[1][2] There are numerous drawn studies and two painted sketches by Dehodencq that show little variation with the finished work.

[5] The high-angled perspective of the viewer and Boabdil's backward turn, against the forward movement of his horse and groom, make the composition particularly lively and moving.

[7] Maurice Cristal felt that the composition was not above reproach, but the artist's the use of colour and light was remarkable, producing a canvas that radiated life.

[8] Gabriel Jean Edmond Séailles was more generous in his judgement, praising the grandeur of its melancholy beauty.

However the final version strips out these details, leaving nothing but Boabdil, his horse and groom, and nothing to distract the viewer from the intensity of his feeling.