The Court of the Myrtles (Patio de los Arrayanes), named for the myrtle hedges that line its central pool, is one of the most iconic and architecturally refined spaces within the Alhambra. Situated at the heart of the Comares Palace, this courtyard served as a focal point for both the aesthetic and functional dimensions of Nasrid architecture.
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
Its symmetrical design, dominated by a long reflecting pool flanked by verdant myrtles, creates a serene and contemplative atmosphere while amplifying the visual grandeur of its surroundings. Framed by arcaded galleries and overlooked by the majestic Comares Tower to the north, the Court of the Myrtles seamlessly merges natural elements with artistic and political symbolism, representing the harmony and authority of the Nasrid rulers.
The Court of the Myrtles (Patio de los Arrayanes) is accessed from the west through the smaller Patio del Cuarto Dorado ("Courtyard of the Gilded Room"), located at the eastern end of the Mexuar. The Court of the Myrtles (Patio de los Arrayanes), a hallmark of Nasrid architecture within the Alhambra, measures approximately 23 to 23.5 meters in width and 36.6 meters in length, with its long axis oriented roughly north to south. Central to its design is a wide reflective pool, spanning 34 meters in length and 7.10 meters in width, flanked by meticulously groomed myrtle hedges that give the courtyard its name. Two circular floor fountains, positioned at either end of the pool, feed water into it through shallow channels designed to minimize ripples, ensuring a still surface that reflects both sunlight and the surrounding architecture. This tranquil interplay of light, water, and structure forms a key element of the courtyard’s visual and symbolic appeal. Such elongated courtyards with central water basins were a defining feature of Nasrid palatial architecture, seen in earlier Alhambra structures like the Palacio del Partal Alto.
circa 1250-1350 CE
Ornate porticos anchor the north and south ends of the courtyard, each featuring a wide central arch flanked by three smaller arches on either side. These arches are richly adorned with stucco decorations showcasing arabesque (vegetal), sebka, and epigraphic motifs characteristic of Nasrid artistry during the reign of Muhammad V (r. 1354–1391), likely dating between 1362 and 1367. Behind the porticos are galleries with muqarnas-vaulted niches at their east and west ends, exemplifying the intricate craftsmanship of the period.
The halls behind the porticos highlight the court’s functional and ceremonial aspects. To the north lies the Comares Hall, a key space for state affairs, while the southern halls, or "southern pavilion," were largely demolished during the construction of the adjacent Palace of Charles V in the 16th century, leaving only their façade to preserve the courtyard’s symmetry and visual integrity. The courtyard also features doors leading to various functional spaces, including living quarters, the Patio de Cuarto Dorado to the west, and the Comares Baths (hammam) to the east.
Notably, the Court of the Myrtles was originally disconnected from the Palace of the Lions. The two complexes were only joined after the 1492 conquest of Granada, when the Catholic Monarchs adapted the Alhambra to serve as a royal residence. This post-conquest alteration underscores the layers of historical transformation within the Alhambra’s architecture, where Nasrid and Christian elements coexist in a complex palimpsest of cultural and political history.
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