The Comares Palace is centered around the "Court of the Myrtles", with the Comares Tower and the Hall of Ambassadors to the north and a southern pavilion or structure that was mostly demolished to make way for the Palace of Charles V to the south. The Comares Palace is contiguous with the Mexuar complex to the west, to which it was always connected and with which it formed one large complex. It was originally independent of the Palace of the Lions to the east, but is now connected to it via a small passage. A royal baths complex, the Comares Baths, is annexed to the palace on the east side.

The most likely origin of the name Comares is from the Arabic word qumaris or hins comarix, which means "castle in the height". The Comares Palace would literally mean, the "palace of the high place or fortification".

circa 1250-1350 CE

Court of the Myrtles
The Court of the Myrtles (Patio de los Arrayanes) is one of the most visually striking and historically significant spaces within the Alhambra complex in Granada, Spain. Situated at the heart of the Comares Palace, this tranquil courtyard exemplifies the architectural brilliance of the Nasrid dynasty. Its design features a long rectangular layout with a reflective pool at its center, flanked by lush myrtle hedges that give the court its name. The serene water surface, framed by intricately designed porticos and fountains, creates a harmonious atmosphere that highlights the intersection of nature, art, and Islamic architectural principles. The Court of the Myrtles is not only a space of aesthetic beauty but also a symbol of the Nasrid dynasty's desire to merge the natural world with royal power and luxury, making it an enduring testament to the architectural grandeur of the Islamic Golden Age in Spain.

circa 1250-1350 CE

Gilded Facade of the Palace in the Patio of the Golden Room
The so-called "gilded facade" was the main entrance to the Comares Palace. It is situated on the southern side of the Court of the Gilded Room (Patio del Cuarto Dorado). This courtyard which acted as a transitional space is notable for its southern façade, a monumental and intricately adorned structure referred to as the "Comares Façade" or the "Façade of the Comares Palace". Dating to the reign of Muhammad V (circa 1362-1391 CE), this façade is considered a defining feature of the Alhambra's architectural grandeur.

The Comares Façade features two identical doorways. The left (eastern) doorway leads to the Court of the Myrtles via a winding passage, while the right doorway provides access to other private chambers, possibly serving as a treasury connected to the Mexuar. This layout reflects the dual functions of the Alhambra as both a private residence and a ceremonial center.

Among the most elaborately decorated walls in the Alhambra, the Comares Façade showcases extensive stucco work across its surface, complemented by tilework along the lower portions—though some of this tilework has been restored in modern times. The stucco decoration includes inscriptions of exceptional significance, featuring a poem by the renowned Andalusi poet Ibn Zamrak (d. 1393) and the Throne Verse from the Qur'an (2:255). These inscriptions underscore the façade's ceremonial role, suggesting that it served as a backdrop for audiences or other official events presided over by the Sultan.

The architectural composition of the façade emphasizes symmetry and verticality. Above the twin doorways are two double-arched windows flanking a central single-arched window, creating a balanced rhythm. Above these openings is a muqarnas (stalactite-like) cornice, a hallmark of Nasrid architecture, which transitions to a wide wooden eave at the top. This eave would have provided shade to the Sultan’s elevated seat, positioned at the head of the courtyard steps, further enhancing the visual and symbolic prominence of this space.

The Patio del Cuarto Dorado and its Comares Façade encapsulate the synthesis of functionality, symbolism, and artistic mastery that defines the Alhambra, reflecting its status as both a political hub and an enduring symbol of Nasrid cultural and architectural achievement.

circa 1333–1354 CE

Hall of Ambassadors
The Hall of Ambassadors (Salón de los Embajadores), also referred to as the Salón de Comares (Comares Hall) or Salón del Trono (Throne Hall), represents the architectural and symbolic centerpiece of the Alhambra’s Comares Palace. Access to this magnificent hall is granted through the Sala de la Barca, via two consecutive, intricately decorated archways. The narrow passage between the archways incorporates a small oratory with a preserved mihrab on the eastern side and a staircase to the west, likely leading to the sultan’s winter apartments above. The final archway is flanked by two small niches (taqa), which might have been used to display decorative vases or store water jugs for ceremonial purposes.

Occupying the Comares Tower, the hall is a monumental square chamber, 11.3 meters on each side, with a soaring height of 18.2 meters. Encased within the robust walls of the tower—2 to 3 meters thick and rising to 45 meters in total height—it is the largest and most impressive space in the Alhambra and one of the grandest audience halls in the western Islamic world. Its primary function was as a throne hall and an audience chamber, emphasizing its centrality to the political and ceremonial life of the Nasrid court.

The walls of the hall are adorned with richly detailed stucco and zellij (mosaic tilework), creating a vivid tapestry of arabesque, geometric, and epigraphic motifs that were originally painted in bright colors. The inscriptions include Qur'anic verses, poetic compositions, and Nasrid mottos. Three of the hall's walls feature triple alcoves with windows, each central alcove distinguished by a double-arched window separated by a slender column. The central alcove on the northern wall, where the sultan’s throne was positioned, is the most elaborately decorated. Its surrounding inscriptions include a poem attributed to either Ibn al-Jayyab or Ibn al-Khatib, celebrating the sultan and his dominion.

Above these alcoves, a row of small, latticework windows encircles the hall just below the dome. Originally, these windows, along with those in the alcoves, were likely filled with colored glass. However, much of this was lost following the explosion of a nearby gunpowder magazine in 1590. The floor of the hall, partially preserved, features lustre tiles inscribed with the Nasrid motto, “wa la ghaliba illa-llah” (“There is no conqueror but God”). While this inscription is unusual on a floor—given its sacred invocation of God—scholars suggest that visitors may have deliberately avoided stepping on it out of reverence.

Crowning the chamber is a breathtaking wooden dome ceiling, spanning approximately 125 square meters—the largest of its kind in the western Islamic world. Crafted from 8017 interlocking pieces of wood, the ceiling forms a complex geometric design dominated by twelve-sided stars. Originally painted in vibrant hues, much of its color has faded over time. Scholars interpret the design as a celestial representation, aligning with the Qur'anic inscription of Surah al-Mulk (Chapter 67) encircling the base of the dome, which extols God as the "Lord of the Heavens." This inscription reinforces the ceiling’s symbolic portrayal of the cosmos and divine authority, underscoring the hall’s role as a manifestation of both temporal power and sacred legitimacy.

circa 1362-1365 CE

Mexuar Hall
The Mexuar Hall, Sala del Mexuar, originally known in Arabic as Majlis al-Qu'ūd ("Council Hall"), served as a vital space for governance and public petition in the Comares Palace of the Alhambra. Constructed during the Nasrid period (circa 1250–1350 CE), this hall functioned as an audience chamber and occasionally as a throne hall, where public petitions were presented to the sultan through intermediaries. Its design, with a central domed space supported by columns, drew inspiration from Mamluk and earlier Andalusi structures. Over time, significant modifications occurred, including its conversion into a Christian chapel in the 16th century. The hall's walls display vibrant zellij tilework and stucco decorations, while its columns feature muqarnas consoles. Despite alterations, traces of its Nasrid origins remain visible, including polychrome marble capitals and inscriptions invoking the Nasrid motto, “There is no victor but God.” The hall's layered history, blending Islamic and Christian influences, encapsulates the Alhambra’s transformation across centuries.