Because of the volcanic condition of the island, the houses can not be built more than two stories high. The ground floor is of stone, and contains, besides the storehouse or a suite of living rooms, the stables, arranged around a tiled courtyard, where the carriages are washed. A broad stairway conducts to the main corridor above. The floor, of polished hardwood, is uncarpeted and scrupulously clean. Each morning the muchachos (house-boys) mop the floor with kerosene, skating around the room on rags tied to their feet, or pushing a piece of burlap on all fours across the floor. The walls are frescoed pink and blue; the ceiling is often of painted canvas. The windows, fitted with translucent shell in tiny squares, slide back and forth, so that the balcony can be thrown open to the light. Double walls, making an alcove on one side, keep out the heat of the ascending or descending sun. The balcony at evening is a favorite resort, and visitors are entertained in open air. In the interior arrangement of the houses, little originality is shown, the Spaniards having insisted upon merely formal principles of art. The stiff arrangement of the chairs, facing each other in precise rows, as if a conclave were about to be held, does not invite conviviality. There are few pictures on the walls,—a faded chromo, possibly, in a gilt frame, representing some old-fashioned prospect of Madrid, or the tinted portrait of the royal family.
The Spanish residents and the mestizos entertain with great politeness and formality. Five o’clock is the fashionable hour for visiting, as earlier in the afternoon the family is liable to be in négligée. The Spanish women, in loose, morning gowns, or blouses, and in flapping slippers, present a rather slovenly appearance during morning hours; also the children, in their “union” suits, split tip the back, impress the stranger as untidy. During the noon siesta everybody goes to sleep, to come to life late in the afternoon. At eight o’clock the chandelier is lighted and the evening meal is served. This is a very formal dinner, consisting of innumerable courses of the same thing cooked in different styles. A glass of tinto wine, a glass of water, and a toothpick whittled by the loving hands of the muchacho, finishes the meal. The kitchen is located in the rear, and generally overlooks the court, and near by are the bathroom and the laundry.
In the walled city small hotels are numerous, their entryways well banked with potted palms. The usual stone courtyard, damp with water, is surrounded by the pony-stalls, where dirty stable-boys go through their work mechanically, smoking cigarettes. The dining-room and office occupy most of the second floor. This is the library, reception-room, and ladies’ parlor, all in one; the guest-rooms open into this apartment. These are very small, containing a big Spanish tester-bed, with a cane bottom, and the other necessary furniture. The sliding windows open out into the street or the attractive courtyard, and the room reminds you somewhat of an opera-box. My own room looked out at the hospital of San José, where a big clock, rather weatherbeaten, tolled the hours.
Manila to-day, however, is a contradiction. Striking anachronisms occur from the confusion of Malayan, Asiatic, European, and American traditions. Heavy escort-wagons, drawn by towering army mules, crowd to the wall the fragile quilez and the carromata( two-wheeled gigs), with their tough native ponies. Tall East Indians, in their red turbans; Armenian merchants, soldiers in khaki uniforms, and Chinese coolies bending under heavy loads, jostle each other under the projecting balconies, while Filipinos shuffle peacefully along the curb.
The new American saloons look rather out of place in such a curious environment, and telegraph wires concentrated at the city wall seem even more incongruous.
Chapter II.
All About the Town.
The wide streets radiating from the Bridge of Spain are lined with lemonade stands, where the cube of ice is sheltered from the sun by striped awnings. Leaving the walled town on the river side—the gate has been destroyed by earthquakes—you can take the ferry over to the Tondo side. The ferryboat is a round-bottomed, wobbly sampan, with a tiny cabin in the stern. You crouch down, waiting for the boat to roll completely over, which at first it seems inclined to do, or try to plan some method of escape in case the pilot gets in front of one of the swift-moving tugs. You have good reason to congratulate yourself on being landed at a stone-quay in a tangle of small launches, ferryboats, and cascoes. The Tondo Canal may be crossed on a covered barge, poled by an ancient boatman, who collects the fares—a copper cent of Borneo, Straits Settlements, or Hong Kong coinage—much in the same way as the pilot of the Styx collects the obolus.
Under the long porch of the customs-house, a dummy engine noisily plies up and down among the long-horned carabaos and piles of merchandise. Types of all nations are encountered here. The immigration office swarms with Chinamen herded together, rounded up by some contractor. Every Chinaman must have his photograph, his number, and description in the immigration officer’s possession. Indian merchants, agents of the German, Spanish, and English business firms are looking after new invoices. A party of American tourists, just arrived from China, are awaiting the inspection of their baggage.