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Updated: May 25, 2025
Don Munio thanked his stars for sending him such a prize, and exulted at the thought of bearing home to his wife the glittering spoils of these infidels. Putting his hunting-horn to his lips, he gave a blast that rung through the forest. His huntsmen came running from all quarters, and the astonished Moors were surrounded and made captives.
"One battle more," replied Don Munio, "one battle more, for the honor of Castile, and I here make a vow, that when this is over, I will lay by my sword, and repair with my cavaliers in pilgrimage to the sepulchre of our Lord at Jerusalem."
The battle was long and bloody; the Christians repeatedly wavered, and were as often rallied by the energy of their commanders. Don Munio was covered with wounds, but refused to leave the field. The Christians at length gave way, and the king was hardly pressed, and in danger of being captured. Don Munio called upon his cavaliers to follow him to the rescue.
The story connected with the sepulchre, however, is still preserved in the old Spanish chronicles, and is to the following purport. In old times, several hundred years ago, there was a noble Castilian cavalier, named Don Munio Sancho de Hinojosa, lord of a border castle, which had stood the brunt of many a Moorish foray.
Approaching that cavalier, and kissing his hand, "Don Munio Sancho," said he, "I have heard of your fame as a true and valiant knight, terrible in arms, but schooled in the noble virtues of chivalry. Such do I trust to find you. In me you behold Abadil, son of a Moorish Alcayde.
The sepulchre erected in the cloisters of the Convent of San Domingo was achieved at the expense of the Moor Abadil, as a feeble testimony of his grief for the death of the good knight Don Munio, and his reverence for his memory. The tender and faithful Donna Maria soon followed her lord to the tomb.
This was performed at the opening of the Philadelphia Exhibition by a chorus of one thousand voices, an organ, and an orchestra of two hundred pieces under the direction of Theodore Thomas. In 1874 he made a metrical version of "The Legend of Don Munio" from Irving's "Alhambra," and set it to music for a small orchestra and chorus.
The chaplain was a native of Spain, and as the pilgrims approached, he knew the foremost to be Don Munio Sancho de Hinojosa, with whom he had been well acquainted in former times. Hastening to the patriarch, he told him of the honorable rank of the pilgrims at the gate. The patriarch, therefore, went forth with a grand procession of priests and monks, and received the pilgrims with all due honor.
Don Munio was, moreover, a keen huntsman; and rejoiced in hounds of all kinds, steeds for the chase, and hawks for the towering sport of falconry. When not engaged in warfare, his delight was to beat up the neighboring forests; and scarcely ever did he ride forth, without hound and horn, a boar-spear in his hand, or a hawk upon his fist, and an attendant train of huntsmen.
The beautiful Moor wrung her hands in despair, and her female attendants uttered the most piercing cries. The young Moorish cavalier alone retained self-possession. He inquired the name of the Christian knight, who commanded this troop of horsemen. When told that it was Don Munio Sancho de Hinojosa, his countenance lighted up.
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