INFANTAS TOWER
At its entrance, with a triple bend, the vault of large muqarnas painted imitating red bricks with white sores stands out. In this tower, the central courtyard, with a polygonal marble fountain, distributes the main rooms around it, the most important at the back, which is accessed through the traditional arch framed with studs on the jambs.
The courtyard, originally with a lantern and muqarnas cupola, is today covered with a modern wooden ceiling. The rooms on the upper floor open to him through mullioned windows.
Although the Torre de las Infantas is conceptually similar to the Torre de la Cautiva, the writers who have dealt with it agree that its decoration generally expresses a moment of decadence that would coincide with the change from the 14th to the 15th century, specifically the time of Sultan Muhammad VII (1392-1408).
This tower is the scene of the famous legend of the three princesses, Zaida, Zorayda and Zorahaida, collected by Washington Irving in his famous Tales of the Alhambra, whose reading is perfect for understanding a romantic Alhambra, perhaps here like nowhere else in the enclosure .

Daraxa viewpoint.
Behind a proportionate arch of muqarnas appears one of the most beautiful and weighted elements of the Alhambra palaces: the Lindaraja viewpoint, a name adapted to the Spanish of al-‘Ayn Dar Aisa, the “eyes of the house of Aisa”, since in Nasrid times it was a watchtower open to the landscape, in front of which a low garden stretched out.
The threshold of the access arch has the most graceful tiling of the Alhambra due to its reduced size and execution; above them, the traditional tacas are replaced by two blind arches.
The interior facing of the viewpoint is a perfect summary of the proportional concept in Nasrid architectural decorative design that has led some authors to consider it the clearest exponent of a possible “Nasrid Baroque”.
Under a blind arch of muqarnas there is a polychrome plasterwork decoration, basically epigraphic, that frames a window with a double arch and mullion that, like the side windows, are located at very low points so that, sitting on the floor, you can see the scenery.
A false cover with crystals of various colors, a true documentary jewel, culminates the upper part of the room, probably the space with a more courtly character of the Palace of the Lions.

Yusuf III Palace.
Advancing along the narrow street that served to communicate the Alhambra palaces and leaving behind the complicated but beautiful configuration of the Partal Gardens, we find a narrow platform protected by a long handrail that runs along the base of the wall that encloses another of the palaces of the Alhambra: the Palace of Yusuf III (1408-1417).

The large elongated pool stands out, testimony to the central courtyard of a large building with a similar structure to the Comares Palace, whose side bays, destroyed, now occupy lush gardens.

At the head of the courtyard you can see the base of what was the main room of the Palace: a tower in front of which extended a porticoed gallery, open to the courtyard. Today, the building reduced to the expansion of the structural walls, it has been configured in a terrace that, as in the medieval period, has one of the most beautiful perspectives of the Alhambra.

Some remains that appeared in the excavation attributed the building to Yusuf III, although he was able to modify or redecorate the construction attributed to a much earlier sultan, Muhammad II (1273-1302).

Discovered in the archaeological campaign of the 1930s, it was documented as the Mondéjar or Tendilla Palace, ceded by the Catholic Monarchs to the first of them and, since then, the residence of the Alcaides or Governors of the Alhambra.

Felipe V stripped of the title in 1718 to such an outstanding family of politics and Spanish culture of the time, the building being demolished and most of its materials sold.