Eventually, Castile started to revoke some of the more tolerant attributes of the treaty. This initiative was led by Archbishop Cisneros, who ordered mass conversions, the burning of valuable Arabic manuscripts and other measures detrimental to the Muslims (and Jews). This sparked a revolt that ended in many Muslims being forced to choose between baptism, exile, or execution. Tensions from then onward would remain high, and Castile was obliged to maintain a large military force in Granada to deter future revolts. Isabella also strengthened the Spanish Inquisition, and Ferdinand brought the Inquisition to Aragon where previously it had not held power. Castile was the main beneficiary of the war, as it had also spent by far the majority of the money and manpower to prosecute it, and completely annexed Granada. The conquest of Granada meant little for Aragon's strategic position, but it did help secure Castilian support in Italy and France, where Aragon's interests lay. The task of funding the war was formidable; the total cost was estimated to be 450,000,000 maravedies. Increasing oppression of the Moors—now known as Moriscos or "New Christians"—led to the Rebellion of the Alpujarras (1568–71). After the defeat of the Moors, which was not easy, almost all the Moriscos of the former Kingdom of Granada were exiled to other parts of Spain. An entire genre, "romances fronterizos", developed around stories of the war and the battles on the Granadan frontier which reached their culmination in Granada's fall. Ginés Pérez de Hita wrote an early example of historical fiction, "Guerras civiles de Granada", a romantic account of the war that emphasized chivalry and heroism on both sides. A number of stories and songs appear to have been sponsored by the royal government to help steel morale for the long struggle; "Sobre Baza" was a poem written in 1479 encouraging persistence in the long siege. The song ""Setenil, ay Setenil"", written in 1484, hoped that Ferdinand would conquer "as far as Jerusalem." The song ""Una sañosa porfía"" by Juan del Encina puts the depiction of the war in the lips of King Boabdil himself. Spanish Baroque playwright Calderon de la Barca wrote a play concerning the Conquest of Granada entitled "Amar despues de la Muerte." It was translated as "Love After Death" in 1853 by Denis Florence McCarthy, and again by Roy Campbell in 1959 (see List of Calderón's plays in English translation).