refers to a square floor plan covered with a dome.

The dome begins with an eight-pointed star, unfolding into a three-dimensional layout composed of 5,416 muqarnas, some of which still retain traces of polychromy. These muqarnas are distributed in sixteen small cupolas located above sixteen windows with lattices that bring changing light into the room depending on the time of day.

Before entering the western hall, also known as the Hall of the Abencerrajes, we find some wooden doors with remarkable carvings that have been preserved since medieval times.

The name of this room is linked to a legend according to which, due to a rumor about an affair between an Abencerraje knight and the sultan's favorite, or due to alleged plots by this family to overthrow the monarch, the sultan, filled with rage, summoned the Abencerraje knights. Thirty-six of them lost their lives as a result.

This story was recorded in the 16th century by the writer Ginés Pérez de Hita in his novel about the *Civil Wars of Granada*, where he narrates that the knights were murdered in this very room.

For this reason, some claim to see in the rust stains on the central fountain a symbolic vestige of the rivers of blood of those knights.

This legend also inspired the Spanish painter Mariano Fortuny, who captured it in his work entitled *The Massacre of the Abencerrajes*.

Upon entering the door, we found two entrances: the one on the right led to the toilet, and the one on the left to some stairs leading to the upper rooms.

The Hall of the Abencerrajes is a private and independent dwelling on the ground floor, structured around a large *qubba* (dome in Arabic).

The plaster dome is richly decorated with muqarnas originating from an eight-pointed star in a complex three-dimensional composition. The muqarnas are architectural elements based on hanging prisms with concave and convex shapes, reminiscent of stalactites.

As you enter the room, you notice a drop in temperature. This is because the only windows are located at the top, allowing hot air to escape. Meanwhile, the water from the central fountain cools the air, making the room, with the doors closed, function as a kind of cave, with an ideal temperature for the hottest summer days.

Beyond the Hall of the Two Sisters, to the north, we find a transverse nave covered by a muqarnas vault. This room is called the Hall of the Mullions (Ajimeces) because of the type of windows that must have closed the openings on either side of the central arch that leads to the Lindaraja Viewpoint.

The white walls of this room are believed to have been originally covered with silk fabrics.

The so-called Lindaraja Viewpoint owes its name to the derivation of the Arabic term *Ayn Dar Aisa*, which means “the eyes of the House of Aisa”.

Despite its small size, the interior of the viewing platform is remarkably decorated. On one hand, it features tiling with a succession of small, interlocking stars, which required meticulous work by the artisans. On the other hand, if you look up, you can see a ceiling with colored glass embedded in a wooden structure, resembling a skylight.

This lantern is a representative example of what many of the windows or mullioned windows of the Palatine Alhambra must have looked like. When sunlight hits the glass, it projects colorful reflections that illuminate the decoration, giving the space a unique, ever-changing atmosphere throughout the day.

During the Nasrid period, when the courtyard was still open, a person could sit on the floor of the belvedere, rest their arm on the windowsill, and enjoy spectacular views of the Albayzín neighborhood. These views were lost at the beginning of the 16th century, when the outbuildings intended to serve as the residence of Emperor Charles V were built.

The Hall of the Kings occupies the entire east side of the Patio de los Leones and, although it appears integrated into the palace, it is thought to have had its own function, probably of a recreational or courtly nature.

This space stands out for preserving one of the few examples of Nasrid figurative painting.

In the three alcoves, each approximately fifteen square meters in area, there are three false vaults decorated with paintings on lambskin. These skins were fixed to the wooden support with small bamboo nails, a technique that prevented the material from rusting.

The name of the room probably comes from the interpretation of the painting in the central alcove, which depicts ten figures that could correspond to the first ten sultans of the Alhambra.

In the side alcoves, chivalric scenes of fighting, hunting, games, and love can be seen. Their clothing clearly distinguishes the presence of Christian and Muslim figures sharing the same space.

The origin of these paintings has been widely debated. Due to their Linear Gothic style, it is thought that they were probably created by Christian artists familiar with the Muslim world. These works may be the result of the good relationship between Muhammad V, founder of this palace, and the Christian king Peter I of Castile.

The Room of Secrets is a square-shaped room, covered with a spherical vault.

Something very peculiar and curious happens in this room, making it one of the favorite attractions for visitors to the Alhambra, especially for the little ones.

The phenomenon is that if one person stands at one corner of the room and another at the opposite corner—both facing the wall and as close to it as possible—one of them can speak very quietly and the other will hear the message perfectly, as if they were right next to them.

It is thanks to this acoustic “game” that the room gets its name: **Room of Secrets**.

The palace known as the Palace of the Lions was commissioned during the second reign of Sultan Muhammad V, which began in 1362 and lasted until 1391. During this period, construction began on the Palace of the Lions, adjacent to the Palace of Comares, which had been built by his father, Sultan Yusuf I.

This new palace was also called *Riyad Palace*, as it is believed to have been built on the former Comares Gardens. The term *Riyad* means "garden."

It is thought that the original access to the palace was through the southeast corner, from Calle Real and through a curved entrance. Currently, due to Christian modifications after the conquest, the Sala de los Muqarnas is accessed directly from the Comares Palace.

The Hall of the Muqarnas takes its name from the impressive muqarnas vault that originally covered it, which almost completely collapsed as a result of the vibrations caused by the explosion of a powder magazine on the Carrera del Darro in 1590.

Remains of this vault can still be seen on one side. On the opposite side, remains of a later Christian vault appear, bearing the letters "FY," traditionally associated with Ferdinand and Isabella, although they actually correspond to Philip V and Isabella Farnese, who visited the Alhambra in 1729.

It is believed that the room may have functioned as a vestibule or waiting room for guests attending the sultan's celebrations, parties, and receptions.

The large space known today as Jardines del Partal owes its name to the Palacio del Pórtico, named after its porticoed gallery.

This is the oldest preserved palace in the monumental complex, whose construction is attributed to Sultan Muhammad III at the beginning of the 14th century.

This palace bears some similarity to the Comares Palace, although it is older: a rectangular courtyard, a central pool, and the portico's mirror-like reflection in the water. Its main distinguishing feature is the presence of a side tower, known since the 16th century as the Ladies' Tower, although it has also been called the Observatory, as Muhammad III was a great fan of astronomy. The tower has windows facing the four cardinal points, allowing for spectacular views.

A notable curiosity is that this palace was privately owned until March 12, 1891, when its owner, Arthur Von Gwinner, a German banker and consul, ceded the building and the surrounding land to the Spanish State.

Unfortunately, Von Gwinner dismantled the wooden roof of the viewing platform and moved it to Berlin, where it is now on display in the Pergamon Museum as one of the highlights of its Islamic art collection.

Adjacent to the Partal Palace, to the left of the Ladies' Tower, are several Nasrid houses. One of them was called the House of Paintings due to the discovery, at the beginning of the 20th century, of tempera paintings on 14th-century stucco. These highly valuable paintings are a rare example of Nasrid figurative mural painting, depicting court scenes, hunting scenes, and celebrations.

Due to their importance and for conservation reasons, these homes are not open to the public.

To the right of the Partal Palace, on the rampart of the wall, is the Partal Oratory, whose construction is attributed to Sultan Yusuf I. Access is via a small staircase, as it is elevated from ground level.

One of the pillars of Islam is to pray five times a day facing Mecca. The oratory functioned as a palace chapel, allowing the inhabitants of the nearby palace to fulfill this religious obligation.

Despite its small size (about twelve square meters), the oratory has a small vestibule and a prayer room. Its interior features rich plasterwork decoration with plant and geometric motifs, as well as Quranic inscriptions.

Upon ascending the stairs, just opposite the entrance door, you will find the mihrab on the southwest wall, facing Mecca. It has a polygonal floor plan, a voussoired horseshoe arch, and is covered by a dome with muqarnas.

Of particular note is the epigraphic inscription located on the imposts of the mihrab arch, which invites prayer: “Come and pray, and do not be among the negligent.”

Attached to the oratory is the House of Atasio de Bracamonte, which was given in 1550 to the former squire of the warden of the Alhambra, the Count of Tendilla.

On the highest plateau in the Partal area are the archaeological remains of the Palace of Yusuf III. This palace was granted in June 1492 by the Catholic Monarchs to the first governor of the Alhambra, Don Íñigo López de Mendoza, second Count of Tendilla. For this reason, it is also known as the Tendilla Palace.

The reason this palace is in ruins stems from disagreements that arose in the 18th century between the descendants of the Count of Tendilla and Philip V of Bourbon. Upon the death of Archduke Charles II of Austria without heirs, the Tendilla family supported Archduke Charles of Austria instead of Philip of Bourbon. After Philip V's accession, reprisals were taken: in 1718, the mayorship of the Alhambra was removed from them, and later the palace was dismantled and its materials sold.

Some of these materials reappeared in the 20th century in private collections. It is believed that the so-called "Fortuny Tile," housed at the Valencia Institute of Don Juan in Madrid, may have come from this palace.

From 1740 onwards, the palace site became an area of leased vegetable gardens.

It was in 1929 that this area was recovered by the Spanish State and returned to the Alhambra. Thanks to the work of Leopoldo Torres Balbás, architect and restorer of the Alhambra, this space was enhanced with the creation of an archaeological garden.

The Palatine city wall originally had more than thirty towers, of which only twenty remain today. Initially, these towers had a strictly defensive function, although over time some also adopted residential use.

At the exit of the Nasrid Palaces, from the Upper Partal area, a cobbled path leads to the Generalife. This route follows the stretch of wall, home to some of the complex's most emblematic towers, framed by a garden area with beautiful views of the Albaicín and the Generalife orchards.

One of the most notable towers is the Tower of the Peaks, built by Muhammad II and later renovated by other sultans. It is easily recognizable by its brick pyramid-shaped battlements, from which its name may derive. However, other authors believe the name comes from the protruding corbels at its upper corners, which supported the machicolations, defensive elements that allowed attacks from above to be countered.

The tower's main function was to protect the Arrabal Gate located at its base, which connected to the Cuesta del Rey Chico, facilitating access to the Albaicín neighborhood and the old medieval road that connected the Alhambra with the Generalife.

In Christian times, an outer bastion with stables was built to reinforce its protection, which is closed by a new entrance known as the Iron Gate.

Although towers are commonly associated with an exclusively military function, it is known that the Torre de los Picos also had a residential use, as evidenced by the ornamentation present in its interior.

The Torre de la Cautiva has received various names over time, such as Torre de la Ladrona or Torre de la Sultana, although the most popular one has finally prevailed: Torre de la Cautiva.

This name is not based on proven historical facts, but rather stems from a romantic legend according to which Isabel de Solís was imprisoned in this tower. She later converted to Islam under the name Zoraida and became Muley Hacén's favorite sultana. This situation caused tensions with Aixa, the previous sultana and Boabdil's mother, given that Zoraida—whose name means "morning star"—removed her position at court.

The construction of this tower is attributed to Sultan Yusuf I, who was also responsible for the Comares Palace. This attribution is supported by the inscriptions in the main hall, the work of the vizier Ibn al-Yayyab, which praise this sultan.

In the poems inscribed on the walls, the vizier repeatedly uses the term qal'ahurra, which has since been used to refer to fortified palaces, as is the case with this tower. In addition to serving defensive purposes, the tower houses a real palace with rich decoration inside.

Regarding its ornamentation, the main hall features a ceramic tiled plinth with geometric shapes in various colors. Purple stands out among these, as it was particularly difficult and expensive to obtain at the time, so it was reserved exclusively for important spaces.

The Tower of the Infantas, like the Tower of the Captive, owes its name to a legend.

This is the legend of the three princesses Zaida, Zoraida and Zorahaida, who lived in this tower, a story that was collected by Washington Irving in his famous *Tales of the Alhambra*.

The construction of this palace-tower, or *qalahurra*, is attributed to Sultan Muhammad VII, who reigned between 1392 and 1408. Therefore, it is one of the last towers built by the Nasrid dynasty.

This circumstance is reflected in the interior decoration, which shows signs of a certain decline compared to previous periods of greater artistic splendor.

At the end of the Paseo de las Torres, in the easternmost part of the northern wall, are the remains of a cylindrical tower: the Torre del Cabo de Carrera.

This tower was practically destroyed as a result of the explosions carried out in 1812 by Napoleon's troops during their retreat from the Alhambra.

It is believed to have been built or rebuilt by order of the Catholic Monarchs in 1502, as confirmed by a now-lost inscription.

Its name comes from its location at the end of the Calle Mayor of the Alhambra, marking the limit or "cap de carrera" of said road.

The Palace of Charles V, with its sixty-three meters wide and seventeen meters high, follows the proportions of classical architecture, which is why it is divided horizontally into two levels with clearly differentiated architecture and decoration.

Three types of stone were used to decorate its facades: gray, compact limestone from Sierra Elvira, white marble from Macael, and green serpentine from the Barranco de San Juan.

The exterior decoration exalts the image of Emperor Charles V, highlighting his virtues through mythological and historical references.

The most notable facades are those on the south and west sides, both designed as triumphal arches. The main entrance is on the west side, where the main door is crowned by winged victories. On either side are two small doors above which are medallions with figures of mounted soldiers in combat.

Symmetrically duplicated reliefs are displayed on the pedestals of the columns. The central reliefs symbolize Peace: they show two women seated on a mound of weapons, carrying olive branches and supporting the Pillars of Hercules, the globe with the imperial crown and the motto *PLUS ULTRA*, while cherubs fire war artillery.

The side reliefs depict war scenes, such as the Battle of Pavia, where Charles V defeated Francis I of France.

At the top are balconies flanked by medallions depicting two of the twelve labors of Hercules: one slaying the Nemean Lion and another facing the Cretan Bull. The central medallion features the coat of arms of Spain.

In the lower part of the palace, the rusticated ashlars stand out, designed to convey a sense of solidity. Above them are bronze rings held by animal figures such as lions—symbols of power and protection—and in the corners, double eagles, alluding to imperial power and the emperor's heraldic emblem: the double-headed eagle of Charles I of Spain and V of Germany.

Emperor Charles I of Spain and V of the Holy Roman Empire, grandson of the Catholic Monarchs and son of Joanna I of Castile and Philip the Fair, visited Granada in the summer of 1526 after marrying Isabella of Portugal in Seville, to spend his honeymoon.

Upon his arrival, the emperor was captivated by the charm of the city and the Alhambra, and decided to build a new palace in the palatine city. This palace would become known as the New Royal House, in contrast to the Nasrid Palaces, which were henceforth known as the Old Royal House.

The works were commissioned to the Toledo architect and painter Pedro Machuca, who is said to have been a disciple of Michelangelo, which would explain his deep knowledge of the Classical Renaissance.

Machuca designed a monumental palace in the Renaissance style, with a square floor plan and a circle integrated into its interior, inspired by the monuments of classical antiquity.

Construction began in 1527 and was largely financed by the tributes the Moriscos had to pay to continue living in Granada and preserve their customs and rituals.

In 1550, Pedro Machuca died without finishing the palace. His son Luis continued the project, but after his death, work was halted for a time. It was resumed in 1572 under the reign of Philip II, entrusted to Juan de Orea on the recommendation of Juan de Herrera, architect of the Monastery of El Escorial. However, due to the lack of resources caused by the Alpujarras War, no significant progress was made.

It wasn't until the 20th century that the palace was completed, first under the direction of architect-restorer Leopoldo Torres Balbás, and finally in 1958 by Francisco Prieto Moreno.

The Palace of Charles V was conceived as a symbol of universal peace, reflecting the emperor's political aspirations. However, Charles V never personally visited the palace he commissioned.

The Alhambra Museum is located on the ground floor of the Palace of Charles V and is divided into seven rooms dedicated to Hispano-Muslim culture and art.

It houses the finest existing collection of Nasrid art, composed of pieces found in excavations and restorations carried out in the Alhambra itself over time.

Among the works on display are plasterwork, columns, carpentry, ceramics of various styles—such as the famous Vase of the Gazelles—a copy of the lamp from the Great Mosque of the Alhambra, as well as tombstones, coins, and other objects of great historical value.

This collection is the ideal complement to a visit to the monumental complex, as it provides a better understanding of daily life and culture during the Nasrid period.

Admission to the museum is free, although it is important to note that it is closed on Mondays.

When Pedro Machuca designed the Palace of Charles V, he did so using geometric forms with strong Renaissance symbolism: the square to represent the earthly world, the inner circle as a symbol of the divine and creation, and the octagon—reserved for the chapel—as a union between both worlds.

Upon entering the palace, we find ourselves in an imposing circular porticoed courtyard, elevated from the exterior. This courtyard is surrounded by two superimposed galleries, both with thirty-two columns. On the ground floor, the columns are Doric-Tuscan, and on the upper floor, Ionic.

The columns were made of pudding stone, or almond stone, from the Granada town of El Turro. This material was chosen because it was more economical than the marble originally planned.

The lower gallery has a circular vault that was possibly intended to be decorated with frescoes. The upper gallery, meanwhile, has a wooden coffered ceiling.

The frieze that runs around the courtyard features *burocranios*, representations of ox skulls, a decorative motif with roots in ancient Greece and Rome, where they were used in friezes and tombs linked to ritual sacrifices.

The two floors of the courtyard are connected by two staircases: one on the north side, built in the 17th century, and another also to the north, designed in the 20th century by the Alhambra's conservation architect, Francisco Prieto Moreno.

Although it was never used as a royal residence, the palace currently houses two important museums: the Museum of Fine Arts on the upper floor, with an outstanding collection of Granada painting and sculpture from the 15th to the 20th centuries, and the Alhambra Museum on the ground floor, accessed through the western entrance hall.

In addition to its museum function, the central courtyard boasts exceptional acoustics, making it a prime setting for concerts and theatrical performances, especially during the Granada International Music and Dance Festival.

On Calle Real, on the site adjacent to the current Church of Santa María de la Alhambra, is the Mosque Bath.

This bath was built during the reign of Sultan Muhammad III and financed by the jizya, a tax charged to Christians for planting land on the border.

The use of the hammam The bath was essential to the daily life of an Islamic city, and the Alhambra was no exception. Due to its proximity to the mosque, this bath served a key religious function: allowing for ablutions, or purification rituals, before prayer.

However, its function was not exclusively religious. The hammam also served as a place for personal hygiene and was an important social gathering place.

Its use was regulated by schedules, being in the morning for men and in the afternoon for women.

Inspired by Roman baths, Muslim baths shared their chamber layout, although they were smaller and operated using steam, unlike Roman baths, which were immersion baths.

The bath consisted of four main spaces: a rest room or changing room, a cold or warm room, a hot room, and a boiler area attached to the latter.

The heating system used was the hypocaust, an underground heating system that heated the ground using hot air generated by a furnace and distributed through a chamber beneath the pavement.

The current Parador de Turismo was originally the Convent of San Francisco, built in 1494 on the site of an old Nasrid palace that, according to tradition, belonged to a Muslim prince.

After the capture of Granada, the Catholic Monarchs ceded this space to found the city's first Franciscan convent, thus fulfilling a promise made to the Patriarch of Assisi years before the conquest.

Over time, this spot became the first burial place of the Catholic Monarchs. A month and a half before her death in Medina del Campo in 1504, Queen Isabella left her will in her wish to be buried in this convent, dressed in a Franciscan habit. In 1516, King Ferdinand was buried next to her.

Both remained buried there until 1521, when their grandson, Emperor Charles V, ordered their remains to be transferred to the Royal Chapel of Granada, where they now rest alongside Joanna I of Castile, Philip the Handsome and Prince Miguel de Paz.

Today, this original burial site can be visited by entering the Parador's courtyard. Under a dome of muqarnas, the original tombstones of both monarchs are preserved.

Since June 1945, this building has housed the Parador de San Francisco, a high-class tourist accommodation owned and operated by the Spanish State.

The word “medina,” which means “city” in Arabic, referred to the highest part of Sabika Hill in the Alhambra.

This medina was home to intense daily activity, as it was the area where the trades and population that made life possible for the Nasrid court within the palatine city were concentrated.

Textiles, ceramics, bread, glass, and even coins were produced there. In addition to workers' housing, there were also essential public buildings such as baths, mosques, souks, cisterns, ovens, silos, and workshops.

For the proper functioning of this miniature city, the Alhambra had its own system of legislation, administration, and tax collection.

Today, only a few vestiges of the original Nasrid medina remain. The transformation of the area by Christian settlers after the conquest and, later, the gunpowder explosions caused by Napoleon's troops during their retreat contributed to its deterioration.

In the mid-20th century, an archaeological rehabilitation and adaptation program was launched in this area. As a result, a landscaped walkway was laid out along an old medieval street, which today connects with the Generalife.

In the royal medina, attached to the southern wall, are the remains of the so-called Palace of the Abencerrajes, the Castilianized name of the Banu Sarray family, a noble lineage of North African origin belonging to the Nasrid court.

The remains that can be seen today are the result of excavations that began in the 1930s, as the site had previously been severely damaged, largely due to explosions caused by Napoleon's troops during their retreat.

Thanks to these archaeological excavations, it has been possible to confirm the importance of this family in the Nasrid court, not only due to the size of the palace but also due to its privileged location: in the upper part of the medina, right on the main urban axis of the Alhambra.

The Gate of Justice, known in Arabic as Bab al-Sharia, is one of the four exterior gates of the Alhambra's palatine city. As an exterior entrance, it served an important defensive function, as evidenced by its double-bend structure and the steep slope of the terrain.

Its construction, integrated into a tower attached to the southern wall, is attributed to Sultan Yusuf I in 1348.

The gate features two pointed horseshoe arches. Between them is an open area, known as a skylight, from which it was possible to defend the entrance by throwing materials from the terrace in case of attack.

Beyond its strategic value, this gate has a strong symbolic significance in the Islamic context. Two decorative elements stand out in particular: the hand and the key.

The hand represents the five pillars of Islam and symbolizes protection and hospitality. The key, meanwhile, is an emblem of faith. Their presence together could be interpreted as an allegory of spiritual and earthly power.

Popular legend says that if one day the hand and the key touch, it will mean the fall of the Alhambra... and with it, the end of the world, as it would imply the loss of its splendor.

These Islamic symbols contrast with another Christian addition: a Gothic sculpture of the Virgin and Child, the work of Ruberto Alemán, placed in a niche above the interior arch by order of the Catholic Monarchs after the capture of Granada.

The Puerta de los Carros (Chariot Gate) is not an original opening in the Nasrid wall. It was opened between 1526 and 1536 for a very specific purpose: to allow access to carts transporting materials and columns for the construction of the Palace of Charles V.

Today, this gate still serves a practical purpose. It provides pedestrian access to the grounds without a ticket, allowing free access to the Palace of Charles V and the museums within.

Furthermore, it is the only gate open to authorized vehicles, including guests of hotels located within the Alhambra complex, taxis, special services, medical personnel, and maintenance vehicles.

The Alhambra's palatial city was surrounded by extensive walls with four main gates providing access from the outside. To ensure their defense, these gates were arranged in a characteristic curved pattern, making it difficult for potential attackers to advance and facilitating ambushes from within.

The Gate of the Seven Floors, located in the southern wall, is one of these entrances. In Nasrid times, it was known as Bib al-Gudur or “Puerta de los Pozos”, due to the nearby existence of silos or dungeons, possibly used as prisons.

Its current name comes from the popular belief that there are seven levels or floors beneath it. Although only two have been documented, this belief has fueled numerous legends and tales, such as Washington Irving's story "The Legend of the Moor's Legacy," which mentions a treasure hidden in the tower's secret cellars.

Tradition holds that this was the last gate used by Boabdil and his entourage on their way to the Vega de Granada on January 2, 1492, to deliver the keys to the Kingdom to the Catholic Monarchs. It was also through this gate that the first Christian troops entered without resistance.

The gate we see today is a reconstruction, as the original was largely destroyed by the explosion of Napoleon's troops during their retreat in 1812.

The Puerta del Vino (Wine Gate) was the main gateway to the Alhambra Medina. Its construction is attributed to Sultan Muhammad III in the early 14th century, although its doors were later remodeled by Muhammad V.

The name "Wine Gate" does not come from the Nasrid period, but from the Christian era, starting in 1556, when residents of the Alhambra were allowed to buy wine tax-free at this location.

As it is an interior gate, its layout is straight and direct, unlike exterior gates such as the Justice Gate or the Arms Gate, which were designed with a bend to improve defense.

Although it did not serve primary defensive functions, it had benches inside for the soldiers in charge of access control, as well as a room upstairs for the guards' residence and rest areas.

The western façade, facing the Alcazaba, was the entrance. Above the lintel of the horseshoe arch is the symbol of the key, a solemn emblem of welcome and of the Nasrid dynasty.

On the eastern façade, which faces the Palace of Charles V, the spandrels of the arch are particularly noteworthy, decorated with tiles made using the dry rope technique, offering a beautiful example of Hispano-Muslim decorative art.

During the time of the Nasrid dynasty, the site now occupied by the Church of Santa María de la Alhambra housed the Aljama Mosque or Great Mosque of the Alhambra, built at the beginning of the 14th century by Sultan Muhammad III.

After the capture of Granada on January 2, 1492, the mosque was blessed for Christian worship and the first Mass was celebrated there. By order of the Catholic Monarchs, it was consecrated under the patronage of Saint Mary, and the first archiepiscopal seat was established there.

By the end of the 16th century, the old mosque was in a state of disrepair, which led to its demolition and the construction of a new Christian temple, which was completed in 1618.

Few vestiges of the Islamic building remain. The most significant preserved element is a bronze lamp with an epigraphic inscription dated 1305, currently in the National Archaeological Museum in Madrid. A replica of this lamp can be seen in the Alhambra Museum, in the Palace of Charles V.

The Church of Santa María de la Alhambra has a simple layout with a single nave and three side chapels on each side. The most notable feature of its interior is the titular image: the Virgin of Angustias, an 18th-century work by Torcuato Ruiz del Peral.

This image, also known as the Virgin of Mercy, is the only one carried in procession in Granada every Holy Saturday, weather permitting. It is carried on a throne of great beauty, embossed in silver, imitating the arches of the emblematic Patio de los Leones.

As a curiosity, the Granada poet Federico García Lorca was a member of this brotherhood.

Before the current Parador de Turismo, and to the east, lie the remains of a medieval tannery or buffalo farm, a facility dedicated to the processing of hides: cleaning, tanning, and dyeing. This was a common activity throughout al-Andalus.

The Alhambra tannery is small compared to similar tannery stores in North Africa. However, it should be noted that its purpose was exclusively to meet the needs of the Nasrid court.

It had eight small pools of different sizes, both rectangular and circular, where the lime and dyes used in the leather tanning process were stored.

This activity required abundant water, which is why the tannery was located next to the Royal Canal, taking advantage of its constant flow. Its existence is also an indication of the large amount of water available in this area of the Alhambra.

The Water Tower is an imposing structure located in the southwest corner of the Alhambra wall, near the current main entrance from the ticket office. Although it served defensive purposes, its most important purpose was to protect the entrance to the Royal Canal, hence its name.

The irrigation ditch reached the palatine city after crossing an aqueduct and bordered the north face of the tower to supply water to the entire Alhambra.

The tower we see today is the result of extensive reconstruction. During the retreat of Napoleon's troops in 1812, it suffered severe damage from gunpowder explosions, and by the mid-20th century it was reduced almost to its massive base.

This tower was essential, as it allowed water—and therefore life—to enter the palatine city. Originally, Sabika Hill lacked natural water sources, which posed a significant challenge for the Nasrids.

For this reason, Sultan Muhammad I ordered a major hydraulic engineering project: the construction of the so-called Sultan's Ditch. This ditch captures water from the Darro River about six kilometers away, at a higher altitude, taking advantage of the slope to convey the water by gravity.

The infrastructure included a storage dam, an animal-powered waterwheel, and a brick-lined canal—the acequia—that runs underground through mountains, entering the upper part of the Generalife.

To overcome the steep slope between Cerro del Sol (Generalife) and Sabika Hill (Alhambra), engineers built an aqueduct, a key project to ensure the water supply to the entire monumental complex.

The Alcazaba is the most primitive part of the monumental complex, built on the remains of an ancient Zirid fortress.

The origins of the Nasrid Alcazaba date back to 1238, when the first sultan and founder of the Nasrid dynasty, Muhammad Ibn al-Alhmar, decided to move the seat of the sultanate from the Albaicín to the opposite hill, the Sabika.

The location chosen by Al-Ahmar was ideal since the Alcazaba, located at the western end of the hill and with a triangular layout, very similar to the prow of a ship, guaranteed optimal defense for what would become the palatine city of the Alhambra, built under its protection.

The Alcazaba, with its several walls and towers, was clearly intended to be defensive. It was, in fact, a surveillance center, due to its location two hundred meters above the city of Granada, thus guaranteeing visual control of the entire surrounding territory and simultaneously representing a symbol of power.

Inside, the military quarter is located, and over time, the Alcazaba was established as a small, independent micro-city for high-ranking soldiers, responsible for the defense and protection of the Alhambra and its sultans.

Upon entering the citadel, we find ourselves in what appears to be a labyrinth, although in reality it is a process of architectural restoration using anastylosis, which has allowed the restoration of the old military quarter that had remained buried until the beginning of the twentieth century.

The Sultan's elite guard and the rest of the military contingent responsible for the defense and security of the Alhambra resided in this neighborhood. It was, therefore, a small city within the Alhambra's palatial city, with everything necessary for daily life, such as housing, workshops, a bakehouse with an oven, warehouses, a cistern, a hammam, and so on. In this way, the military and civilian populations could be kept separate.

In this neighborhood, thanks to this restoration, we can contemplate the typical layout of the Muslim house: an entrance with a corner entrance, a small courtyard as the central axis of the house, rooms surrounding the courtyard, and a latrine.

Furthermore, at the beginning of the twentieth century, a dungeon was discovered underground. Easily recognizable from the outside by the modern spiral staircase leading down to it. This dungeon housed prisoners who could be used to obtain significant benefits, whether political or economic, or, in other words, individuals with significant market value.

This underground prison is shaped like an inverted funnel and has a circular floor plan. This made it impossible for these captives to escape. In fact, the prisoners were brought inside using a system of pulleys or ropes.

The Powder Tower served as a defensive reinforcement on the southern side of the Vela Tower and from there the military road that led to the Red Towers started.

Since 1957, it is in this tower where we can find some verses engraved on stone, whose authorship corresponds to the Mexican Francisco de Icaza:

“Give alms, woman, there is nothing in life,
like the penalty of being blind in Granada.”

The space occupied by the Garden of the Adarves dates back to the sixteenth century, when an artillery platform was built in the process of adapting the Alcazaba for artillery.

It was already in the seventeenth century when military use lost its importance and the fifth Marquis of Mondéjar, after being appointed warden of the Alhambra in 1624, decided to transform this space into a garden by filling the space between the outer and inner walls with earth.

There is a legend that it was in this place where gold-filled porcelain vases were found hidden, probably hidden by the last Muslims who inhabited the area. Some of the gold was used by the Marquis to finance the creation of this beautiful garden. It is thought that perhaps one of these vases is one of the twenty large Nasrid gilded earthenware vases preserved worldwide. We can see two of these vases in the National Museum of Hispano-Muslim Art, located on the ground floor of the Palace of Charles V.

One of the notable features of this garden is the presence in the central part of a kettledrum-shaped fountain. This fountain has had various locations, the most striking and notable being in the Patio de los Leones (Courtyard of the Lions), where it was placed in 1624 over the Lions' Fountain, causing significant damage. The bowl remained in that location until 1954, when it was removed and replaced here.

Under the Nasrid dynasty, this tower was known as the Torre Mayor, and from the sixteenth century onward, it was also called the Torre del Sol (Tower of the Sun), because the sun reflected off the tower at midday, acting as a sundial. However, its current name comes from the word velar (vellar), given that, thanks to its height of 27 meters, it provides a 360-degree view that would allow any movement to be detected.

The Tower's appearance has changed over time. It originally had battlements on its terrace, which were lost due to several earthquakes. The bell was added after the Christians captured Granada.

This bell was used to warn the population of any potential danger, such as earthquakes or fires. The sound of this bell was also used to regulate irrigation schedules in the Granada Valley.

Currently, and according to tradition, the bell is rung every January 2nd to commemorate the capture of Granada on January 2nd, 1492.

Located in the northern wall of the Alcazaba, the Puerta de las Armas was one of the main entrances to the Alhambra.

During the Nasrid dynasty, citizens crossed the Darro River via the Cadí Bridge and climbed the hill along a path now hidden by the San Pedro Forest until they reached the gate. Inside the gate, they had to deposit their weapons before entering the enclosure, hence the name "Gate of Arms."

From the terrace of this tower, we can now enjoy one of the best panoramic views of the city of Granada.

Just across the street is the Albaicín neighborhood, recognizable by its whitewashed houses and labyrinthine streets. This neighborhood was declared a UNESCO World Heritage Site in 1994.

It is in this neighborhood where one of Granada's most famous viewpoints is located: the Mirador de San Nicolás.

To the right of the Albaicín, is the Sacromonte neighborhood.

Sacromonte is Granada's quintessential old Gypsy neighborhood and the birthplace of flamenco. This neighborhood is also characterized by the presence of troglodyte dwellings: caves.

At the foot of the Albaicín and the Alhambra lies the Carrera del Darro, next to the banks of the river of the same name.

The Keep is one of the oldest towers in the Alcazaba, standing 26 meters tall. It has six floors, a terrace, and an underground dungeon.

Due to the tower's height, communication with the kingdom's watchtowers was established from its terrace. This communication was established through a system of mirrors during the day or smoke with bonfires at night.

It is thought that, due to the tower's protruding position on the hill, it was probably the place chosen for the display of the banners and red flags of the Nasrid dynasty.

The base of this tower was reinforced by the Christians with the so-called Cube Tower.

After the capture of Granada, the Catholic Monarchs planned a series of renovations to adapt the Alcazaba to artillery. Thus, the Cube Tower was built over the Tahona Tower. Thanks to its cylindrical shape, it provides greater protection against potential impacts compared to the square-shaped Nasrid towers.

The Generalife, located on Cerro del Sol, was the sultan's almunia, or in other words, a palatial country house with orchards, where, in addition to farming, animals were raised for the Nasrid court and hunting was practiced. Its construction is estimated to have begun in the late 13th century by Sultan Muhammad II, son of the founder of the Nasrid dynasty.

The name Generalife comes from the Arabic "yannat-al-arif," meaning "the architect's garden." It was a much larger space in the Nasrid period, with at least four vegetable gardens, and extended to a place known today as "the partridge plain."

This country house, which the vizier Ibn al-Yayyab called the Royal House of Happiness, was a palace: the sultan's summer palace. Despite its proximity to the Alhambra, it afforded him enough privacy to escape and relax from the stresses of court and government life, as well as to enjoy more pleasant temperatures. Due to its location at a higher altitude than the palatine city of the Alhambra, the temperature inside dropped.

When Granada was captured, the Generalife became the property of the Catholic Monarchs, who placed it under the protection of an alcaide or commander. Philip II eventually ceded the perpetual alcaidía and ownership of the site to the Granada Venegas family (a family of converted Moriscos). The State only recovered the site after a dispute that lasted almost 100 years and ended with an out-of-court settlement in 1921.

Agreement by which the Generalife would become a national heritage site and would be managed together with the Alhambra through the Board of Trustees, thus forming the Board of Trustees of the Alhambra and the Generalife.

The open-air amphitheater we encountered on our way to the Generalife Palace was built in 1952 with the intention of hosting, as it does every summer, the Granada International Music and Dance Festival.

Since 2002, a Flamenco Festival has also been held, dedicated to Granada's most famous poet: Federico García Lorca.

Under the Nasrid dynasty, the road that connected the palatine city and the Generalife started from the Puerta del Arabal, framed by the so-called Torre de los Picos, so named because its battlements end in brick pyramids.

It was a winding, sloping road, protected on both sides by high walls for greater security, and led to the entrance to the Patio del Descabalgamiento.

These ruins or foundations are the archaeological remains of what was once the so-called House of Friends. Its name and purpose have come down to us thanks to Ibn Luyún's "Treatise on Agriculture" in the 14th century.

It was therefore a dwelling intended for people, friends or relatives whom the sultan held in esteem and considered important to have close to him, but without invading their privacy, so it was an isolated dwelling.

This Oleander Walk was built in the mid-19th century for the visit of Queen Elizabeth II and to create a more monumental access to the upper part of the palace.

Oleander is another name for the pink laurel, which appears in the form of an ornamental canopy along this walkway. At the beginning of the walk, behind the High Gardens, is one of the oldest examples of the Moorish myrtle, which was nearly lost and whose genetic traces are still being investigated today.

It is one of the most characteristic plants of the Alhambra, distinguished by its curled leaves, which are larger than the common myrtle.

The Paseo de las Adelfas connects with the Paseo de los Cipreses, which serves as a link leading visitors to the Alhambra.

One of the best-preserved and unique elements of the Generalife is the so-called Water Staircase. It is believed that, under the Nasrid dynasty, this staircase—divided into four flights with three intermediate landings—had water channels that flowed through the two glazed ceramic handrails, fed by the Royal Canal.

This water pipe reached a small oratory, of which no archaeological information survives. In its place, since 1836, there has been a romantic belvedere erected by the estate manager at the time.

The climb up this staircase, framed by a laurel vault and the murmur of water, probably created an ideal environment for stimulating the senses, entering into a climate conducive to meditation, and performing ablutions prior to prayer.

In the grounds surrounding the palace, it is estimated that there must have been at least four large vegetable gardens organized on different levels, or paratas, enclosed by adobe walls. The names of these gardens that have survived to the present day are: Grande, Colorada, Mercería, and Fuente Peña.

These gardens have continued to be cultivated, to a greater or lesser extent, since the 14th century, using the same traditional medieval techniques. Thanks to this agricultural production, the Nasrid court maintained a certain independence from other external agricultural suppliers, allowing it to meet its own food needs.

They were used not only for vegetable gardens, but also for fruit trees and animal pastures. For example, today they grow artichokes, eggplants, beans, figs, pomegranates, and almond trees.

Today, the preserved orchards continue to use the same agricultural production techniques employed in medieval times, giving this space great anthropological value.

These gardens are accessed from the Patio de la Sultana via a steep 19th-century staircase, called the Lions' Staircase, due to the two glazed earthenware figures above the gate.

These gardens can be considered an example of a Romantic garden. They are located on pillars and form the highest part of the Generalife, offering spectacular views of the entire monumental complex.

The presence of beautiful magnolias stands out.

The Rose Gardens date back to the 1930s and 1950s, when the State acquired the Generalife in 1921.

The need then arose to enhance the value of an abandoned area and strategically connect it to the Alhambra through a gradual and smooth transition.

The Patio de la Acequia, also called the Patio de la Ría in the 19th century, today has a rectangular structure with two facing pavilions and a bay.

The courtyard's name comes from the Royal Canal that runs through this palace, around which four gardens are arranged in orthogonal parterres at a lower level. On both sides of the canal are fountains that form one of the palace's most popular images. However, these fountains are not original, as they disrupt the tranquility and serenity the sultan sought during his moments of rest and meditation.

This palace has undergone extensive transformations, as this courtyard was originally closed to the views we find today through the gallery of 18 belvedere-style arches. The only part that would allow a view of the landscape would be the central viewing platform. From this original viewing platform, sitting on the floor and leaning on the windowsill, one could contemplate the panoramic views of the palatine city of the Alhambra.

As a testament to its past, we find Nasrid decoration in the viewing platform, where the plasterwork of Sultan Ismail I is superimposed over that of Muhammad III stands out. This demonstrates that each sultan had different tastes and needs and adapted the palaces accordingly, leaving their own mark or imprint.

As we pass the viewpoint, and if we look at the intrados of the arches, we will also find emblems of the Catholic Monarchs such as the Yoke and the Arrows, as well as the motto "Tanto Monta".

The east side of the courtyard is recent due to a fire that occurred in 1958.

Before entering the Patio de la Acequia, we come across the Patio de la Guardia. A simple courtyard with porticoed galleries and a fountain in its center, it is also decorated with bitter orange trees. This courtyard must have served as a control area and antechamber before accessing the sultan's summer quarters.

What stands out about this place is that, after climbing some steep stairs, we find a doorway framed by a lintel decorated with tiles in shades of blue, green, and black on a white background. We can also see, although worn by the passage of time, the Nasrid key.

As we climb the steps and pass through this doorway, we come across a bend, the guard benches, and a steep, narrow staircase that leads us to the palace.

The Patio de la Sultana is one of the most transformed spaces. It is thought that the site now occupied by this courtyard—also called the Patio del Ciprés—was the area used for the former hammam, the Generalife baths.

In the 16th century, it lost this function and became a garden. Over time, a northern gallery was added, along with a U-shaped pool, a fountain in its center, and thirty-eight noisy jets.

The only elements preserved from the Nasrid period are the Acequia Real waterfall, protected behind a fence, and a small section of canal that directs the water towards the Patio de la Acequia.

The name "Cypress Courtyard" is due to the centuries-old dead cypress tree, of which only its trunk remains today. Next to it is a Granada ceramic plaque that tells of the 16th-century legend by Ginés Pérez de Hita, according to which this cypress witnessed the amorous encounters of the last sultan's favorite, Boabdil, with a noble Abencerraje knight.

The Patio del Descabalgamiento, also known as Patio Polo, is the first courtyard we encounter upon entering the Generalife Palace.

The Sultan used a horse as a means of transportation to access the Generalife, and as such, he needed a place to dismount and house these animals. This courtyard is thought to have been intended for this purpose, as it housed the stables.

It had benches for support for horses to get on and off, and two stables in the side aisles, which served as stables on the lower level and haylofts on the upper level. A drinking trough with fresh water for the horses was also essential.

Worth noting here: above the lintel of the door leading to the next courtyard, we find the Alhambra key, a symbol of the Nasrid dynasty, representing salutation and ownership.

The north portico is the best preserved and was intended to house the sultan's quarters.

We find a portico with five arches supported by columns and alhamíes at their ends. Beyond this portico, and to access the Royal Hall, one passes through a triple archway in which poems speak of the Battle of La Vega or Sierra Elvira in 1319, which gives us information about the dating of the site.

On the sides of this triple arch there are also *taqas*, small niches excavated in the wall where water was placed.

The Royal Hall, located in a square tower decorated with plasterwork, was the place where the sultan—despite this being a leisure palace—received urgent audiences. These audiences, according to verses engraved there, were supposed to be brief and to the point so as not to unduly disturb the emir's rest.

The Nasrid Palaces constitute the most emblematic and striking part of the monumental complex. They were built in the 14th century, a period that can be considered a time of great splendor for the Nasrid dynasty.

These palaces were the area reserved for the sultan and his close relatives, where family life took place, but also the official and administrative life of the kingdom.

The Palaces are: the Mexuar, the Comares Palace and the Palace of the Lions.

Each of these palaces was built independently, at different times, and with their own distinct functions. It was after the Capture of Granada that the palaces were unified, and from that moment on, they became known as the Royal House, and later as the Old Royal House, when Charles V decided to build his own palace.

The Mexuar is the oldest part of the Nasrid Palaces, but it is also the space that has undergone the greatest transformations over time. Its name comes from the Arabic *Maswar*, which refers to the place where the *Sura* or Council of Ministers of the Sultan met, thus revealing one of its functions. It was also the antechamber where the Sultan administered justice.

The construction of the Mexuar is attributed to Sultan Isma'il I (1314–1325), and was modified by his grandson Muhammad V. However, it was the Christians who most transformed this space by converting it into a chapel.

During the Nasrid period, this space was much smaller and was organized around four central columns, where the characteristic Nasrid cubic capital, painted cobalt blue, can still be seen. These columns supported a lantern that provided overhead light, which was removed in the 16th century to create upper rooms and side windows.

To convert the space into a chapel, the floor was lowered and a small rectangular space was added at the back, now separated by a wooden balustrade that indicates where the upper choir was located.

The ceramic tiled plinth with star decoration was brought from elsewhere. Among its stars, one can alternately see: the coat of arms of the Nasrid Kingdom, that of Cardinal Mendoza, the double-headed eagle of the Austrians, the motto "There is no victor but God," and the Pillars of Hercules from the imperial coat of arms.

Above the plinth, a plaster epigraphic frieze repeats: “The Kingdom is God’s. Strength is God’s. Glory is God’s.” These inscriptions replace the Christian ejaculations: “Christus regnat. Christus vincit. Christus imperat.”

The current entrance to the Mexuar was opened in the modern period, changing the location of one of the Pillars of Hercules, bearing the motto "Plus Ultra," which was moved to the east wall. The plaster crown above the door remains in its original location.

At the back of the room, a door leads to the Oratory, which was originally accessed through the Machuca gallery.

This space is one of the most damaged in the Alhambra due to the explosion of a powder magazine in 1590. It was restored in 1917.

During the restoration, the floor level was lowered to prevent accidents and facilitate visits. A continuous ledge under the windows remains as a testament to the original level.

This impressive façade, extensively restored between the 19th and 20th centuries, was built by Muhammad V to commemorate the capture of Algeciras in 1369, which granted him dominion over the Strait of Gibraltar.

In this courtyard, the sultan received subjects who had a special audience. He sat in the central part of the façade, on a jamuga (wooden frame) between the two doors and beneath the great eaves, a masterpiece of Nasrid carpentry that crowned it.

The façade has a strong allegorical meaning. On it, subjects could read:

“My position is that of a crown and my gate a fork: the West believes that in me is the East.”
Al-Gani bi-llah has entrusted me with opening the door to the victory that is being announced.
Well, I'm waiting for him to appear as the horizon reveals itself in the morning.
May God make his work as beautiful as his character and figure are!

The door on the right served as access to the private quarters and service area, while the door on the left, through a curved corridor with benches for the guard, gives access to the Comares Palace, specifically to the Patio de los Arrayanes.

Subjects who obtained an audience waited in front of the façade, separated from the sultan by the royal guard, in the room now known as the Golden Room.

The name *Golden Quarter* comes from the period of the Catholic Monarchs, when the Nasrid coffered ceiling was repainted with golden motifs and the emblems of the monarchs were incorporated.

In the center of the courtyard is a low marble fountain with galloons, a replica of the Lindaraja fountain preserved in the Alhambra Museum. To one side of the fountain, a gate leads to a dark underground corridor used by the guards.

One of the characteristics of the Hispano-Muslim house is access through a curved hallway that leads to an open-air courtyard, the focal point of life and organization of the home, complete with a water feature and vegetation. This same concept is found in the Patio de los Arrayanes, but on a larger scale, measuring 36 meters long and 23 meters wide.

The Patio de los Arrayanes (Courtyard of the Myrtles) is the centerpiece of the Comares Palace, where the political and diplomatic activities of the Nasrid Kingdom took place. It is a rectangular courtyard of imposing dimensions, whose central axis is a large pool. In it, the still water acts as a mirror, lending depth and verticality to the space, thus creating a palace on water.

At both ends of the pool, jets gently introduce water so as not to disrupt the mirror effect or the stillness of the place.

Flanking the pool are two myrtle clumps, which give the current site its name: Patio de los Arrayanes (Courtyard of the Myrtles). In the past, it was also known as Patio de la Alberca (Courtyard of the Pool).

The presence of water and vegetation is not only a matter of ornamental or aesthetic considerations, but also a desire to create pleasant spaces, especially in summer. Water refreshes the environment, while vegetation retains moisture and provides fragrance.

On the longer sides of the courtyard are four independent dwellings. On the north side stands the Comares Tower, which houses the Throne Room or Ambassadors' Room.

On the south side, the façade acts as a trompe l'oeil, as the building that existed behind it was demolished to connect the Palace of Charles V with the Old Royal House.

Before entering the Nasrid Palaces, if we look to the left, we find two courtyards.

The first is the Patio de la Mezquita, named after the small mosque located in one of its corners. However, since the 20th century, it has also been known as the Madrasa de los Príncipes (Princes' Madrasa), as its structure bears similarities to the Madrasa of Granada.

Further on is the Patio de Machuca, named after the architect Pedro Machuca, who was in charge of supervising the construction of the Palace of Charles V in the 16th century and who resided there.

This courtyard is easily recognizable by the lobed-edged pool at its center, as well as by the arched cypress trees, which restore the architectural feel of the space in a non-invasive way.

The Boat Room is the anteroom to the Throne Room or Ambassadors' Room.

On the jambs of the arch leading into this room, we find facing niches carved in marble and decorated with colorful tiles. These are one of the most characteristic ornamental and functional elements of the Nasrid palaces: the taqas.

*Taqas* are small niches carved into walls, always arranged in pairs and facing each other. They were used to hold jars of fresh water for drinking or scented water for washing hands.

The current ceiling of the hall is a reproduction of the original, lost in a fire in 1890.

The name of this room comes from a phonetic alteration of the Arabic word *baraka*, meaning "blessing," which is repeated numerous times on the walls of this room. It does not derive, as is popularly believed, from the inverted boat-shaped roof.

It was in this place where the new sultans requested the blessing of their god before being crowned as such in the Throne Room.

Before entering the Throne Room, we find two side entrances: on the right, a small oratory with its mihrab; and on the left, the access door to the interior of the Comares Tower.

The Ambassadors' Hall, also called the Throne Hall or the Comares Hall, is the site of the sultan's throne and, therefore, the center of power of the Nasrid dynasty. Perhaps for this reason, it is located within the Comares Tower, the largest tower in the monumental complex, at 45 meters high. Its etymology comes from the Arabic *arsh*, meaning tent, pavilion, or throne.

The room is shaped like a perfect cube, and its walls are richly decorated up to the ceiling. On the sides are nine identical alcoves grouped in groups of three with windows. The one opposite the entrance features more elaborate decoration, as it was the sultan's seat, backlit, favoring the effect of dazzling and surprising.

In the past, the windows were covered with colored glass panels with geometric shapes called *cumarias*. These were lost due to the shock wave of a powder magazine that exploded in 1590 on the Carrera del Darro.

The decorative richness of the hall is extreme. It begins in the lower part with geometrically shaped tiles, creating a visual effect similar to that of a kaleidoscope. It continues on the walls with stuccos resembling hanging tapestries, decorated with plant motifs, flowers, shells, stars, and abundant inscriptions.

The current script is of two types: cursive, the most common and easily recognizable; and Kufic, a cultured script with rectilinear and angular forms.

Among all the inscriptions, the most notable is the one below the ceiling, on the top strip of the wall: sura 67 of the Quran, called *The Kingdom* or *of the Lordship*, which runs along the four walls. This sura was recited by the new sultans to proclaim that their power came directly from God.

The image of divine power is also represented in the ceiling, composed of 8,017 different pieces that, through wheels of stars, illustrate Islamic eschatology: the seven heavens and an eighth, paradise, the Throne of Allah, represented by the central dome of muqarnas.

To access the Christian Royal House, you must use one of the doors open in the left alcove of the Hall of the Two Sisters.

Charles V, grandson of the Catholic Monarchs, visited the Alhambra in June 1526 after marrying Isabella of Portugal in Seville. Upon arriving in Granada, the couple settled into the Alhambra itself and ordered the construction of new rooms, now known as the Emperor's Apartments.

These spaces completely break with Nasrid architecture and aesthetics. However, as they were built on garden areas between the Comares Palace and the Palace of the Lions, the upper part of the Royal Hammam, or Comares Hammam, can be seen through small windows to the left of the corridor. A few meters further on, other openings reveal the Hall of Beds and the Musicians' Gallery.

The Royal Baths were not only a place of hygiene, but also an ideal place to cultivate political and diplomatic relations in a relaxed and friendly manner, accompanied by music to liven up the occasion. This space is only open to the public on special occasions.

Through this corridor you enter the Emperor's Office, which stands out for its Renaissance fireplace with the imperial coat of arms and a wooden coffered ceiling designed by Pedro Machuca, architect of the Palace of Charles V. On the coffered ceiling you can read the inscription "PLUS ULTRA", a motto adopted by the Emperor, along with the initials K and Y, corresponding to Charles V and Isabella of Portugal.

Leaving the hall, on the right are the Imperial Rooms, currently closed to the public and only accessible on special occasions. These rooms are also known as Washington Irving's Rooms, as it was here that the American Romantic writer stayed during his stay in Granada. It was possibly here that he wrote his famous book *Tales of the Alhambra*. A commemorative plaque can be seen above the door.

Adjacent to the Patio de la Reja is the Patio de Lindaraja, adorned with carved boxwood hedges, cypress trees, and bitter orange trees. This patio owes its name to the Nasrid viewpoint located on its southern side, which bears the same name.

During the Nasrid period, the garden had a completely different appearance than it does today, as it was a space open to the landscape.

With the arrival of Charles V, the garden was enclosed, taking on a cloister-like layout thanks to a porticoed gallery. Columns from other parts of the Alhambra were used for its construction.

In the center of the courtyard stands a Baroque fountain, over which a Nasrid marble basin was superimposed at the beginning of the 17th century. The fountain we see today is a replica; the original is preserved in the Alhambra Museum.

The Patio de los Leones (Courtyard of the Lions) is the heart of this palace. It is a rectangular courtyard surrounded by a porticoed gallery with 124 columns, each one different from the other, which connect the different rooms of the palace. It bears a certain resemblance to a Christian cloister.

This space is considered one of the jewels of Islamic art, despite breaking with the usual patterns of Hispano-Muslim architecture.

The palace's symbolism revolves around the concept of a garden-paradise. The four water channels that radiate from the center of the courtyard could represent the four rivers of Islamic paradise, giving the courtyard a cruciform layout. The columns evoke a palm forest, like the oasis of paradise.

In the center is the famous Fountain of the Lions. The twelve lions, although in a similar position—alert and with their backs to the fountain—have different features. They are carved from white Macael marble, carefully selected to take advantage of the stone's natural veins and accentuate its distinctive features.

There are various theories about its symbolism. Some believe it represents the strength of the Nasrid dynasty or Sultan Muhammad V, the twelve signs of the zodiac, the twelve hours of the day, or even a water clock. Others maintain that it is a reinterpretation of the Bronze Sea of Judea, held up by twelve bulls, here replaced by twelve lions.

The central bowl was probably carved in situ and contains poetic inscriptions praising Muhammad V and the hydraulic system that feeds the fountain and regulates the flow of water to prevent overflow.

“In appearance, water and marble seem to merge without us knowing which of the two is sliding.
Don't you see how the water spills into the bowl, but its spouts immediately hide it?

He is a lover whose eyelids overflow with tears,
tears that she hides for fear of an informer.

Is it not, in reality, like a white cloud that pours its irrigation ditches upon the lions and seems like the hand of the caliph who, in the morning, lavishes his favors upon the lions of war?

The fountain underwent several transformations over time. In the 17th century, a second basin was added, which was removed in the 20th century and relocated to the Garden of the Adarves of the Alcazaba.

The Christian adaptation of the palace entailed the creation of direct access to the Comares Tower via a two-story open gallery. This gallery offers magnificent views of two of Granada's most iconic neighborhoods: the Albaicín and the Sacromonte.

From the gallery, looking to the right, you can also see the Queen's Dressing Room, which, like other areas mentioned above, can only be visited on special occasions or as a space of the month.

The Queen's Dressing Room is located in the Tower of Yusuf I, a tower set forward from the wall. Its Christian name comes from the use made of it by Isabella of Portugal, wife of Charles V, during her stay at the Alhambra.

Inside, the space was adapted to Christian aesthetics and houses valuable Renaissance paintings by Julius Achilles and Alexander Mayner, disciples of Raphael Sanzio, also known as Raphael of Urbino.

Descending from the gallery, we find the Patio de la Reja (Courtyard of the Grill). Its name comes from the continuous balcony with wrought iron railings, installed in the mid-17th century. These railings served as an open corridor to connect and protect the adjacent rooms.

The Hall of the Two Sisters gets its current name from the presence of two twin slabs of Macael marble located in the center of the room.

This room bears some resemblance to the Hall of the Abencerrajes: it is located higher than the courtyard and, beyond the entrance, has two doors. The one on the left led to the toilet, and the one on the right led to the upper rooms of the house.

Unlike its twin room, this one opens to the north towards the Sala de los Ajimeces and a small viewpoint: the Mirador de Lindaraja.

During the Nasrid dynasty, under Muhammad V, this room was known as *qubba al-kubra*, meaning the great qubba, the most important in the Palace of the Lions. The term *qubba* refers to a square floor plan covered with a dome.

The dome begins with an eight-pointed star, unfolding into a three-dimensional layout composed of 5,416 muqarnas, some of which still retain traces of polychromy. These muqarnas are distributed in sixteen small cupolas located above sixteen windows with lattices that bring changing light into the room depending on the time of day.

Before entering the western hall, also known as the Hall of the Abencerrajes, we find some wooden doors with remarkable carvings that have been preserved since medieval times.

The name of this room is linked to a legend according to which, due to a rumor about an affair between an Abencerraje knight and the sultan's favorite, or due to alleged plots by this family to overthrow the monarch, the sultan, filled with rage, summoned the Abencerraje knights. Thirty-six of them lost their lives as a result.

This story was recorded in the 16th century by the writer Ginés Pérez de Hita in his novel about the *Civil Wars of Granada*, where he narrates that the knights were murdered in this very room.

For this reason, some claim to see in the rust stains on the central fountain a symbolic vestige of the rivers of blood of those knights.

This legend also inspired the Spanish painter Mariano Fortuny, who captured it in his work entitled *The Massacre of the Abencerrajes*.

Upon entering the door, we found two entrances: the one on the right led to the toilet, and the one on the left to some stairs leading to the upper rooms.

The Hall of the Abencerrajes is a private and independent dwelling on the ground floor, structured around a large *qubba* (dome in Arabic).

The plaster dome is richly decorated with muqarnas originating from an eight-pointed star in a complex three-dimensional composition. The muqarnas are architectural elements based on hanging prisms with concave and convex shapes, reminiscent of stalactites.

As you enter the room, you notice a drop in temperature. This is because the only windows are located at the top, allowing hot air to escape. Meanwhile, the water from the central fountain cools the air, making the room, with the doors closed, function as a kind of cave, with an ideal temperature for the hottest summer days.

Beyond the Hall of the Two Sisters, to the north, we find a transverse nave covered by a muqarnas vault. This room is called the Hall of the Mullions (Ajimeces) because of the type of windows that must have closed the openings on either side of the central arch that leads to the Lindaraja Viewpoint.

The white walls of this room are believed to have been originally covered with silk fabrics.

The so-called Lindaraja Viewpoint owes its name to the derivation of the Arabic term *Ayn Dar Aisa*, which means “the eyes of the House of Aisa”.

Despite its small size, the interior of the viewing platform is remarkably decorated. On one hand, it features tiling with a succession of small, interlocking stars, which required meticulous work by the artisans. On the other hand, if you look up, you can see a ceiling with colored glass embedded in a wooden structure, resembling a skylight.

This lantern is a representative example of what many of the windows or mullioned windows of the Palatine Alhambra must have looked like. When sunlight hits the glass, it projects colorful reflections that illuminate the decoration, giving the space a unique, ever-changing atmosphere throughout the day.

During the Nasrid period, when the courtyard was still open, a person could sit on the floor of the belvedere, rest their arm on the windowsill, and enjoy spectacular views of the Albayzín neighborhood. These views were lost at the beginning of the 16th century, when the outbuildings intended to serve as the residence of Emperor Charles V were built.

The Hall of the Kings occupies the entire east side of the Patio de los Leones and, although it appears integrated into the palace, it is thought to have had its own function, probably of a recreational or courtly nature.

This space stands out for preserving one of the few examples of Nasrid figurative painting.

In the three alcoves, each approximately fifteen square meters in area, there are three false vaults decorated with paintings on lambskin. These skins were fixed to the wooden support with small bamboo nails, a technique that prevented the material from rusting.

The name of the room probably comes from the interpretation of the painting in the central alcove, which depicts ten figures that could correspond to the first ten sultans of the Alhambra.

In the side alcoves, chivalric scenes of fighting, hunting, games, and love can be seen. Their clothing clearly distinguishes the presence of Christian and Muslim figures sharing the same space.

The origin of these paintings has been widely debated. Due to their Linear Gothic style, it is thought that they were probably created by Christian artists familiar with the Muslim world. These works may be the result of the good relationship between Muhammad V, founder of this palace, and the Christian king Peter I of Castile.

The Room of Secrets is a square-shaped room, covered with a spherical vault.

Something very peculiar and curious happens in this room, making it one of the favorite attractions for visitors to the Alhambra, especially for the little ones.

The phenomenon is that if one person stands at one corner of the room and another at the opposite corner—both facing the wall and as close to it as possible—one of them can speak very quietly and the other will hear the message perfectly, as if they were right next to them.

It is thanks to this acoustic “game” that the room gets its name: **Room of Secrets**.

The palace known as the Palace of the Lions was commissioned during the second reign of Sultan Muhammad V, which began in 1362 and lasted until 1391. During this period, construction began on the Palace of the Lions, adjacent to the Palace of Comares, which had been built by his father, Sultan Yusuf I.

This new palace was also called *Riyad Palace*, as it is believed to have been built on the former Comares Gardens. The term *Riyad* means "garden."

It is thought that the original access to the palace was through the southeast corner, from Calle Real and through a curved entrance. Currently, due to Christian modifications after the conquest, the Sala de los Muqarnas is accessed directly from the Comares Palace.

The Hall of the Muqarnas takes its name from the impressive muqarnas vault that originally covered it, which almost completely collapsed as a result of the vibrations caused by the explosion of a powder magazine on the Carrera del Darro in 1590.

Remains of this vault can still be seen on one side. On the opposite side, remains of a later Christian vault appear, bearing the letters "FY," traditionally associated with Ferdinand and Isabella, although they actually correspond to Philip V and Isabella Farnese, who visited the Alhambra in 1729.

It is believed that the room may have functioned as a vestibule or waiting room for guests attending the sultan's celebrations, parties, and receptions.

The large space known today as Jardines del Partal owes its name to the Palacio del Pórtico, named after its porticoed gallery.

This is the oldest preserved palace in the monumental complex, whose construction is attributed to Sultan Muhammad III at the beginning of the 14th century.

This palace bears some similarity to the Comares Palace, although it is older: a rectangular courtyard, a central pool, and the portico's mirror-like reflection in the water. Its main distinguishing feature is the presence of a side tower, known since the 16th century as the Ladies' Tower, although it has also been called the Observatory, as Muhammad III was a great fan of astronomy. The tower has windows facing the four cardinal points, allowing for spectacular views.

A notable curiosity is that this palace was privately owned until March 12, 1891, when its owner, Arthur Von Gwinner, a German banker and consul, ceded the building and the surrounding land to the Spanish State.

Unfortunately, Von Gwinner dismantled the wooden roof of the viewing platform and moved it to Berlin, where it is now on display in the Pergamon Museum as one of the highlights of its Islamic art collection.

Adjacent to the Partal Palace, to the left of the Ladies' Tower, are several Nasrid houses. One of them was called the House of Paintings due to the discovery, at the beginning of the 20th century, of tempera paintings on 14th-century stucco. These highly valuable paintings are a rare example of Nasrid figurative mural painting, depicting court scenes, hunting scenes, and celebrations.

Due to their importance and for conservation reasons, these homes are not open to the public.

To the right of the Partal Palace, on the rampart of the wall, is the Partal Oratory, whose construction is attributed to Sultan Yusuf I. Access is via a small staircase, as it is elevated from ground level.

One of the pillars of Islam is to pray five times a day facing Mecca. The oratory functioned as a palace chapel, allowing the inhabitants of the nearby palace to fulfill this religious obligation.

Despite its small size (about twelve square meters), the oratory has a small vestibule and a prayer room. Its interior features rich plasterwork decoration with plant and geometric motifs, as well as Quranic inscriptions.

Upon ascending the stairs, just opposite the entrance door, you will find the mihrab on the southwest wall, facing Mecca. It has a polygonal floor plan, a voussoired horseshoe arch, and is covered by a dome with muqarnas.

Of particular note is the epigraphic inscription located on the imposts of the mihrab arch, which invites prayer: “Come and pray, and do not be among the negligent.”

Attached to the oratory is the House of Atasio de Bracamonte, which was given in 1550 to the former squire of the warden of the Alhambra, the Count of Tendilla.

On the highest plateau in the Partal area are the archaeological remains of the Palace of Yusuf III. This palace was granted in June 1492 by the Catholic Monarchs to the first governor of the Alhambra, Don Íñigo López de Mendoza, second Count of Tendilla. For this reason, it is also known as the Tendilla Palace.

The reason this palace is in ruins stems from disagreements that arose in the 18th century between the descendants of the Count of Tendilla and Philip V of Bourbon. Upon the death of Archduke Charles II of Austria without heirs, the Tendilla family supported Archduke Charles of Austria instead of Philip of Bourbon. After Philip V's accession, reprisals were taken: in 1718, the mayorship of the Alhambra was removed from them, and later the palace was dismantled and its materials sold.

Some of these materials reappeared in the 20th century in private collections. It is believed that the so-called "Fortuny Tile," housed at the Valencia Institute of Don Juan in Madrid, may have come from this palace.

From 1740 onwards, the palace site became an area of leased vegetable gardens.

It was in 1929 that this area was recovered by the Spanish State and returned to the Alhambra. Thanks to the work of Leopoldo Torres Balbás, architect and restorer of the Alhambra, this space was enhanced with the creation of an archaeological garden.

The Palatine city wall originally had more than thirty towers, of which only twenty remain today. Initially, these towers had a strictly defensive function, although over time some also adopted residential use.

At the exit of the Nasrid Palaces, from the Upper Partal area, a cobbled path leads to the Generalife. This route follows the stretch of wall, home to some of the complex's most emblematic towers, framed by a garden area with beautiful views of the Albaicín and the Generalife orchards.

One of the most notable towers is the Tower of the Peaks, built by Muhammad II and later renovated by other sultans. It is easily recognizable by its brick pyramid-shaped battlements, from which its name may derive. However, other authors believe the name comes from the protruding corbels at its upper corners, which supported the machicolations, defensive elements that allowed attacks from above to be countered.

The tower's main function was to protect the Arrabal Gate located at its base, which connected to the Cuesta del Rey Chico, facilitating access to the Albaicín neighborhood and the old medieval road that connected the Alhambra with the Generalife.

In Christian times, an outer bastion with stables was built to reinforce its protection, which is closed by a new entrance known as the Iron Gate.

Although towers are commonly associated with an exclusively military function, it is known that the Torre de los Picos also had a residential use, as evidenced by the ornamentation present in its interior.

The Torre de la Cautiva has received various names over time, such as Torre de la Ladrona or Torre de la Sultana, although the most popular one has finally prevailed: Torre de la Cautiva.

This name is not based on proven historical facts, but rather stems from a romantic legend according to which Isabel de Solís was imprisoned in this tower. She later converted to Islam under the name Zoraida and became Muley Hacén's favorite sultana. This situation caused tensions with Aixa, the previous sultana and Boabdil's mother, given that Zoraida—whose name means "morning star"—removed her position at court.

The construction of this tower is attributed to Sultan Yusuf I, who was also responsible for the Comares Palace. This attribution is supported by the inscriptions in the main hall, the work of the vizier Ibn al-Yayyab, which praise this sultan.

In the poems inscribed on the walls, the vizier repeatedly uses the term qal'ahurra, which has since been used to refer to fortified palaces, as is the case with this tower. In addition to serving defensive purposes, the tower houses a real palace with rich decoration inside.

Regarding its ornamentation, the main hall features a ceramic tiled plinth with geometric shapes in various colors. Purple stands out among these, as it was particularly difficult and expensive to obtain at the time, so it was reserved exclusively for important spaces.

The Tower of the Infantas, like the Tower of the Captive, owes its name to a legend.

This is the legend of the three princesses Zaida, Zoraida and Zorahaida, who lived in this tower, a story that was collected by Washington Irving in his famous *Tales of the Alhambra*.

The construction of this palace-tower, or *qalahurra*, is attributed to Sultan Muhammad VII, who reigned between 1392 and 1408. Therefore, it is one of the last towers built by the Nasrid dynasty.

This circumstance is reflected in the interior decoration, which shows signs of a certain decline compared to previous periods of greater artistic splendor.

At the end of the Paseo de las Torres, in the easternmost part of the northern wall, are the remains of a cylindrical tower: the Torre del Cabo de Carrera.

This tower was practically destroyed as a result of the explosions carried out in 1812 by Napoleon's troops during their retreat from the Alhambra.

It is believed to have been built or rebuilt by order of the Catholic Monarchs in 1502, as confirmed by a now-lost inscription.

Its name comes from its location at the end of the Calle Mayor of the Alhambra, marking the limit or "cap de carrera" of said road.

The Palace of Charles V, with its sixty-three meters wide and seventeen meters high, follows the proportions of classical architecture, which is why it is divided horizontally into two levels with clearly differentiated architecture and decoration.

Three types of stone were used to decorate its facades: gray, compact limestone from Sierra Elvira, white marble from Macael, and green serpentine from the Barranco de San Juan.

The exterior decoration exalts the image of Emperor Charles V, highlighting his virtues through mythological and historical references.

The most notable facades are those on the south and west sides, both designed as triumphal arches. The main entrance is on the west side, where the main door is crowned by winged victories. On either side are two small doors above which are medallions with figures of mounted soldiers in combat.

Symmetrically duplicated reliefs are displayed on the pedestals of the columns. The central reliefs symbolize Peace: they show two women seated on a mound of weapons, carrying olive branches and supporting the Pillars of Hercules, the globe with the imperial crown and the motto *PLUS ULTRA*, while cherubs fire war artillery.

The side reliefs depict war scenes, such as the Battle of Pavia, where Charles V defeated Francis I of France.

At the top are balconies flanked by medallions depicting two of the twelve labors of Hercules: one slaying the Nemean Lion and another facing the Cretan Bull. The central medallion features the coat of arms of Spain.

In the lower part of the palace, the rusticated ashlars stand out, designed to convey a sense of solidity. Above them are bronze rings held by animal figures such as lions—symbols of power and protection—and in the corners, double eagles, alluding to imperial power and the emperor's heraldic emblem: the double-headed eagle of Charles I of Spain and V of Germany.

Emperor Charles I of Spain and V of the Holy Roman Empire, grandson of the Catholic Monarchs and son of Joanna I of Castile and Philip the Fair, visited Granada in the summer of 1526 after marrying Isabella of Portugal in Seville, to spend his honeymoon.

Upon his arrival, the emperor was captivated by the charm of the city and the Alhambra, and decided to build a new palace in the palatine city. This palace would become known as the New Royal House, in contrast to the Nasrid Palaces, which were henceforth known as the Old Royal House.

The works were commissioned to the Toledo architect and painter Pedro Machuca, who is said to have been a disciple of Michelangelo, which would explain his deep knowledge of the Classical Renaissance.

Machuca designed a monumental palace in the Renaissance style, with a square floor plan and a circle integrated into its interior, inspired by the monuments of classical antiquity.

Construction began in 1527 and was largely financed by the tributes the Moriscos had to pay to continue living in Granada and preserve their customs and rituals.

In 1550, Pedro Machuca died without finishing the palace. His son Luis continued the project, but after his death, work was halted for a time. It was resumed in 1572 under the reign of Philip II, entrusted to Juan de Orea on the recommendation of Juan de Herrera, architect of the Monastery of El Escorial. However, due to the lack of resources caused by the Alpujarras War, no significant progress was made.

It wasn't until the 20th century that the palace was completed, first under the direction of architect-restorer Leopoldo Torres Balbás, and finally in 1958 by Francisco Prieto Moreno.

The Palace of Charles V was conceived as a symbol of universal peace, reflecting the emperor's political aspirations. However, Charles V never personally visited the palace he commissioned.

The Alhambra Museum is located on the ground floor of the Palace of Charles V and is divided into seven rooms dedicated to Hispano-Muslim culture and art.

It houses the finest existing collection of Nasrid art, composed of pieces found in excavations and restorations carried out in the Alhambra itself over time.

Among the works on display are plasterwork, columns, carpentry, ceramics of various styles—such as the famous Vase of the Gazelles—a copy of the lamp from the Great Mosque of the Alhambra, as well as tombstones, coins, and other objects of great historical value.

This collection is the ideal complement to a visit to the monumental complex, as it provides a better understanding of daily life and culture during the Nasrid period.

Admission to the museum is free, although it is important to note that it is closed on Mondays.

When Pedro Machuca designed the Palace of Charles V, he did so using geometric forms with strong Renaissance symbolism: the square to represent the earthly world, the inner circle as a symbol of the divine and creation, and the octagon—reserved for the chapel—as a union between both worlds.

Upon entering the palace, we find ourselves in an imposing circular porticoed courtyard, elevated from the exterior. This courtyard is surrounded by two superimposed galleries, both with thirty-two columns. On the ground floor, the columns are Doric-Tuscan, and on the upper floor, Ionic.

The columns were made of pudding stone, or almond stone, from the Granada town of El Turro. This material was chosen because it was more economical than the marble originally planned.

The lower gallery has a circular vault that was possibly intended to be decorated with frescoes. The upper gallery, meanwhile, has a wooden coffered ceiling.

The frieze that runs around the courtyard features *burocranios*, representations of ox skulls, a decorative motif with roots in ancient Greece and Rome, where they were used in friezes and tombs linked to ritual sacrifices.

The two floors of the courtyard are connected by two staircases: one on the north side, built in the 17th century, and another also to the north, designed in the 20th century by the Alhambra's conservation architect, Francisco Prieto Moreno.

Although it was never used as a royal residence, the palace currently houses two important museums: the Museum of Fine Arts on the upper floor, with an outstanding collection of Granada painting and sculpture from the 15th to the 20th centuries, and the Alhambra Museum on the ground floor, accessed through the western entrance hall.

In addition to its museum function, the central courtyard boasts exceptional acoustics, making it a prime setting for concerts and theatrical performances, especially during the Granada International Music and Dance Festival.

On Calle Real, on the site adjacent to the current Church of Santa María de la Alhambra, is the Mosque Bath.

This bath was built during the reign of Sultan Muhammad III and financed by the jizya, a tax charged to Christians for planting land on the border.

The use of the hammam The bath was essential to the daily life of an Islamic city, and the Alhambra was no exception. Due to its proximity to the mosque, this bath served a key religious function: allowing for ablutions, or purification rituals, before prayer.

However, its function was not exclusively religious. The hammam also served as a place for personal hygiene and was an important social gathering place.

Its use was regulated by schedules, being in the morning for men and in the afternoon for women.

Inspired by Roman baths, Muslim baths shared their chamber layout, although they were smaller and operated using steam, unlike Roman baths, which were immersion baths.

The bath consisted of four main spaces: a rest room or changing room, a cold or warm room, a hot room, and a boiler area attached to the latter.

The heating system used was the hypocaust, an underground heating system that heated the ground using hot air generated by a furnace and distributed through a chamber beneath the pavement.

The current Parador de Turismo was originally the Convent of San Francisco, built in 1494 on the site of an old Nasrid palace that, according to tradition, belonged to a Muslim prince.

After the capture of Granada, the Catholic Monarchs ceded this space to found the city's first Franciscan convent, thus fulfilling a promise made to the Patriarch of Assisi years before the conquest.

Over time, this spot became the first burial place of the Catholic Monarchs. A month and a half before her death in Medina del Campo in 1504, Queen Isabella left her will in her wish to be buried in this convent, dressed in a Franciscan habit. In 1516, King Ferdinand was buried next to her.

Both remained buried there until 1521, when their grandson, Emperor Charles V, ordered their remains to be transferred to the Royal Chapel of Granada, where they now rest alongside Joanna I of Castile, Philip the Handsome and Prince Miguel de Paz.

Today, this original burial site can be visited by entering the Parador's courtyard. Under a dome of muqarnas, the original tombstones of both monarchs are preserved.

Since June 1945, this building has housed the Parador de San Francisco, a high-class tourist accommodation owned and operated by the Spanish State.

The word “medina,” which means “city” in Arabic, referred to the highest part of Sabika Hill in the Alhambra.

This medina was home to intense daily activity, as it was the area where the trades and population that made life possible for the Nasrid court within the palatine city were concentrated.

Textiles, ceramics, bread, glass, and even coins were produced there. In addition to workers' housing, there were also essential public buildings such as baths, mosques, souks, cisterns, ovens, silos, and workshops.

For the proper functioning of this miniature city, the Alhambra had its own system of legislation, administration, and tax collection.

Today, only a few vestiges of the original Nasrid medina remain. The transformation of the area by Christian settlers after the conquest and, later, the gunpowder explosions caused by Napoleon's troops during their retreat contributed to its deterioration.

In the mid-20th century, an archaeological rehabilitation and adaptation program was launched in this area. As a result, a landscaped walkway was laid out along an old medieval street, which today connects with the Generalife.

In the royal medina, attached to the southern wall, are the remains of the so-called Palace of the Abencerrajes, the Castilianized name of the Banu Sarray family, a noble lineage of North African origin belonging to the Nasrid court.

The remains that can be seen today are the result of excavations that began in the 1930s, as the site had previously been severely damaged, largely due to explosions caused by Napoleon's troops during their retreat.

Thanks to these archaeological excavations, it has been possible to confirm the importance of this family in the Nasrid court, not only due to the size of the palace but also due to its privileged location: in the upper part of the medina, right on the main urban axis of the Alhambra.

The Gate of Justice, known in Arabic as Bab al-Sharia, is one of the four exterior gates of the Alhambra's palatine city. As an exterior entrance, it served an important defensive function, as evidenced by its double-bend structure and the steep slope of the terrain.

Its construction, integrated into a tower attached to the southern wall, is attributed to Sultan Yusuf I in 1348.

The gate features two pointed horseshoe arches. Between them is an open area, known as a skylight, from which it was possible to defend the entrance by throwing materials from the terrace in case of attack.

Beyond its strategic value, this gate has a strong symbolic significance in the Islamic context. Two decorative elements stand out in particular: the hand and the key.

The hand represents the five pillars of Islam and symbolizes protection and hospitality. The key, meanwhile, is an emblem of faith. Their presence together could be interpreted as an allegory of spiritual and earthly power.

Popular legend says that if one day the hand and the key touch, it will mean the fall of the Alhambra... and with it, the end of the world, as it would imply the loss of its splendor.

These Islamic symbols contrast with another Christian addition: a Gothic sculpture of the Virgin and Child, the work of Ruberto Alemán, placed in a niche above the interior arch by order of the Catholic Monarchs after the capture of Granada.

The Puerta de los Carros (Chariot Gate) is not an original opening in the Nasrid wall. It was opened between 1526 and 1536 for a very specific purpose: to allow access to carts transporting materials and columns for the construction of the Palace of Charles V.

Today, this gate still serves a practical purpose. It provides pedestrian access to the grounds without a ticket, allowing free access to the Palace of Charles V and the museums within.

Furthermore, it is the only gate open to authorized vehicles, including guests of hotels located within the Alhambra complex, taxis, special services, medical personnel, and maintenance vehicles.

The Alhambra's palatial city was surrounded by extensive walls with four main gates providing access from the outside. To ensure their defense, these gates were arranged in a characteristic curved pattern, making it difficult for potential attackers to advance and facilitating ambushes from within.

The Gate of the Seven Floors, located in the southern wall, is one of these entrances. In Nasrid times, it was known as Bib al-Gudur or “Puerta de los Pozos”, due to the nearby existence of silos or dungeons, possibly used as prisons.

Its current name comes from the popular belief that there are seven levels or floors beneath it. Although only two have been documented, this belief has fueled numerous legends and tales, such as Washington Irving's story "The Legend of the Moor's Legacy," which mentions a treasure hidden in the tower's secret cellars.

Tradition holds that this was the last gate used by Boabdil and his entourage on their way to the Vega de Granada on January 2, 1492, to deliver the keys to the Kingdom to the Catholic Monarchs. It was also through this gate that the first Christian troops entered without resistance.

The gate we see today is a reconstruction, as the original was largely destroyed by the explosion of Napoleon's troops during their retreat in 1812.

The Puerta del Vino (Wine Gate) was the main gateway to the Alhambra Medina. Its construction is attributed to Sultan Muhammad III in the early 14th century, although its doors were later remodeled by Muhammad V.

The name "Wine Gate" does not come from the Nasrid period, but from the Christian era, starting in 1556, when residents of the Alhambra were allowed to buy wine tax-free at this location.

As it is an interior gate, its layout is straight and direct, unlike exterior gates such as the Justice Gate or the Arms Gate, which were designed with a bend to improve defense.

Although it did not serve primary defensive functions, it had benches inside for the soldiers in charge of access control, as well as a room upstairs for the guards' residence and rest areas.

The western façade, facing the Alcazaba, was the entrance. Above the lintel of the horseshoe arch is the symbol of the key, a solemn emblem of welcome and of the Nasrid dynasty.

On the eastern façade, which faces the Palace of Charles V, the spandrels of the arch are particularly noteworthy, decorated with tiles made using the dry rope technique, offering a beautiful example of Hispano-Muslim decorative art.

During the time of the Nasrid dynasty, the site now occupied by the Church of Santa María de la Alhambra housed the Aljama Mosque or Great Mosque of the Alhambra, built at the beginning of the 14th century by Sultan Muhammad III.

After the capture of Granada on January 2, 1492, the mosque was blessed for Christian worship and the first Mass was celebrated there. By order of the Catholic Monarchs, it was consecrated under the patronage of Saint Mary, and the first archiepiscopal seat was established there.

By the end of the 16th century, the old mosque was in a state of disrepair, which led to its demolition and the construction of a new Christian temple, which was completed in 1618.

Few vestiges of the Islamic building remain. The most significant preserved element is a bronze lamp with an epigraphic inscription dated 1305, currently in the National Archaeological Museum in Madrid. A replica of this lamp can be seen in the Alhambra Museum, in the Palace of Charles V.

The Church of Santa María de la Alhambra has a simple layout with a single nave and three side chapels on each side. The most notable feature of its interior is the titular image: the Virgin of Angustias, an 18th-century work by Torcuato Ruiz del Peral.

This image, also known as the Virgin of Mercy, is the only one carried in procession in Granada every Holy Saturday, weather permitting. It is carried on a throne of great beauty, embossed in silver, imitating the arches of the emblematic Patio de los Leones.

As a curiosity, the Granada poet Federico García Lorca was a member of this brotherhood.

Before the current Parador de Turismo, and to the east, lie the remains of a medieval tannery or buffalo farm, a facility dedicated to the processing of hides: cleaning, tanning, and dyeing. This was a common activity throughout al-Andalus.

The Alhambra tannery is small compared to similar tannery stores in North Africa. However, it should be noted that its purpose was exclusively to meet the needs of the Nasrid court.

It had eight small pools of different sizes, both rectangular and circular, where the lime and dyes used in the leather tanning process were stored.

This activity required abundant water, which is why the tannery was located next to the Royal Canal, taking advantage of its constant flow. Its existence is also an indication of the large amount of water available in this area of the Alhambra.

The Water Tower is an imposing structure located in the southwest corner of the Alhambra wall, near the current main entrance from the ticket office. Although it served defensive purposes, its most important purpose was to protect the entrance to the Royal Canal, hence its name.

The irrigation ditch reached the palatine city after crossing an aqueduct and bordered the north face of the tower to supply water to the entire Alhambra.

The tower we see today is the result of extensive reconstruction. During the retreat of Napoleon's troops in 1812, it suffered severe damage from gunpowder explosions, and by the mid-20th century it was reduced almost to its massive base.

This tower was essential, as it allowed water—and therefore life—to enter the palatine city. Originally, Sabika Hill lacked natural water sources, which posed a significant challenge for the Nasrids.

For this reason, Sultan Muhammad I ordered a major hydraulic engineering project: the construction of the so-called Sultan's Ditch. This ditch captures water from the Darro River about six kilometers away, at a higher altitude, taking advantage of the slope to convey the water by gravity.

The infrastructure included a storage dam, an animal-powered waterwheel, and a brick-lined canal—the acequia—that runs underground through mountains, entering the upper part of the Generalife.

To overcome the steep slope between Cerro del Sol (Generalife) and Sabika Hill (Alhambra), engineers built an aqueduct, a key project to ensure the water supply to the entire monumental complex.

The Alcazaba is the most primitive part of the monumental complex, built on the remains of an ancient Zirid fortress.

The origins of the Nasrid Alcazaba date back to 1238, when the first sultan and founder of the Nasrid dynasty, Muhammad Ibn al-Alhmar, decided to move the seat of the sultanate from the Albaicín to the opposite hill, the Sabika.

The location chosen by Al-Ahmar was ideal since the Alcazaba, located at the western end of the hill and with a triangular layout, very similar to the prow of a ship, guaranteed optimal defense for what would become the palatine city of the Alhambra, built under its protection.

The Alcazaba, with its several walls and towers, was clearly intended to be defensive. It was, in fact, a surveillance center, due to its location two hundred meters above the city of Granada, thus guaranteeing visual control of the entire surrounding territory and simultaneously representing a symbol of power.

Inside, the military quarter is located, and over time, the Alcazaba was established as a small, independent micro-city for high-ranking soldiers, responsible for the defense and protection of the Alhambra and its sultans.

Upon entering the citadel, we find ourselves in what appears to be a labyrinth, although in reality it is a process of architectural restoration using anastylosis, which has allowed the restoration of the old military quarter that had remained buried until the beginning of the twentieth century.

The Sultan's elite guard and the rest of the military contingent responsible for the defense and security of the Alhambra resided in this neighborhood. It was, therefore, a small city within the Alhambra's palatial city, with everything necessary for daily life, such as housing, workshops, a bakehouse with an oven, warehouses, a cistern, a hammam, and so on. In this way, the military and civilian populations could be kept separate.

In this neighborhood, thanks to this restoration, we can contemplate the typical layout of the Muslim house: an entrance with a corner entrance, a small courtyard as the central axis of the house, rooms surrounding the courtyard, and a latrine.

Furthermore, at the beginning of the twentieth century, a dungeon was discovered underground. Easily recognizable from the outside by the modern spiral staircase leading down to it. This dungeon housed prisoners who could be used to obtain significant benefits, whether political or economic, or, in other words, individuals with significant market value.

This underground prison is shaped like an inverted funnel and has a circular floor plan. This made it impossible for these captives to escape. In fact, the prisoners were brought inside using a system of pulleys or ropes.

The Powder Tower served as a defensive reinforcement on the southern side of the Vela Tower and from there the military road that led to the Red Towers started.

Since 1957, it is in this tower where we can find some verses engraved on stone, whose authorship corresponds to the Mexican Francisco de Icaza:

“Give alms, woman, there is nothing in life,
like the penalty of being blind in Granada.”

The space occupied by the Garden of the Adarves dates back to the sixteenth century, when an artillery platform was built in the process of adapting the Alcazaba for artillery.

It was already in the seventeenth century when military use lost its importance and the fifth Marquis of Mondéjar, after being appointed warden of the Alhambra in 1624, decided to transform this space into a garden by filling the space between the outer and inner walls with earth.

There is a legend that it was in this place where gold-filled porcelain vases were found hidden, probably hidden by the last Muslims who inhabited the area. Some of the gold was used by the Marquis to finance the creation of this beautiful garden. It is thought that perhaps one of these vases is one of the twenty large Nasrid gilded earthenware vases preserved worldwide. We can see two of these vases in the National Museum of Hispano-Muslim Art, located on the ground floor of the Palace of Charles V.

One of the notable features of this garden is the presence in the central part of a kettledrum-shaped fountain. This fountain has had various locations, the most striking and notable being in the Patio de los Leones (Courtyard of the Lions), where it was placed in 1624 over the Lions' Fountain, causing significant damage. The bowl remained in that location until 1954, when it was removed and replaced here.

Under the Nasrid dynasty, this tower was known as the Torre Mayor, and from the sixteenth century onward, it was also called the Torre del Sol (Tower of the Sun), because the sun reflected off the tower at midday, acting as a sundial. However, its current name comes from the word velar (vellar), given that, thanks to its height of 27 meters, it provides a 360-degree view that would allow any movement to be detected.

The Tower's appearance has changed over time. It originally had battlements on its terrace, which were lost due to several earthquakes. The bell was added after the Christians captured Granada.

This bell was used to warn the population of any potential danger, such as earthquakes or fires. The sound of this bell was also used to regulate irrigation schedules in the Granada Valley.

Currently, and according to tradition, the bell is rung every January 2nd to commemorate the capture of Granada on January 2nd, 1492.

Located in the northern wall of the Alcazaba, the Puerta de las Armas was one of the main entrances to the Alhambra.

During the Nasrid dynasty, citizens crossed the Darro River via the Cadí Bridge and climbed the hill along a path now hidden by the San Pedro Forest until they reached the gate. Inside the gate, they had to deposit their weapons before entering the enclosure, hence the name "Gate of Arms."

From the terrace of this tower, we can now enjoy one of the best panoramic views of the city of Granada.

Just across the street is the Albaicín neighborhood, recognizable by its whitewashed houses and labyrinthine streets. This neighborhood was declared a UNESCO World Heritage Site in 1994.

It is in this neighborhood where one of Granada's most famous viewpoints is located: the Mirador de San Nicolás.

To the right of the Albaicín, is the Sacromonte neighborhood.

Sacromonte is Granada's quintessential old Gypsy neighborhood and the birthplace of flamenco. This neighborhood is also characterized by the presence of troglodyte dwellings: caves.

At the foot of the Albaicín and the Alhambra lies the Carrera del Darro, next to the banks of the river of the same name.

The Keep is one of the oldest towers in the Alcazaba, standing 26 meters tall. It has six floors, a terrace, and an underground dungeon.

Due to the tower's height, communication with the kingdom's watchtowers was established from its terrace. This communication was established through a system of mirrors during the day or smoke with bonfires at night.

It is thought that, due to the tower's protruding position on the hill, it was probably the place chosen for the display of the banners and red flags of the Nasrid dynasty.

The base of this tower was reinforced by the Christians with the so-called Cube Tower.

After the capture of Granada, the Catholic Monarchs planned a series of renovations to adapt the Alcazaba to artillery. Thus, the Cube Tower was built over the Tahona Tower. Thanks to its cylindrical shape, it provides greater protection against potential impacts compared to the square-shaped Nasrid towers.

The Generalife, located on Cerro del Sol, was the sultan's almunia, or in other words, a palatial country house with orchards, where, in addition to farming, animals were raised for the Nasrid court and hunting was practiced. Its construction is estimated to have begun in the late 13th century by Sultan Muhammad II, son of the founder of the Nasrid dynasty.

The name Generalife comes from the Arabic "yannat-al-arif," meaning "the architect's garden." It was a much larger space in the Nasrid period, with at least four vegetable gardens, and extended to a place known today as "the partridge plain."

This country house, which the vizier Ibn al-Yayyab called the Royal House of Happiness, was a palace: the sultan's summer palace. Despite its proximity to the Alhambra, it afforded him enough privacy to escape and relax from the stresses of court and government life, as well as to enjoy more pleasant temperatures. Due to its location at a higher altitude than the palatine city of the Alhambra, the temperature inside dropped.

When Granada was captured, the Generalife became the property of the Catholic Monarchs, who placed it under the protection of an alcaide or commander. Philip II eventually ceded the perpetual alcaidía and ownership of the site to the Granada Venegas family (a family of converted Moriscos). The State only recovered the site after a dispute that lasted almost 100 years and ended with an out-of-court settlement in 1921.

Agreement by which the Generalife would become a national heritage site and would be managed together with the Alhambra through the Board of Trustees, thus forming the Board of Trustees of the Alhambra and the Generalife.

The open-air amphitheater we encountered on our way to the Generalife Palace was built in 1952 with the intention of hosting, as it does every summer, the Granada International Music and Dance Festival.

Since 2002, a Flamenco Festival has also been held, dedicated to Granada's most famous poet: Federico García Lorca.

Under the Nasrid dynasty, the road that connected the palatine city and the Generalife started from the Puerta del Arabal, framed by the so-called Torre de los Picos, so named because its battlements end in brick pyramids.

It was a winding, sloping road, protected on both sides by high walls for greater security, and led to the entrance to the Patio del Descabalgamiento.

These ruins or foundations are the archaeological remains of what was once the so-called House of Friends. Its name and purpose have come down to us thanks to Ibn Luyún's "Treatise on Agriculture" in the 14th century.

It was therefore a dwelling intended for people, friends or relatives whom the sultan held in esteem and considered important to have close to him, but without invading their privacy, so it was an isolated dwelling.

This Oleander Walk was built in the mid-19th century for the visit of Queen Elizabeth II and to create a more monumental access to the upper part of the palace.

Oleander is another name for the pink laurel, which appears in the form of an ornamental canopy along this walkway. At the beginning of the walk, behind the High Gardens, is one of the oldest examples of the Moorish myrtle, which was nearly lost and whose genetic traces are still being investigated today.

It is one of the most characteristic plants of the Alhambra, distinguished by its curled leaves, which are larger than the common myrtle.

The Paseo de las Adelfas connects with the Paseo de los Cipreses, which serves as a link leading visitors to the Alhambra.

One of the best-preserved and unique elements of the Generalife is the so-called Water Staircase. It is believed that, under the Nasrid dynasty, this staircase—divided into four flights with three intermediate landings—had water channels that flowed through the two glazed ceramic handrails, fed by the Royal Canal.

This water pipe reached a small oratory, of which no archaeological information survives. In its place, since 1836, there has been a romantic belvedere erected by the estate manager at the time.

The climb up this staircase, framed by a laurel vault and the murmur of water, probably created an ideal environment for stimulating the senses, entering into a climate conducive to meditation, and performing ablutions prior to prayer.

In the grounds surrounding the palace, it is estimated that there must have been at least four large vegetable gardens organized on different levels, or paratas, enclosed by adobe walls. The names of these gardens that have survived to the present day are: Grande, Colorada, Mercería, and Fuente Peña.

These gardens have continued to be cultivated, to a greater or lesser extent, since the 14th century, using the same traditional medieval techniques. Thanks to this agricultural production, the Nasrid court maintained a certain independence from other external agricultural suppliers, allowing it to meet its own food needs.

They were used not only for vegetable gardens, but also for fruit trees and animal pastures. For example, today they grow artichokes, eggplants, beans, figs, pomegranates, and almond trees.

Today, the preserved orchards continue to use the same agricultural production techniques employed in medieval times, giving this space great anthropological value.

These gardens are accessed from the Patio de la Sultana via a steep 19th-century staircase, called the Lions' Staircase, due to the two glazed earthenware figures above the gate.

These gardens can be considered an example of a Romantic garden. They are located on pillars and form the highest part of the Generalife, offering spectacular views of the entire monumental complex.

The presence of beautiful magnolias stands out.

The Rose Gardens date back to the 1930s and 1950s, when the State acquired the Generalife in 1921.

The need then arose to enhance the value of an abandoned area and strategically connect it to the Alhambra through a gradual and smooth transition.

The Patio de la Acequia, also called the Patio de la Ría in the 19th century, today has a rectangular structure with two facing pavilions and a bay.

The courtyard's name comes from the Royal Canal that runs through this palace, around which four gardens are arranged in orthogonal parterres at a lower level. On both sides of the canal are fountains that form one of the palace's most popular images. However, these fountains are not original, as they disrupt the tranquility and serenity the sultan sought during his moments of rest and meditation.

This palace has undergone extensive transformations, as this courtyard was originally closed to the views we find today through the gallery of 18 belvedere-style arches. The only part that would allow a view of the landscape would be the central viewing platform. From this original viewing platform, sitting on the floor and leaning on the windowsill, one could contemplate the panoramic views of the palatine city of the Alhambra.

As a testament to its past, we find Nasrid decoration in the viewing platform, where the plasterwork of Sultan Ismail I is superimposed over that of Muhammad III stands out. This demonstrates that each sultan had different tastes and needs and adapted the palaces accordingly, leaving their own mark or imprint.

As we pass the viewpoint, and if we look at the intrados of the arches, we will also find emblems of the Catholic Monarchs such as the Yoke and the Arrows, as well as the motto "Tanto Monta".

The east side of the courtyard is recent due to a fire that occurred in 1958.

Before entering the Patio de la Acequia, we come across the Patio de la Guardia. A simple courtyard with porticoed galleries and a fountain in its center, it is also decorated with bitter orange trees. This courtyard must have served as a control area and antechamber before accessing the sultan's summer quarters.

What stands out about this place is that, after climbing some steep stairs, we find a doorway framed by a lintel decorated with tiles in shades of blue, green, and black on a white background. We can also see, although worn by the passage of time, the Nasrid key.

As we climb the steps and pass through this doorway, we come across a bend, the guard benches, and a steep, narrow staircase that leads us to the palace.

The Patio de la Sultana is one of the most transformed spaces. It is thought that the site now occupied by this courtyard—also called the Patio del Ciprés—was the area used for the former hammam, the Generalife baths.

In the 16th century, it lost this function and became a garden. Over time, a northern gallery was added, along with a U-shaped pool, a fountain in its center, and thirty-eight noisy jets.

The only elements preserved from the Nasrid period are the Acequia Real waterfall, protected behind a fence, and a small section of canal that directs the water towards the Patio de la Acequia.

The name "Cypress Courtyard" is due to the centuries-old dead cypress tree, of which only its trunk remains today. Next to it is a Granada ceramic plaque that tells of the 16th-century legend by Ginés Pérez de Hita, according to which this cypress witnessed the amorous encounters of the last sultan's favorite, Boabdil, with a noble Abencerraje knight.

The Patio del Descabalgamiento, also known as Patio Polo, is the first courtyard we encounter upon entering the Generalife Palace.

The Sultan used a horse as a means of transportation to access the Generalife, and as such, he needed a place to dismount and house these animals. This courtyard is thought to have been intended for this purpose, as it housed the stables.

It had benches for support for horses to get on and off, and two stables in the side aisles, which served as stables on the lower level and haylofts on the upper level. A drinking trough with fresh water for the horses was also essential.

Worth noting here: above the lintel of the door leading to the next courtyard, we find the Alhambra key, a symbol of the Nasrid dynasty, representing salutation and ownership.

The north portico is the best preserved and was intended to house the sultan's quarters.

We find a portico with five arches supported by columns and alhamíes at their ends. Beyond this portico, and to access the Royal Hall, one passes through a triple archway in which poems speak of the Battle of La Vega or Sierra Elvira in 1319, which gives us information about the dating of the site.

On the sides of this triple arch there are also *taqas*, small niches excavated in the wall where water was placed.

The Royal Hall, located in a square tower decorated with plasterwork, was the place where the sultan—despite this being a leisure palace—received urgent audiences. These audiences, according to verses engraved there, were supposed to be brief and to the point so as not to unduly disturb the emir's rest.

The Nasrid Palaces constitute the most emblematic and striking part of the monumental complex. They were built in the 14th century, a period that can be considered a time of great splendor for the Nasrid dynasty.

These palaces were the area reserved for the sultan and his close relatives, where family life took place, but also the official and administrative life of the kingdom.

The Palaces are: the Mexuar, the Comares Palace and the Palace of the Lions.

Each of these palaces was built independently, at different times, and with their own distinct functions. It was after the Capture of Granada that the palaces were unified, and from that moment on, they became known as the Royal House, and later as the Old Royal House, when Charles V decided to build his own palace.

The Mexuar is the oldest part of the Nasrid Palaces, but it is also the space that has undergone the greatest transformations over time. Its name comes from the Arabic *Maswar*, which refers to the place where the *Sura* or Council of Ministers of the Sultan met, thus revealing one of its functions. It was also the antechamber where the Sultan administered justice.

The construction of the Mexuar is attributed to Sultan Isma'il I (1314–1325), and was modified by his grandson Muhammad V. However, it was the Christians who most transformed this space by converting it into a chapel.

During the Nasrid period, this space was much smaller and was organized around four central columns, where the characteristic Nasrid cubic capital, painted cobalt blue, can still be seen. These columns supported a lantern that provided overhead light, which was removed in the 16th century to create upper rooms and side windows.

To convert the space into a chapel, the floor was lowered and a small rectangular space was added at the back, now separated by a wooden balustrade that indicates where the upper choir was located.

The ceramic tiled plinth with star decoration was brought from elsewhere. Among its stars, one can alternately see: the coat of arms of the Nasrid Kingdom, that of Cardinal Mendoza, the double-headed eagle of the Austrians, the motto "There is no victor but God," and the Pillars of Hercules from the imperial coat of arms.

Above the plinth, a plaster epigraphic frieze repeats: “The Kingdom is God’s. Strength is God’s. Glory is God’s.” These inscriptions replace the Christian ejaculations: “Christus regnat. Christus vincit. Christus imperat.”

The current entrance to the Mexuar was opened in the modern period, changing the location of one of the Pillars of Hercules, bearing the motto "Plus Ultra," which was moved to the east wall. The plaster crown above the door remains in its original location.

At the back of the room, a door leads to the Oratory, which was originally accessed through the Machuca gallery.

This space is one of the most damaged in the Alhambra due to the explosion of a powder magazine in 1590. It was restored in 1917.

During the restoration, the floor level was lowered to prevent accidents and facilitate visits. A continuous ledge under the windows remains as a testament to the original level.

This impressive façade, extensively restored between the 19th and 20th centuries, was built by Muhammad V to commemorate the capture of Algeciras in 1369, which granted him dominion over the Strait of Gibraltar.

In this courtyard, the sultan received subjects who had a special audience. He sat in the central part of the façade, on a jamuga (wooden frame) between the two doors and beneath the great eaves, a masterpiece of Nasrid carpentry that crowned it.

The façade has a strong allegorical meaning. On it, subjects could read:

“My position is that of a crown and my gate a fork: the West believes that in me is the East.”
Al-Gani bi-llah has entrusted me with opening the door to the victory that is being announced.
Well, I'm waiting for him to appear as the horizon reveals itself in the morning.
May God make his work as beautiful as his character and figure are!

The door on the right served as access to the private quarters and service area, while the door on the left, through a curved corridor with benches for the guard, gives access to the Comares Palace, specifically to the Patio de los Arrayanes.

Subjects who obtained an audience waited in front of the façade, separated from the sultan by the royal guard, in the room now known as the Golden Room.

The name *Golden Quarter* comes from the period of the Catholic Monarchs, when the Nasrid coffered ceiling was repainted with golden motifs and the emblems of the monarchs were incorporated.

In the center of the courtyard is a low marble fountain with galloons, a replica of the Lindaraja fountain preserved in the Alhambra Museum. To one side of the fountain, a gate leads to a dark underground corridor used by the guards.

One of the characteristics of the Hispano-Muslim house is access through a curved hallway that leads to an open-air courtyard, the focal point of life and organization of the home, complete with a water feature and vegetation. This same concept is found in the Patio de los Arrayanes, but on a larger scale, measuring 36 meters long and 23 meters wide.

The Patio de los Arrayanes (Courtyard of the Myrtles) is the centerpiece of the Comares Palace, where the political and diplomatic activities of the Nasrid Kingdom took place. It is a rectangular courtyard of imposing dimensions, whose central axis is a large pool. In it, the still water acts as a mirror, lending depth and verticality to the space, thus creating a palace on water.

At both ends of the pool, jets gently introduce water so as not to disrupt the mirror effect or the stillness of the place.

Flanking the pool are two myrtle clumps, which give the current site its name: Patio de los Arrayanes (Courtyard of the Myrtles). In the past, it was also known as Patio de la Alberca (Courtyard of the Pool).

The presence of water and vegetation is not only a matter of ornamental or aesthetic considerations, but also a desire to create pleasant spaces, especially in summer. Water refreshes the environment, while vegetation retains moisture and provides fragrance.

On the longer sides of the courtyard are four independent dwellings. On the north side stands the Comares Tower, which houses the Throne Room or Ambassadors' Room.

On the south side, the façade acts as a trompe l'oeil, as the building that existed behind it was demolished to connect the Palace of Charles V with the Old Royal House.

Before entering the Nasrid Palaces, if we look to the left, we find two courtyards.

The first is the Patio de la Mezquita, named after the small mosque located in one of its corners. However, since the 20th century, it has also been known as the Madrasa de los Príncipes (Princes' Madrasa), as its structure bears similarities to the Madrasa of Granada.

Further on is the Patio de Machuca, named after the architect Pedro Machuca, who was in charge of supervising the construction of the Palace of Charles V in the 16th century and who resided there.

This courtyard is easily recognizable by the lobed-edged pool at its center, as well as by the arched cypress trees, which restore the architectural feel of the space in a non-invasive way.

The Boat Room is the anteroom to the Throne Room or Ambassadors' Room.

On the jambs of the arch leading into this room, we find facing niches carved in marble and decorated with colorful tiles. These are one of the most characteristic ornamental and functional elements of the Nasrid palaces: the taqas.

*Taqas* are small niches carved into walls, always arranged in pairs and facing each other. They were used to hold jars of fresh water for drinking or scented water for washing hands.

The current ceiling of the hall is a reproduction of the original, lost in a fire in 1890.

The name of this room comes from a phonetic alteration of the Arabic word *baraka*, meaning "blessing," which is repeated numerous times on the walls of this room. It does not derive, as is popularly believed, from the inverted boat-shaped roof.

It was in this place where the new sultans requested the blessing of their god before being crowned as such in the Throne Room.

Before entering the Throne Room, we find two side entrances: on the right, a small oratory with its mihrab; and on the left, the access door to the interior of the Comares Tower.

The Ambassadors' Hall, also called the Throne Hall or the Comares Hall, is the site of the sultan's throne and, therefore, the center of power of the Nasrid dynasty. Perhaps for this reason, it is located within the Comares Tower, the largest tower in the monumental complex, at 45 meters high. Its etymology comes from the Arabic *arsh*, meaning tent, pavilion, or throne.

The room is shaped like a perfect cube, and its walls are richly decorated up to the ceiling. On the sides are nine identical alcoves grouped in groups of three with windows. The one opposite the entrance features more elaborate decoration, as it was the sultan's seat, backlit, favoring the effect of dazzling and surprising.

In the past, the windows were covered with colored glass panels with geometric shapes called *cumarias*. These were lost due to the shock wave of a powder magazine that exploded in 1590 on the Carrera del Darro.

The decorative richness of the hall is extreme. It begins in the lower part with geometrically shaped tiles, creating a visual effect similar to that of a kaleidoscope. It continues on the walls with stuccos resembling hanging tapestries, decorated with plant motifs, flowers, shells, stars, and abundant inscriptions.

The current script is of two types: cursive, the most common and easily recognizable; and Kufic, a cultured script with rectilinear and angular forms.

Among all the inscriptions, the most notable is the one below the ceiling, on the top strip of the wall: sura 67 of the Quran, called *The Kingdom* or *of the Lordship*, which runs along the four walls. This sura was recited by the new sultans to proclaim that their power came directly from God.

The image of divine power is also represented in the ceiling, composed of 8,017 different pieces that, through wheels of stars, illustrate Islamic eschatology: the seven heavens and an eighth, paradise, the Throne of Allah, represented by the central dome of muqarnas.

To access the Christian Royal House, you must use one of the doors open in the left alcove of the Hall of the Two Sisters.

Charles V, grandson of the Catholic Monarchs, visited the Alhambra in June 1526 after marrying Isabella of Portugal in Seville. Upon arriving in Granada, the couple settled into the Alhambra itself and ordered the construction of new rooms, now known as the Emperor's Apartments.

These spaces completely break with Nasrid architecture and aesthetics. However, as they were built on garden areas between the Comares Palace and the Palace of the Lions, the upper part of the Royal Hammam, or Comares Hammam, can be seen through small windows to the left of the corridor. A few meters further on, other openings reveal the Hall of Beds and the Musicians' Gallery.

The Royal Baths were not only a place of hygiene, but also an ideal place to cultivate political and diplomatic relations in a relaxed and friendly manner, accompanied by music to liven up the occasion. This space is only open to the public on special occasions.

Through this corridor you enter the Emperor's Office, which stands out for its Renaissance fireplace with the imperial coat of arms and a wooden coffered ceiling designed by Pedro Machuca, architect of the Palace of Charles V. On the coffered ceiling you can read the inscription "PLUS ULTRA", a motto adopted by the Emperor, along with the initials K and Y, corresponding to Charles V and Isabella of Portugal.

Leaving the hall, on the right are the Imperial Rooms, currently closed to the public and only accessible on special occasions. These rooms are also known as Washington Irving's Rooms, as it was here that the American Romantic writer stayed during his stay in Granada. It was possibly here that he wrote his famous book *Tales of the Alhambra*. A commemorative plaque can be seen above the door.

Adjacent to the Patio de la Reja is the Patio de Lindaraja, adorned with carved boxwood hedges, cypress trees, and bitter orange trees. This patio owes its name to the Nasrid viewpoint located on its southern side, which bears the same name.

During the Nasrid period, the garden had a completely different appearance than it does today, as it was a space open to the landscape.

With the arrival of Charles V, the garden was enclosed, taking on a cloister-like layout thanks to a porticoed gallery. Columns from other parts of the Alhambra were used for its construction.

In the center of the courtyard stands a Baroque fountain, over which a Nasrid marble basin was superimposed at the beginning of the 17th century. The fountain we see today is a replica; the original is preserved in the Alhambra Museum.

The Patio de los Leones (Courtyard of the Lions) is the heart of this palace. It is a rectangular courtyard surrounded by a porticoed gallery with 124 columns, each one different from the other, which connect the different rooms of the palace. It bears a certain resemblance to a Christian cloister.

This space is considered one of the jewels of Islamic art, despite breaking with the usual patterns of Hispano-Muslim architecture.

The palace's symbolism revolves around the concept of a garden-paradise. The four water channels that radiate from the center of the courtyard could represent the four rivers of Islamic paradise, giving the courtyard a cruciform layout. The columns evoke a palm forest, like the oasis of paradise.

In the center is the famous Fountain of the Lions. The twelve lions, although in a similar position—alert and with their backs to the fountain—have different features. They are carved from white Macael marble, carefully selected to take advantage of the stone's natural veins and accentuate its distinctive features.

There are various theories about its symbolism. Some believe it represents the strength of the Nasrid dynasty or Sultan Muhammad V, the twelve signs of the zodiac, the twelve hours of the day, or even a water clock. Others maintain that it is a reinterpretation of the Bronze Sea of Judea, held up by twelve bulls, here replaced by twelve lions.

The central bowl was probably carved in situ and contains poetic inscriptions praising Muhammad V and the hydraulic system that feeds the fountain and regulates the flow of water to prevent overflow.

“In appearance, water and marble seem to merge without us knowing which of the two is sliding.
Don't you see how the water spills into the bowl, but its spouts immediately hide it?

He is a lover whose eyelids overflow with tears,
tears that she hides for fear of an informer.

Is it not, in reality, like a white cloud that pours its irrigation ditches upon the lions and seems like the hand of the caliph who, in the morning, lavishes his favors upon the lions of war?

The fountain underwent several transformations over time. In the 17th century, a second basin was added, which was removed in the 20th century and relocated to the Garden of the Adarves of the Alcazaba.

The Christian adaptation of the palace entailed the creation of direct access to the Comares Tower via a two-story open gallery. This gallery offers magnificent views of two of Granada's most iconic neighborhoods: the Albaicín and the Sacromonte.

From the gallery, looking to the right, you can also see the Queen's Dressing Room, which, like other areas mentioned above, can only be visited on special occasions or as a space of the month.

The Queen's Dressing Room is located in the Tower of Yusuf I, a tower set forward from the wall. Its Christian name comes from the use made of it by Isabella of Portugal, wife of Charles V, during her stay at the Alhambra.

Inside, the space was adapted to Christian aesthetics and houses valuable Renaissance paintings by Julius Achilles and Alexander Mayner, disciples of Raphael Sanzio, also known as Raphael of Urbino.

Descending from the gallery, we find the Patio de la Reja (Courtyard of the Grill). Its name comes from the continuous balcony with wrought iron railings, installed in the mid-17th century. These railings served as an open corridor to connect and protect the adjacent rooms.

The Hall of the Two Sisters gets its current name from the presence of two twin slabs of Macael marble located in the center of the room.

This room bears some resemblance to the Hall of the Abencerrajes: it is located higher than the courtyard and, beyond the entrance, has two doors. The one on the left led to the toilet, and the one on the right led to the upper rooms of the house.

Unlike its twin room, this one opens to the north towards the Sala de los Ajimeces and a small viewpoint: the Mirador de Lindaraja.

During the Nasrid dynasty, under Muhammad V, this room was known as *qubba al-kubra*, meaning the great qubba, the most important in the Palace of the Lions. The term *qubba* refers to a square floor plan covered with a dome.

The dome begins with an eight-pointed star, unfolding into a three-dimensional layout composed of 5,416 muqarnas, some of which still retain traces of polychromy. These muqarnas are distributed in sixteen small cupolas located above sixteen windows with lattices that bring changing light into the room depending on the time of day.

Before entering the western hall, also known as the Hall of the Abencerrajes, we find some wooden doors with remarkable carvings that have been preserved since medieval times.

The name of this room is linked to a legend according to which, due to a rumor about an affair between an Abencerraje knight and the sultan's favorite, or due to alleged plots by this family to overthrow the monarch, the sultan, filled with rage, summoned the Abencerraje knights. Thirty-six of them lost their lives as a result.

This story was recorded in the 16th century by the writer Ginés Pérez de Hita in his novel about the *Civil Wars of Granada*, where he narrates that the knights were murdered in this very room.

For this reason, some claim to see in the rust stains on the central fountain a symbolic vestige of the rivers of blood of those knights.

This legend also inspired the Spanish painter Mariano Fortuny, who captured it in his work entitled *The Massacre of the Abencerrajes*.

Upon entering the door, we found two entrances: the one on the right led to the toilet, and the one on the left to some stairs leading to the upper rooms.

The Hall of the Abencerrajes is a private and independent dwelling on the ground floor, structured around a large *qubba* (dome in Arabic).

The plaster dome is richly decorated with muqarnas originating from an eight-pointed star in a complex three-dimensional composition. The muqarnas are architectural elements based on hanging prisms with concave and convex shapes, reminiscent of stalactites.

As you enter the room, you notice a drop in temperature. This is because the only windows are located at the top, allowing hot air to escape. Meanwhile, the water from the central fountain cools the air, making the room, with the doors closed, function as a kind of cave, with an ideal temperature for the hottest summer days.

Beyond the Hall of the Two Sisters, to the north, we find a transverse nave covered by a muqarnas vault. This room is called the Hall of the Mullions (Ajimeces) because of the type of windows that must have closed the openings on either side of the central arch that leads to the Lindaraja Viewpoint.

The white walls of this room are believed to have been originally covered with silk fabrics.

The so-called Lindaraja Viewpoint owes its name to the derivation of the Arabic term *Ayn Dar Aisa*, which means “the eyes of the House of Aisa”.

Despite its small size, the interior of the viewing platform is remarkably decorated. On one hand, it features tiling with a succession of small, interlocking stars, which required meticulous work by the artisans. On the other hand, if you look up, you can see a ceiling with colored glass embedded in a wooden structure, resembling a skylight.

This lantern is a representative example of what many of the windows or mullioned windows of the Palatine Alhambra must have looked like. When sunlight hits the glass, it projects colorful reflections that illuminate the decoration, giving the space a unique, ever-changing atmosphere throughout the day.

During the Nasrid period, when the courtyard was still open, a person could sit on the floor of the belvedere, rest their arm on the windowsill, and enjoy spectacular views of the Albayzín neighborhood. These views were lost at the beginning of the 16th century, when the outbuildings intended to serve as the residence of Emperor Charles V were built.

The Hall of the Kings occupies the entire east side of the Patio de los Leones and, although it appears integrated into the palace, it is thought to have had its own function, probably of a recreational or courtly nature.

This space stands out for preserving one of the few examples of Nasrid figurative painting.

In the three alcoves, each approximately fifteen square meters in area, there are three false vaults decorated with paintings on lambskin. These skins were fixed to the wooden support with small bamboo nails, a technique that prevented the material from rusting.

The name of the room probably comes from the interpretation of the painting in the central alcove, which depicts ten figures that could correspond to the first ten sultans of the Alhambra.

In the side alcoves, chivalric scenes of fighting, hunting, games, and love can be seen. Their clothing clearly distinguishes the presence of Christian and Muslim figures sharing the same space.

The origin of these paintings has been widely debated. Due to their Linear Gothic style, it is thought that they were probably created by Christian artists familiar with the Muslim world. These works may be the result of the good relationship between Muhammad V, founder of this palace, and the Christian king Peter I of Castile.

The Room of Secrets is a square-shaped room, covered with a spherical vault.

Something very peculiar and curious happens in this room, making it one of the favorite attractions for visitors to the Alhambra, especially for the little ones.

The phenomenon is that if one person stands at one corner of the room and another at the opposite corner—both facing the wall and as close to it as possible—one of them can speak very quietly and the other will hear the message perfectly, as if they were right next to them.

It is thanks to this acoustic “game” that the room gets its name: **Room of Secrets**.

The palace known as the Palace of the Lions was commissioned during the second reign of Sultan Muhammad V, which began in 1362 and lasted until 1391. During this period, construction began on the Palace of the Lions, adjacent to the Palace of Comares, which had been built by his father, Sultan Yusuf I.

This new palace was also called *Riyad Palace*, as it is believed to have been built on the former Comares Gardens. The term *Riyad* means "garden."

It is thought that the original access to the palace was through the southeast corner, from Calle Real and through a curved entrance. Currently, due to Christian modifications after the conquest, the Sala de los Muqarnas is accessed directly from the Comares Palace.

The Hall of the Muqarnas takes its name from the impressive muqarnas vault that originally covered it, which almost completely collapsed as a result of the vibrations caused by the explosion of a powder magazine on the Carrera del Darro in 1590.

Remains of this vault can still be seen on one side. On the opposite side, remains of a later Christian vault appear, bearing the letters "FY," traditionally associated with Ferdinand and Isabella, although they actually correspond to Philip V and Isabella Farnese, who visited the Alhambra in 1729.

It is believed that the room may have functioned as a vestibule or waiting room for guests attending the sultan's celebrations, parties, and receptions.

The large space known today as Jardines del Partal owes its name to the Palacio del Pórtico, named after its porticoed gallery.

This is the oldest preserved palace in the monumental complex, whose construction is attributed to Sultan Muhammad III at the beginning of the 14th century.

This palace bears some similarity to the Comares Palace, although it is older: a rectangular courtyard, a central pool, and the portico's mirror-like reflection in the water. Its main distinguishing feature is the presence of a side tower, known since the 16th century as the Ladies' Tower, although it has also been called the Observatory, as Muhammad III was a great fan of astronomy. The tower has windows facing the four cardinal points, allowing for spectacular views.

A notable curiosity is that this palace was privately owned until March 12, 1891, when its owner, Arthur Von Gwinner, a German banker and consul, ceded the building and the surrounding land to the Spanish State.

Unfortunately, Von Gwinner dismantled the wooden roof of the viewing platform and moved it to Berlin, where it is now on display in the Pergamon Museum as one of the highlights of its Islamic art collection.

Adjacent to the Partal Palace, to the left of the Ladies' Tower, are several Nasrid houses. One of them was called the House of Paintings due to the discovery, at the beginning of the 20th century, of tempera paintings on 14th-century stucco. These highly valuable paintings are a rare example of Nasrid figurative mural painting, depicting court scenes, hunting scenes, and celebrations.

Due to their importance and for conservation reasons, these homes are not open to the public.

To the right of the Partal Palace, on the rampart of the wall, is the Partal Oratory, whose construction is attributed to Sultan Yusuf I. Access is via a small staircase, as it is elevated from ground level.

One of the pillars of Islam is to pray five times a day facing Mecca. The oratory functioned as a palace chapel, allowing the inhabitants of the nearby palace to fulfill this religious obligation.

Despite its small size (about twelve square meters), the oratory has a small vestibule and a prayer room. Its interior features rich plasterwork decoration with plant and geometric motifs, as well as Quranic inscriptions.

Upon ascending the stairs, just opposite the entrance door, you will find the mihrab on the southwest wall, facing Mecca. It has a polygonal floor plan, a voussoired horseshoe arch, and is covered by a dome with muqarnas.

Of particular note is the epigraphic inscription located on the imposts of the mihrab arch, which invites prayer: “Come and pray, and do not be among the negligent.”

Attached to the oratory is the House of Atasio de Bracamonte, which was given in 1550 to the former squire of the warden of the Alhambra, the Count of Tendilla.

On the highest plateau in the Partal area are the archaeological remains of the Palace of Yusuf III. This palace was granted in June 1492 by the Catholic Monarchs to the first governor of the Alhambra, Don Íñigo López de Mendoza, second Count of Tendilla. For this reason, it is also known as the Tendilla Palace.

The reason this palace is in ruins stems from disagreements that arose in the 18th century between the descendants of the Count of Tendilla and Philip V of Bourbon. Upon the death of Archduke Charles II of Austria without heirs, the Tendilla family supported Archduke Charles of Austria instead of Philip of Bourbon. After Philip V's accession, reprisals were taken: in 1718, the mayorship of the Alhambra was removed from them, and later the palace was dismantled and its materials sold.

Some of these materials reappeared in the 20th century in private collections. It is believed that the so-called "Fortuny Tile," housed at the Valencia Institute of Don Juan in Madrid, may have come from this palace.

From 1740 onwards, the palace site became an area of leased vegetable gardens.

It was in 1929 that this area was recovered by the Spanish State and returned to the Alhambra. Thanks to the work of Leopoldo Torres Balbás, architect and restorer of the Alhambra, this space was enhanced with the creation of an archaeological garden.

The Palatine city wall originally had more than thirty towers, of which only twenty remain today. Initially, these towers had a strictly defensive function, although over time some also adopted residential use.

At the exit of the Nasrid Palaces, from the Upper Partal area, a cobbled path leads to the Generalife. This route follows the stretch of wall, home to some of the complex's most emblematic towers, framed by a garden area with beautiful views of the Albaicín and the Generalife orchards.

One of the most notable towers is the Tower of the Peaks, built by Muhammad II and later renovated by other sultans. It is easily recognizable by its brick pyramid-shaped battlements, from which its name may derive. However, other authors believe the name comes from the protruding corbels at its upper corners, which supported the machicolations, defensive elements that allowed attacks from above to be countered.

The tower's main function was to protect the Arrabal Gate located at its base, which connected to the Cuesta del Rey Chico, facilitating access to the Albaicín neighborhood and the old medieval road that connected the Alhambra with the Generalife.

In Christian times, an outer bastion with stables was built to reinforce its protection, which is closed by a new entrance known as the Iron Gate.

Although towers are commonly associated with an exclusively military function, it is known that the Torre de los Picos also had a residential use, as evidenced by the ornamentation present in its interior.

The Torre de la Cautiva has received various names over time, such as Torre de la Ladrona or Torre de la Sultana, although the most popular one has finally prevailed: Torre de la Cautiva.

This name is not based on proven historical facts, but rather stems from a romantic legend according to which Isabel de Solís was imprisoned in this tower. She later converted to Islam under the name Zoraida and became Muley Hacén's favorite sultana. This situation caused tensions with Aixa, the previous sultana and Boabdil's mother, given that Zoraida—whose name means "morning star"—removed her position at court.

The construction of this tower is attributed to Sultan Yusuf I, who was also responsible for the Comares Palace. This attribution is supported by the inscriptions in the main hall, the work of the vizier Ibn al-Yayyab, which praise this sultan.

In the poems inscribed on the walls, the vizier repeatedly uses the term qal'ahurra, which has since been used to refer to fortified palaces, as is the case with this tower. In addition to serving defensive purposes, the tower houses a real palace with rich decoration inside.

Regarding its ornamentation, the main hall features a ceramic tiled plinth with geometric shapes in various colors. Purple stands out among these, as it was particularly difficult and expensive to obtain at the time, so it was reserved exclusively for important spaces.

The Tower of the Infantas, like the Tower of the Captive, owes its name to a legend.

This is the legend of the three princesses Zaida, Zoraida and Zorahaida, who lived in this tower, a story that was collected by Washington Irving in his famous *Tales of the Alhambra*.

The construction of this palace-tower, or *qalahurra*, is attributed to Sultan Muhammad VII, who reigned between 1392 and 1408. Therefore, it is one of the last towers built by the Nasrid dynasty.

This circumstance is reflected in the interior decoration, which shows signs of a certain decline compared to previous periods of greater artistic splendor.

At the end of the Paseo de las Torres, in the easternmost part of the northern wall, are the remains of a cylindrical tower: the Torre del Cabo de Carrera.

This tower was practically destroyed as a result of the explosions carried out in 1812 by Napoleon's troops during their retreat from the Alhambra.

It is believed to have been built or rebuilt by order of the Catholic Monarchs in 1502, as confirmed by a now-lost inscription.

Its name comes from its location at the end of the Calle Mayor of the Alhambra, marking the limit or "cap de carrera" of said road.

The Palace of Charles V, with its sixty-three meters wide and seventeen meters high, follows the proportions of classical architecture, which is why it is divided horizontally into two levels with clearly differentiated architecture and decoration.

Three types of stone were used to decorate its facades: gray, compact limestone from Sierra Elvira, white marble from Macael, and green serpentine from the Barranco de San Juan.

The exterior decoration exalts the image of Emperor Charles V, highlighting his virtues through mythological and historical references.

The most notable facades are those on the south and west sides, both designed as triumphal arches. The main entrance is on the west side, where the main door is crowned by winged victories. On either side are two small doors above which are medallions with figures of mounted soldiers in combat.

Symmetrically duplicated reliefs are displayed on the pedestals of the columns. The central reliefs symbolize Peace: they show two women seated on a mound of weapons, carrying olive branches and supporting the Pillars of Hercules, the globe with the imperial crown and the motto *PLUS ULTRA*, while cherubs fire war artillery.

The side reliefs depict war scenes, such as the Battle of Pavia, where Charles V defeated Francis I of France.

At the top are balconies flanked by medallions depicting two of the twelve labors of Hercules: one slaying the Nemean Lion and another facing the Cretan Bull. The central medallion features the coat of arms of Spain.

In the lower part of the palace, the rusticated ashlars stand out, designed to convey a sense of solidity. Above them are bronze rings held by animal figures such as lions—symbols of power and protection—and in the corners, double eagles, alluding to imperial power and the emperor's heraldic emblem: the double-headed eagle of Charles I of Spain and V of Germany.

Emperor Charles I of Spain and V of the Holy Roman Empire, grandson of the Catholic Monarchs and son of Joanna I of Castile and Philip the Fair, visited Granada in the summer of 1526 after marrying Isabella of Portugal in Seville, to spend his honeymoon.

Upon his arrival, the emperor was captivated by the charm of the city and the Alhambra, and decided to build a new palace in the palatine city. This palace would become known as the New Royal House, in contrast to the Nasrid Palaces, which were henceforth known as the Old Royal House.

The works were commissioned to the Toledo architect and painter Pedro Machuca, who is said to have been a disciple of Michelangelo, which would explain his deep knowledge of the Classical Renaissance.

Machuca designed a monumental palace in the Renaissance style, with a square floor plan and a circle integrated into its interior, inspired by the monuments of classical antiquity.

Construction began in 1527 and was largely financed by the tributes the Moriscos had to pay to continue living in Granada and preserve their customs and rituals.

In 1550, Pedro Machuca died without finishing the palace. His son Luis continued the project, but after his death, work was halted for a time. It was resumed in 1572 under the reign of Philip II, entrusted to Juan de Orea on the recommendation of Juan de Herrera, architect of the Monastery of El Escorial. However, due to the lack of resources caused by the Alpujarras War, no significant progress was made.

It wasn't until the 20th century that the palace was completed, first under the direction of architect-restorer Leopoldo Torres Balbás, and finally in 1958 by Francisco Prieto Moreno.

The Palace of Charles V was conceived as a symbol of universal peace, reflecting the emperor's political aspirations. However, Charles V never personally visited the palace he commissioned.

The Alhambra Museum is located on the ground floor of the Palace of Charles V and is divided into seven rooms dedicated to Hispano-Muslim culture and art.

It houses the finest existing collection of Nasrid art, composed of pieces found in excavations and restorations carried out in the Alhambra itself over time.

Among the works on display are plasterwork, columns, carpentry, ceramics of various styles—such as the famous Vase of the Gazelles—a copy of the lamp from the Great Mosque of the Alhambra, as well as tombstones, coins, and other objects of great historical value.

This collection is the ideal complement to a visit to the monumental complex, as it provides a better understanding of daily life and culture during the Nasrid period.

Admission to the museum is free, although it is important to note that it is closed on Mondays.

When Pedro Machuca designed the Palace of Charles V, he did so using geometric forms with strong Renaissance symbolism: the square to represent the earthly world, the inner circle as a symbol of the divine and creation, and the octagon—reserved for the chapel—as a union between both worlds.

Upon entering the palace, we find ourselves in an imposing circular porticoed courtyard, elevated from the exterior. This courtyard is surrounded by two superimposed galleries, both with thirty-two columns. On the ground floor, the columns are Doric-Tuscan, and on the upper floor, Ionic.

The columns were made of pudding stone, or almond stone, from the Granada town of El Turro. This material was chosen because it was more economical than the marble originally planned.

The lower gallery has a circular vault that was possibly intended to be decorated with frescoes. The upper gallery, meanwhile, has a wooden coffered ceiling.

The frieze that runs around the courtyard features *burocranios*, representations of ox skulls, a decorative motif with roots in ancient Greece and Rome, where they were used in friezes and tombs linked to ritual sacrifices.

The two floors of the courtyard are connected by two staircases: one on the north side, built in the 17th century, and another also to the north, designed in the 20th century by the Alhambra's conservation architect, Francisco Prieto Moreno.

Although it was never used as a royal residence, the palace currently houses two important museums: the Museum of Fine Arts on the upper floor, with an outstanding collection of Granada painting and sculpture from the 15th to the 20th centuries, and the Alhambra Museum on the ground floor, accessed through the western entrance hall.

In addition to its museum function, the central courtyard boasts exceptional acoustics, making it a prime setting for concerts and theatrical performances, especially during the Granada International Music and Dance Festival.

On Calle Real, on the site adjacent to the current Church of Santa María de la Alhambra, is the Mosque Bath.

This bath was built during the reign of Sultan Muhammad III and financed by the jizya, a tax charged to Christians for planting land on the border.

The use of the hammam The bath was essential to the daily life of an Islamic city, and the Alhambra was no exception. Due to its proximity to the mosque, this bath served a key religious function: allowing for ablutions, or purification rituals, before prayer.

However, its function was not exclusively religious. The hammam also served as a place for personal hygiene and was an important social gathering place.

Its use was regulated by schedules, being in the morning for men and in the afternoon for women.

Inspired by Roman baths, Muslim baths shared their chamber layout, although they were smaller and operated using steam, unlike Roman baths, which were immersion baths.

The bath consisted of four main spaces: a rest room or changing room, a cold or warm room, a hot room, and a boiler area attached to the latter.

The heating system used was the hypocaust, an underground heating system that heated the ground using hot air generated by a furnace and distributed through a chamber beneath the pavement.

The current Parador de Turismo was originally the Convent of San Francisco, built in 1494 on the site of an old Nasrid palace that, according to tradition, belonged to a Muslim prince.

After the capture of Granada, the Catholic Monarchs ceded this space to found the city's first Franciscan convent, thus fulfilling a promise made to the Patriarch of Assisi years before the conquest.

Over time, this spot became the first burial place of the Catholic Monarchs. A month and a half before her death in Medina del Campo in 1504, Queen Isabella left her will in her wish to be buried in this convent, dressed in a Franciscan habit. In 1516, King Ferdinand was buried next to her.

Both remained buried there until 1521, when their grandson, Emperor Charles V, ordered their remains to be transferred to the Royal Chapel of Granada, where they now rest alongside Joanna I of Castile, Philip the Handsome and Prince Miguel de Paz.

Today, this original burial site can be visited by entering the Parador's courtyard. Under a dome of muqarnas, the original tombstones of both monarchs are preserved.

Since June 1945, this building has housed the Parador de San Francisco, a high-class tourist accommodation owned and operated by the Spanish State.

The word “medina,” which means “city” in Arabic, referred to the highest part of Sabika Hill in the Alhambra.

This medina was home to intense daily activity, as it was the area where the trades and population that made life possible for the Nasrid court within the palatine city were concentrated.

Textiles, ceramics, bread, glass, and even coins were produced there. In addition to workers' housing, there were also essential public buildings such as baths, mosques, souks, cisterns, ovens, silos, and workshops.

For the proper functioning of this miniature city, the Alhambra had its own system of legislation, administration, and tax collection.

Today, only a few vestiges of the original Nasrid medina remain. The transformation of the area by Christian settlers after the conquest and, later, the gunpowder explosions caused by Napoleon's troops during their retreat contributed to its deterioration.

In the mid-20th century, an archaeological rehabilitation and adaptation program was launched in this area. As a result, a landscaped walkway was laid out along an old medieval street, which today connects with the Generalife.

In the royal medina, attached to the southern wall, are the remains of the so-called Palace of the Abencerrajes, the Castilianized name of the Banu Sarray family, a noble lineage of North African origin belonging to the Nasrid court.

The remains that can be seen today are the result of excavations that began in the 1930s, as the site had previously been severely damaged, largely due to explosions caused by Napoleon's troops during their retreat.

Thanks to these archaeological excavations, it has been possible to confirm the importance of this family in the Nasrid court, not only due to the size of the palace but also due to its privileged location: in the upper part of the medina, right on the main urban axis of the Alhambra.

The Gate of Justice, known in Arabic as Bab al-Sharia, is one of the four exterior gates of the Alhambra's palatine city. As an exterior entrance, it served an important defensive function, as evidenced by its double-bend structure and the steep slope of the terrain.

Its construction, integrated into a tower attached to the southern wall, is attributed to Sultan Yusuf I in 1348.

The gate features two pointed horseshoe arches. Between them is an open area, known as a skylight, from which it was possible to defend the entrance by throwing materials from the terrace in case of attack.

Beyond its strategic value, this gate has a strong symbolic significance in the Islamic context. Two decorative elements stand out in particular: the hand and the key.

The hand represents the five pillars of Islam and symbolizes protection and hospitality. The key, meanwhile, is an emblem of faith. Their presence together could be interpreted as an allegory of spiritual and earthly power.

Popular legend says that if one day the hand and the key touch, it will mean the fall of the Alhambra... and with it, the end of the world, as it would imply the loss of its splendor.

These Islamic symbols contrast with another Christian addition: a Gothic sculpture of the Virgin and Child, the work of Ruberto Alemán, placed in a niche above the interior arch by order of the Catholic Monarchs after the capture of Granada.

The Puerta de los Carros (Chariot Gate) is not an original opening in the Nasrid wall. It was opened between 1526 and 1536 for a very specific purpose: to allow access to carts transporting materials and columns for the construction of the Palace of Charles V.

Today, this gate still serves a practical purpose. It provides pedestrian access to the grounds without a ticket, allowing free access to the Palace of Charles V and the museums within.

Furthermore, it is the only gate open to authorized vehicles, including guests of hotels located within the Alhambra complex, taxis, special services, medical personnel, and maintenance vehicles.

The Alhambra's palatial city was surrounded by extensive walls with four main gates providing access from the outside. To ensure their defense, these gates were arranged in a characteristic curved pattern, making it difficult for potential attackers to advance and facilitating ambushes from within.

The Gate of the Seven Floors, located in the southern wall, is one of these entrances. In Nasrid times, it was known as Bib al-Gudur or “Puerta de los Pozos”, due to the nearby existence of silos or dungeons, possibly used as prisons.

Its current name comes from the popular belief that there are seven levels or floors beneath it. Although only two have been documented, this belief has fueled numerous legends and tales, such as Washington Irving's story "The Legend of the Moor's Legacy," which mentions a treasure hidden in the tower's secret cellars.

Tradition holds that this was the last gate used by Boabdil and his entourage on their way to the Vega de Granada on January 2, 1492, to deliver the keys to the Kingdom to the Catholic Monarchs. It was also through this gate that the first Christian troops entered without resistance.

The gate we see today is a reconstruction, as the original was largely destroyed by the explosion of Napoleon's troops during their retreat in 1812.

The Puerta del Vino (Wine Gate) was the main gateway to the Alhambra Medina. Its construction is attributed to Sultan Muhammad III in the early 14th century, although its doors were later remodeled by Muhammad V.

The name "Wine Gate" does not come from the Nasrid period, but from the Christian era, starting in 1556, when residents of the Alhambra were allowed to buy wine tax-free at this location.

As it is an interior gate, its layout is straight and direct, unlike exterior gates such as the Justice Gate or the Arms Gate, which were designed with a bend to improve defense.

Although it did not serve primary defensive functions, it had benches inside for the soldiers in charge of access control, as well as a room upstairs for the guards' residence and rest areas.

The western façade, facing the Alcazaba, was the entrance. Above the lintel of the horseshoe arch is the symbol of the key, a solemn emblem of welcome and of the Nasrid dynasty.

On the eastern façade, which faces the Palace of Charles V, the spandrels of the arch are particularly noteworthy, decorated with tiles made using the dry rope technique, offering a beautiful example of Hispano-Muslim decorative art.

During the time of the Nasrid dynasty, the site now occupied by the Church of Santa María de la Alhambra housed the Aljama Mosque or Great Mosque of the Alhambra, built at the beginning of the 14th century by Sultan Muhammad III.

After the capture of Granada on January 2, 1492, the mosque was blessed for Christian worship and the first Mass was celebrated there. By order of the Catholic Monarchs, it was consecrated under the patronage of Saint Mary, and the first archiepiscopal seat was established there.

By the end of the 16th century, the old mosque was in a state of disrepair, which led to its demolition and the construction of a new Christian temple, which was completed in 1618.

Few vestiges of the Islamic building remain. The most significant preserved element is a bronze lamp with an epigraphic inscription dated 1305, currently in the National Archaeological Museum in Madrid. A replica of this lamp can be seen in the Alhambra Museum, in the Palace of Charles V.

The Church of Santa María de la Alhambra has a simple layout with a single nave and three side chapels on each side. The most notable feature of its interior is the titular image: the Virgin of Angustias, an 18th-century work by Torcuato Ruiz del Peral.

This image, also known as the Virgin of Mercy, is the only one carried in procession in Granada every Holy Saturday, weather permitting. It is carried on a throne of great beauty, embossed in silver, imitating the arches of the emblematic Patio de los Leones.

As a curiosity, the Granada poet Federico García Lorca was a member of this brotherhood.

Before the current Parador de Turismo, and to the east, lie the remains of a medieval tannery or buffalo farm, a facility dedicated to the processing of hides: cleaning, tanning, and dyeing. This was a common activity throughout al-Andalus.

The Alhambra tannery is small compared to similar tannery stores in North Africa. However, it should be noted that its purpose was exclusively to meet the needs of the Nasrid court.

It had eight small pools of different sizes, both rectangular and circular, where the lime and dyes used in the leather tanning process were stored.

This activity required abundant water, which is why the tannery was located next to the Royal Canal, taking advantage of its constant flow. Its existence is also an indication of the large amount of water available in this area of the Alhambra.

The Water Tower is an imposing structure located in the southwest corner of the Alhambra wall, near the current main entrance from the ticket office. Although it served defensive purposes, its most important purpose was to protect the entrance to the Royal Canal, hence its name.

The irrigation ditch reached the palatine city after crossing an aqueduct and bordered the north face of the tower to supply water to the entire Alhambra.

The tower we see today is the result of extensive reconstruction. During the retreat of Napoleon's troops in 1812, it suffered severe damage from gunpowder explosions, and by the mid-20th century it was reduced almost to its massive base.

This tower was essential, as it allowed water—and therefore life—to enter the palatine city. Originally, Sabika Hill lacked natural water sources, which posed a significant challenge for the Nasrids.

For this reason, Sultan Muhammad I ordered a major hydraulic engineering project: the construction of the so-called Sultan's Ditch. This ditch captures water from the Darro River about six kilometers away, at a higher altitude, taking advantage of the slope to convey the water by gravity.

The infrastructure included a storage dam, an animal-powered waterwheel, and a brick-lined canal—the acequia—that runs underground through mountains, entering the upper part of the Generalife.

To overcome the steep slope between Cerro del Sol (Generalife) and Sabika Hill (Alhambra), engineers built an aqueduct, a key project to ensure the water supply to the entire monumental complex.