There are the charcoal men, who begin on a high key and drop with an almost impossible interval to a prolonged, nasal, twanging note; the old clo' men, whose patois for rags sounds so exactly like my companion's name that she is sure they are after the dresses she is economically wearing out at Pau; the chimney-sweeps; the jonchée women, who sell cream cheese, rolled in what looks like onion-tops; the roasted chestnut women, whose shrill "Tookow!" (patois for "Tout chaud") suggests piping-hot chestnuts in bursting shells; and the crockery and earthen men, who push their wares before them in long shallow box-carts, and give, in a sustained recitative, the whole catalogue of delf and pottery.
In the afternoon when the noise and stir are subsiding, we hear a few notes, often repeated, from what I should like to call a shepherd's pipe; only the instrument in question is not in the least like one, but resembles more one of those little musical toys with a row of holes cut along one side, upon which our children at home are so fond of performing. However, our shepherd contrives to produce a pastoral effect with his simple strain, and we favor the illusion of the pipe by only listening to him, while we look at his pretty goats with long, silky black hair. He leads them through the town twice a day, and at the sound of his call those who wish goat's milk send out their glasses and get it warm from a goat milked at the door. As his last faint notes die out in the distance the rosy light fades from the peaks of the Pyrenees; the sun has set, and market-day is over.
[IL SANTISSIMO BAMBINO.]
On the Capitoline Hill, in Rome, stands a church, twelve hundred years old, called Ara Coeli. It is unpromising in its outward appearance, but is rich in marbles and mosaics within.
The most precious possession of this ancient church however, is a wooden doll called Il Santissimo Bambino—The Most Holy Infant. It is dressed like an Italian baby, and an Italian baby is dressed like a mummy. We often see them in their mothers' arms, so swathed that they can no more move than a bundle without any baby inside of it. Their little legs must ache for the freedom of kicking. The dress of the Bambino is very different from that of a bambino after all, for it is cloth of silver, and it sparkles all over with jewels which have been presented to it, and it wears a golden crown upon its head.
This is the history of this remarkable doll, as devout Roman Catholics believe. You must judge for yourselves how much of it is truth and how much fable.
They say this image of the infant Saviour was carved from olive-wood which grew upon the Mount of Olives, by a monk who lived in Palestine; and, as he had no means of painting it with sufficient beauty, his prayers prevailed upon St. Luke to come down from Heaven and color it for him. Then he sent it to Rome to be present at the Christmas festival. It was shipwrecked on the way, but finally came safely to land, and was received with great reverence by the Franciscan monks, who placed it in a shrine at Ara Coeli. It was soon found to have miraculous power to heal the sick, and was so often sent for to visit them, that, at one time, it received more fees than any physician in Rome. It has its own carriage in which it rides abroad, and its own attendants who guard it with the utmost care.
One woman was so selfish as to think it would be a capital thing if she could get possession of this wonder-working image for herself and her friends.