In this historical outline, I trust I have shown enough to put the fable concerning Boabdil and the Abencerrages in a true light. The story of the accusation of his queen, and his cruelty to his sister, are equally void of foundation. In his domestic relations he appears to have been kind and affectionate. History gives him but one wife, Morayma, the daughter of the veteran alcayde of Loxa, old Aliatar, famous in song and story for his exploits in border warfare; and who fell in that disastrous foray into the Christian lands in which Boabdil was taken prisoner. Morayma was true to Boabdil throughout all his vicissitudes. When he was dethroned by the Castilian monarchs, she retired with him to the petty domain allotted him in the valleys of the Alpuxarras. It was only when (dispossessed of this by the jealous precautions and subtle chicanery of Ferdinand, and elbowed, as it were, out of his native land) he was preparing to embark for Africa, that her health and spirits, exhausted by anxiety and long suffering, gave way, and she fell into a lingering illness aggravated by corroding melancholy. Boabdil was constant and affectionate to her to the last; the sailing of the ships was delayed for several weeks, to the great annoyance of the suspicious Ferdinand. At length Morayma sank into the grave, evidently the victim of a broken heart, and the event was reported to Ferdinand by his agent as one propitious to his purposes, removing the only obstacle to the embarkation of Boabdil.[12] MEMENTOS OF BOABDIL While my mind was still warm with the subject of the unfortunate Boabdil, I set forth to trace the mementos of him still existing in this scene of his sovereignty and misfortunes. In the Tower of Comares, immediately under the Hall of Ambassadors, are two vaulted rooms, separated by a narrow passage; these are said to have been the prisons of himself and his mother, the virtuous Ayxa la Horra; indeed, no other part of the tower would have served for the purpose. The external walls of these chambers are of prodigious thickness, pierced with small windows secured by iron bars. A narrow stone gallery, with a low parapet, extends along three sides of the tower just below the windows, but at a considerable height from the ground. From this gallery, it is presumed, the queen lowered her son with the scarfs of herself and her female attendants during the darkness of the night to the hillside, where some of his faithful adherents waited with fleet steeds to bear him to the mountains. Between three and four hundred years have elapsed, yet this scene of the drama remains almost unchanged. As I paced the gallery, my imagination pictured the anxious queen leaning over the parapet, listening, with the throbbings of a mother’s heart, to the last echoes of the horses’ hoofs as her son scoured along the narrow valley of the Darro.