these various works, some of which have never appeared in print,
drew from each facts relative to the different enterprises, arranged
them in as clear and lucid order as I could command, and endeavored
to give them somewhat of a graphic effect by connecting them with
the manners and customs of the age in which they occurred. The
rough draught being completed, I laid the manuscript aside and
proceeded with the Life of Columbus. After this was finished and
sent to the press I made a tour in Andalusia, visited the ruins of
the Moorish towns, fortresses, and castles, and the wild mountain-
passes and defiles which had been the scenes of the most
remarkable events of the war, and passed some time in the ancient
palace of the Alhambra, the once favorite abode of the Moorish
monarchs. Everywhere I took notes, from the most advantageous
points of view, of whatever could serve to give local verity and
graphic effect to the scenes described. Having taken up my abode
for a time at Seville, I then resumed my manuscript and rewrote it,
benefited by my travelling notes and the fresh and vivid impressions
of my recent tour. In constructing my chronicle I adopted the
fiction of a Spanish monk as the chronicler. Fray Antonio Agapida
was intended as a personification of the monkish zealots who hovered
about the sovereigns in their campaigns, marring the chivalry of the
camp by the bigotry of the cloister, and chronicling in rapturous
strains every act of intolerance toward the Moors. In fact, scarce
a sally of the pretended friar when he bursts forth in rapturous
eulogy of some great stroke of selfish policy on the part of Ferdinand,
or exults over some overwhelming disaster of the gallant and devoted
Moslems, but is taken almost word for word from one or other of the
orthodox chroniclers of Spain.

The ironical vein also was provoked by the mixture of kingcraft and