After Magdalena came the women. They differed from the men in arrangement. Instead of the children, the old women came first and finally the unmarried women. Behind these came the car of the Virgin, and behind that, the curate under his canopy. Father Dámaso gave the following reason for putting the young women next to the Virgin’s car: “The Virgin likes young women, but not old ones.” Of course, this explanation caused many of the older women to make wry faces, but that did not change the taste of the Virgin.
San Diego followed Magdalena, but he did not seem to rejoice over the fact, for he was as precise in his behavior as on the morning when he followed along behind San Francisco. Six brothers of the Third Order drew the car. San Diego stopped before the platform and awaited for the people to salute him.
But it was necessary to await the car which contained the image of the Virgin. Preceding this car were some people dressed in a fantastic manner which made children cry and babies scream. In the midst of that dark mass of habits, hoods and girdles, to the sound of that monotonous and nasal prayer, one could see, like white jessamine, like fresh pansies among old rags, twelve young lassies dressed in white, crowned with flowers, with hair curled and eyes bright as the necklaces they wore. Seizing hold of two wide blue bands which were tied to the car of the Virgin, they drew it along, reminding one of doves drawing the car of Spring.
And now when the images were all attentive, when this child and that had been slapped sufficiently to make him listen to the verses, when everybody had his eyes fixed on the half open curtain, at last, an aaaah! of admiration escaped from the lips of all.
And the sight merited it. A young child appeared with wings, riding boots, a cordon over its shoulder, a belt and a plumed hat.
“The Señor Alcalde!” cried some one, but the young prodigy recited a poem in such a manner that the Alcalde was not offended at the comparison.
The procession then continued. San Juan followed out his bitter career.
As the Virgin passed before the house of Captain Tiago, a heavenly song greeted her like the words of an archangel. It was a sweet, melodious, supplicating voice, weeping the Ave Maria of Gounod. The music of the procession was silenced, the praying ceased, and Father Salví himself stopped. The voice trembled and brought tears to the cheeks of those who heard it. That voice expressed more than a salutation, a prayer, or a plaint.
From the window, where he was viewing the procession, Ibarra heard the voice, and melancholy took possession of his heart. He understood what that soul was suffering and what was expressed in that song. He was afraid to think of the cause of that grief.