Let us hasten to our balcony, for here passes a band of musicians, in scarlet and gold, to open the procession.
It is "the theater"—an open car of puppets—but the puppets are men; all attached to cords held in the hand of the giant, who sits in imposing state above them on the top of the car which is on a level with the third-story balconies.
The giant lifts his hand and the puppets whirl and jump. But alas! his head is too high. His hat is swept off by the hanging festoons, and the giant must ride bare-headed, in danger of sunstroke.
Next behind the car moves in military order a regiment of mounted grasshoppers. Their sleek, shining bodies of green satin, their gauzy wings and antennae, snub noses and big eyes, are all absolutely perfect to the eye; but—they are of the size of men.
You lower your mask to see more clearly, you are lost in wonder at the perfect illusion, your mouth is wide open with "Ohs!" and "Ahs!" when pop! pop! slings a shower of confetti, and the little hailstones seem to cut off your ears and rush sifting down your neck.
For, while you were watching the grasshoppers, a low open carriage, concealed under a pink and white cover, has stopped under our windows. Four merry masqueraders, cloaked and hooded in hue to match, have a bushel of confetti between them, and are piled with nosegays. We slink behind our masks, we pull the handles of our confetti scoops—then the battle begins and waxes fierce.
But they are crowded on. A colossal stump follows, trailing with mosses and vines. Upon it a bird's nest filled with young, their mouths wide open for food; wonderful, because the artistic skill is so perfect that, although so immense, they seem living and not unnatural.
Up and down the procession sweeps. Up one side the wide "Cours" and down the other; the space within filled with the merry surging crowd, under the feet of the horses it would seem. But no matter. Horses and men and women and children bear a charmed life to-day.