A few sailing ships, hoping to glean poor remnants of this accumulation of the centuries, still huddle as close as possible to the black rocks, which, because of the quantity of that very fertilizer which has distinguished them, are made repellent to life of any kind. In this laboratory of the strongest fertilizer, there is not the slightest trace of vegetation—Peru in paradox.
The sunset blazes through the fissures and shoots shafts of opalescent light under the great stone bridges toward the mountainside of the candelabrum, veiled in a hazy shimmer. Defiantly gorgeous it is, all but the young moon which nestles among rushing scarlet and black clouds.
A giant candelabrum, at least four hundred feet long, is hollowed deep in the rock of the sheer volcanic headland above the sea. Its trenches do not fill with drifting sand, though the natives of Pisco make periodic pilgrimages across the bay, just to be sure. Some think it is a sign of royalty, a flaunt of the Incas, or the boundary-mark of a conquered kingdom. Some say it was a warning made by the Spaniards after Pisco was sacked by English freebooters in the seventeenth century, for though now over a mile inland, it was then a coast town. Such is the equilibrium of the Peruvian coast! Others call it “the three crosses,” the life-penance many years ago of a Franciscan friar named Guatemala.
But a symbol does not for mere inquiry give up the secret of its hidden mystery. Doubtless the origin and purpose of the Candelabrum of Pisco will never be known.
A few small, square, purple shadows mark a town, put down at random in the desert beside the sea. Some houses are made of the ribs and jaws of whales. A conspicuous white building, a little removed, is for sufferers with bubonic plague. Crosses surmount hummocks round about the town. People are making pilgrimages to and fro. And over all, white-headed vultures are wheeling. They spread their wings and cry in the silence.
Dust covers the little city, clustering about a market-place of sand. A fountain without water mutely occupies its center. Lamp-posts without lamps surround it, and the mud houses are without windows. The cathedral towers have no bells. Strange plaster figures are sculptured upon the façade, and infants with hands put on backwards hold up the portico. Beyond the door with a two-inch keyhole are Virgins in pink silk and gold tinsel, saints with rows of parallel ribs, angels with gauze wings, towering altars of gingerbread work, artificial flowers, and silver-paper fringe.
Glossy-haired women, their black mantas (head-shawls) thrown back, drag stiff skirts through the dirty sand. Half-naked children gnaw at the inside of long bean-pods. Mangy dogs with dusty skin and a sparse sprinkling of yellow hair slink into the shadows. Black goats and their attenuated kids search about in the sand for something to eat. Men and women file out of black interiors, carrying gourds full of brilliant edibles. Meal braizes over a low fire on the sand; a woman crouching over it whips the flame with the end of her long hair. From time to time, to make a brighter blaze, she picks up pieces of wood with her strong toes. Near by struts a blue-eyed bird. It is a huerequeque, the household scavenger. Bits of cloth hang about his tall knees. The woman explains that they are trousers intended to keep him warm. She is sorry I could not have come a few days later, for she is about to make him some new ones for summer, of lighter quality, with lace edges.
The market is held in the bed of a “river,” no less dry than the surrounding desert. Old women behind piles of tropical fruits, guayabas, pacays, ciruelas, gossip to a whir of small mandolins. Heavy-browed men in flapping sombreros drink thick liquids and purchase pats of red and yellow picante (a highly seasoned dish). Groups of pack-horses with silver bridles are tied round about the market.
But surprises are lurking in these coast towns. Behind heavy, unexpected doors, the single affluent family of the town receives in a peacock-blue salon. There is a lady in brown, with trimmings of blue velvet and cotton lace, and a perpendicular yellow hat. Another is in purple velvet, with swan’s-down hat and photograph brooch of her sister. A third, wearing green velvet, a salmon colored hat with red roses, and holding a pink silk handkerchief embroidered in lavender, sits purring beside her red-faced German fiancé. The carpet is red, the furniture covered with brown brocade; there are statues of carved alabaster with gilt edges and pink cuspidors. Gold mirrors, chromos of Venetian court life, and pasteboard calendars of bygone years hang upon the walls. The Spanish tiles of long ago are painted over.
Farther up the street a door may open upon a wilderness of vicuña rugs as tawny as a lion and softer than moleskin. Shawls of tan-colored wool, silkier than Liberty fabrics, lie about. One is not surprised that vicuña wool was reserved for royal use in Inca days, nor that blankets of it were sent by the conquerors as offerings to Philip II. There are little foot-warmers made of vicuña fur and chinchilla skins, wiry penguin skins and a deafening noise of singing birds in cages. A black-eyed girl with hair like tarred rope stands making cazuela (a thick soup) and paring guavas. She claps her hands, and many doves fly in to peck the crumbs from her lips.