Though this version clearly belongs in the category now under discussion, it has certain features that can be explained only on the supposition that Trancoso altered his source to suit his personal fancy. The clever substitute for actual burial, the duplication of that trait (which occurs nowhere else), the humorous touch with reference to the hero's success in selling relics, and the appearance of the ghosts as minstrels, are all strokes of individual invention. The wanderings of the hero and his manner of revealing himself to the princess are doubtless reminiscences from the popular romances of Spain, while the tournament probably comes, as Menendez y Pelayo hints, [117] from an earlier version of our theme, Oliver, which will be treated below. In spite of these peculiarities, the ordinary features of the combined theme are not more obscured than in the two preceding variants. The agreement, the division, and the rescue are the only ones that disappear. In the fourteenth century variant from Scala Celi, Nicholas, our story is altogether transformed into a legend. The only son of a widow [118] of Bordeaux is sent as a merchant to a distant city with fifty pounds. He gives it all to help rebuild a church of St Nicholas, and returns home empty-handed. Much later he is sent out with one hundred pounds, and buys the Sultan's daughter. His mother disowns him, and he is supported by the embroidery which the princess makes. With her wares he goes to a festival at Alexandria, but, at her bidding, keeps away from the castle. When he journeys to Alexandria a second time, however, he goes to the castle and is imprisoned, as the handiwork of the princess is recognized. She is sent for, while the hero is released and goes home. Since he does not find the maiden there, he returns to Alexandria with a piece of embroidery which she has sent him, meets her, and elopes by the aid of St. Nicholas, who sends them a ship opportunely. Because of its legendary character the variant has been materially transformed, but not beyond recognition. The thankful dead is replaced by the saint throughout, so that the burial is altered into church building, and both the agreement and the division of the gains disappear. The various elements of The Ransomed Woman fare better: the act of treachery done the hero is the only one lacking, and that perhaps is replaced by his imprisonment in the Sultan's castle. It is remarkable that the details of the narrative have been so little altered in spite of its complete change of purpose.