In Lima, as throughout the whole of Spanish America, the females are, both intellectually and physically, far superior to the males. All visitors at Lima speak in terms of warm admiration of the Limeñas, as the most charming and graceful women of South America. In figure they are usually slender, and somewhat above the middle height, with fair complexions, destitute of color, large, dark brilliant eyes, and abundant black hair. The charming Spanish epithet hechicera, by which they are designated, belongs to them in the full extent of its significance, not only on account of their rare personal beauty, but also by reason of the captivating grace of their deportment, and the natural amiability of their dispositions.
The first thing which attracts one's regard in Lima, is the singular and picturesque costume of the females. This costume, which resembles that of the Moors, to whom it owes its origin, takes the name of the two principal parts of which it is composed—it is called the saya y manto. It is worn only in Lima, and there only in the day time, as a walking-costume. The saya, as formerly worn, was a skirt or petticoat made of an elastic black silk, plaited at the top and bottom in small folds, and fitting so closely as to display the outlines of the figure, and every motion of the limbs. It was made so narrow at the bottom that the wearers were forced to take steps extremely short, which gave to their gait a mincing character more striking than modest. This, which is called the saya ajustada is now rarely seen. As now worn it forms a very graceful and elegant costume; the bottom plaits are taken out, so as to cause the skirt to stand out from the figure, which is not displayed. This is called the saya desplegada. It is always made of a dark-colored material. The manto is a thick vail of black silk, joining the saya at the back of the waist. It is brought up over the shoulders and head, and drawn over the face in such a manner as to conceal the features entirely, with the exception of one eye, which is visible through a small triangular space left open for the purpose. One hand retains the folds of the manto in their places while the other displays a richly embroidered handkerchief. Over the shoulders is thrown a shawl, usually of embroidered China crape. The Limeñas, effectually disguised in this national dress, to which they are enthusiastically attached, go out every where unattended. Any one can address them, and they violate no usage in accosting any one. The uniformity of the costume, in materials, shape, and color, and the perfect concealment of the features, makes identification impossible, so that the street becomes a perpetual masquerade. The costume which owes its origin to marital jealousy has in Lima become a most efficient aid to intrigue.
LIMEÑA AT HOME.
The Limeña in the street, shrouded in the saya y manto, differs as widely from the same Limeña at home, as the butterfly wrapped up in its chrysalis does from the same insect with wings fully expanded. At home, at the theatre, in the carriage, every where except when walking in the streets, or in church, the Limeña appears dressed in the newest French fashions. There is, however, one article of European costume which they uniformly refuse to adopt, and that is the bonnet. With here and there an exception, they obstinately reject any other head-dress than a light vail and their own abundant tresses. An inordinate fondness for flowers and perfumes is also a striking characteristic of a Limeña, whose presence is almost invariably announced by a vase of flowers and a flaçon of perfume, placed upon a table near which she reclines swinging in a hammock during the sultry hours of the day, amusing herself, now with examining a book of engravings, now with music, of which she is passionately fond, perhaps with embroidery—and not unfrequently with a cigar.
CHOLITAS OR INDIAN WOMEN OF PERU.
If man or woman were only an animal being—and if she could always be young and physically charming—this life of the Limeña might not seem so undesirable. But with her a thing of beauty is not a joy forever. If her reign is brilliant, it is brief. When her beauty fades she ceases to be a coquette, and becomes a beata or devotee. She renounces the vanities of the world, attends mass several times a day, makes frequent confessions, and takes up her abode during Lent in a house of penitence. She selects a confessor to whom she unburdens her conscience, and sends presents of sweetmeats and delicacies. At home she sinks into a cipher, scarcely more regarded than a piece of worn-out furniture. If a stranger, paying a visit to a young Limeña, respectfully rises to make a place for an aged woman who enters the cuadro, nothing is more common than for the daughter to say, with the utmost coolness, No se incommoda usted, es ma mamita "Don't incommode yourself, it's my mamma." Habit becomes a second nature, and the Limeña accommodates herself to her lot without a murmur. Such, with exceptions few and rare, is the lot of the hechiceras Limeñas, so highly endowed by nature, and worthy of a better fate.
Besides these Limeñas of European origin there is another class, descendants of the ancient Peruvians, who, though not beautiful like their fair neighbors, present some remarkable characteristics. Their complexion approaches the color of copper, with a pale tinge of gold. Their whole aspect has in it something bizarre, but at the same time not altogether unattractive. In dress they are fond of strange combinations. A balloon-like garment of white muslin or gaudy calico; a Guayaquil hat with high crown and immense brim, decorated with huge bows of ribbon on the "company side" of the head; their abundant hair carefully divided and pouring down their backs in sable cascades; and, foremost and above all, a well-fitting stocking and shoe upon a foot unimpeachably small, form their favorite costume. These cholitas are admirable horsewomen, usually riding astride, cavalier fashion, and wearing the formidable Peruvian spur.
