This was the main hall of the old Alcázar, a sizable rectangular area that served as the main hall of the so-called Palacio Mayor of the former Burgundy royal house and served as the setting for the joyful celebrations of the court.

One of the earliest rooms in the Alcázar, it dates to the reign of King Alfonso VIII in the 12th century. Consequently, this chamber is one of those that relates to the old Alcázar.

It is accessible from the parade ground and gets its name from the four double or mullioned windows that, prior to Enrique IV's renovations, faced outwards from the Eresma during King Alfonso VIII's reign. A mullioned window is a type of window used in architecture that consists of two identical arches connected by a tiny column or pillar known as a mullion. Then, these windows led to a terrace that later became the Sala de la Galera (Hall of the Galley), which was then covered. The windows in this area are also known as "festejadores" because it is where the engaged couple used to sit and converse.

On the plinths of the windows are odd Mudéjar paintings of enormous birds that resemble ostriches and remnants of "laceras," which are red paintings on white backgrounds. The original design of the room and the monarchs of Castile's preference for Islamic adornment are both attested to by these paintings.

The Lázaro Galdiano Foundation has loaned the museum a collection of remarkable horses and knights that are mounted and outfitted with magnificent steel armor for the tournament as well as various forms of armor that are dispersed throughout the space.

One of Segovia's most striking examples of the Islamic tradition in painting may be seen in the laceras, or plinths between the windows, which are built in the Mudejar style. They are pieces of the Old Palace's original decor as well as remnants of paintings discovered during renovations in the Casa de Argila, a 13th-century house in the adjacent Canonjas neighborhood.

The fresco technique and the use of an almagre, an iron oxide, as a foundation color give these paintings their distinctive look.

In late medieval documentation, the laceras were referred to as "pintura de lo morisco" or "pintura de echar cintas" and were carried out between the 12th and the 14th centuries. Their origins can be traced back to the Córdoba Caliphate, and they were still in use in the 16th and 17th centuries, albeit less often.