quality:correction, structural:summarization, stylistic:style_transfer
Renaissance apartments and courtyards

To the east of the Comares Palace and the Palace of the Lions is an area of Renaissance-style Christian additions dating primarily from the 16th century. Directly north of the Palace of the Lions is the Patio de Lindaraja (Lindaraja Courtyard), originally an open garden area but turned into a cloistered garden by the addition of new structures around it during the 16th century. The fountain at its centre features a Baroque pedestal made in 1626 that supports a Nasrid marble basin installed here at the same time, although a replica now replaces the original basin which is kept at the Alhambra Museum. On the west and north sides of the courtyard, along the upper floors, are six rooms constructed for Charles V between 1528 and 1537, known as the Emperor's Chambers. The most interesting details of the rooms are a marble fireplace sculpted with the emperor's coat of arms and a ceiling of panels painted with pictures of fruits. The paintings were made around 1537 by Julio Aquiles and Alejandro Mayner. To the west of the Lindaraja Courtyard is the smaller Patio de la Reja ('Courtyard of the Queen'), located between the Emperor's Chambers and the Comares Tower. A gallery was built around the upper floor of the courtyard between 1654 and 1655.

Further north is a tower known as the Peinador de la Reina ('Queen's Robing Room'), formerly known as the Tower of Abu al-Juyyush. This was originally a stand-alone fortification tower in the Alhambra walls that was probably built in the reign of Nasr (r. 1309–1314), also known as Abu al-Juyyush. Yusuf I converted it into a small palatial residence with a lantern ceiling and Muhammad V later added decoration around its entrance. Between 1528 and 1537 it was connected to the Emperor's Chambers via a new elevated gallery and an upper level was added to the tower around the existing lantern ceiling. Between 1539 and 1546 this upper floor was painted by Julio Aquiles and Alejandro Mayner with mythological scenes, depictions of Charles V's 1535 invasion of Tunis, and more formal classical -like motifs. Later, in 1618, Nasrid-period columns and capitals from other palaces were integrated into the gallery, some of which were later moved to the Alhambra Museum.