In a few moments from the commencement of the rain the people had all disappeared, the streets had assumed the appearance of rushing streams, while the three fiumeras traversing the town kept up an [{268}] unceasing roar, as the swollen waters rushed plunging toward the sea.
Formerly these fiumeras were uninclosed, and consequently after heavy rains the torrents would enlarge their borders, spreading out on every side and encompassing the town, until it assumed the appearance of having been built in the midst of waves and currents. Now, however, walls of strong masonry attest the wisdom and industry of the modern Madeirans, and between these the rivers flow in shallow musical streams in summer, or sweep on in deep, sullen floods during the rainy seasons in spring and autumn. It sometimes, however, happens that, though the rivers can no longer overleap their boundaries to career round pillared edifices and lay bare their foundations, or, sweeping up into their fierce embrace cottages and their inmates, inclosures and their stalled cattle, hurry with them into the blue depths of the bay of Funchal, they still, when increased by these mountain torrents, which on leaving the heights are but whispering streamlets, gathering depth and strength in their descent, will send boulders of many tons weight over the high broad walls, followed by giant trees, planks of timber, and jagged branches, as if from the heaving bosom of the angry waters rocks and withered boughs are flung off with equal ease.
CHAPTER II.
From the period alluded to in the last chapter, namely, the beginning of Lent, processions and public ceremonies become of such frequent recurrence that I must either pass over a period of some weeks or fill a volume in describing them. Believing the former course to be the wisest, I shall pass on to the fourth Sunday in Lent. From an early hour in the morning every bell-tower had been awakening the echoes with its musical clamor, and every hamlet and village had responded to the summons by sending forth crowds of hardy inhabitants in their best attire, to join the gaily dressed multitudes thronging through the narrow, angular streets of Funchal toward the Praca, in which, as I have said, stands the sé, or cathedral. This building is quaint-looking and massive, proclaiming the liberality, if not the taste, of its founders. It is somewhat more than three centuries old, having been completed in the year 1514, and is only now beginning to assume that mellow and sombre hue which comports so well with the character of such piles. By the hour of noon the Praca presented a sea of human faces. The long seats beneath the shade of trees had been resigned to the children, while the platform in the centre of the square, occupied on ordinary occasions by the military bands, now presented a waving parterre of the smiling and observant faces of peasant girls, who, notwithstanding their proverbial timidity and gentleness, had managed to secure that elevated position. Meantime the balconies were filling fast with the families of the English and German residents, all intent on seeing the remarkable pageant of the day known as the "Passo."
Having obtained a front seat in the balcony of the English reading-room, I had a full view of the animated and picturesque scene beneath, the latter feature being heightened by the striking contrasts exhibited between the costumes of the peasant women and those of the same grade residing in the town. As one looked at the latter it was not difficult to imagine they had just come from Europe with the tail of the fashions. Bonnets, feathers, flowers, ballooned dresses, all were foreign importations; while the women who had come down from those cottages on the heights, which, on looking up at, appear like pensile nests hanging from the crags, wore dresses of masapuja--a mixture of thread and bright wools manufactured by themselves--small shawls woven [{269}] in bright stripes, and on their heads the graceful looking lenco, or handkerchief, in some showy, becoming color. Others from the fishing villages wore complete suits of blue cloth, of a light texture, even to the head-dress, which was the carapuca, or conical shaped cap, ending in a drooping horn and a golden tassel; while a few wore cotton dresses, and covered their heads with the barrettea, a knitted cap in shape like an elongated bowl, and having a woollen tuft at the top glittering with gold beads. The elder women covered their shoulders with large bright shawls, while the younger wore tightly-fitting bodices, fastened with gold buttons, and over these small capes with pointed collars. All, whether old or young, wore their dresses full, and sufficiently short to display to advantage their small and beautifully formed feet.
In singular contrast with this simplicity of taste in their apparel, is their desire for a profusion of ornaments. Accordingly, you will find adorning the persons of the peasant women of Madeira rings and chains and brooches of intrinsic value and much beauty, such as in other countries people of wealth assume the exclusive right to wear. An instance of this ruling passion came under my notice a short time since, which I may mention here.
Through a long life of toil and poverty a peasant woman had regularly laid by, from her scanty earnings, a small sum weekly. Her neighbors commended her forethought and prudence, not doubting but that the little hoard so persistently gathered was meant to meet the necessities of the days when the feeble hands would forget their cunning. At length the sum amounted to some hundreds of testatoes, or silver five-pences, and then the poor woman's life-secret was discovered. With a step buoyant for her years, and a smile which for a moment brought back the beauty of her youth, she entered a jeweller's shop, and exchanged the contents of her purse for a pair of costly earrings. Had she been remonstrated with, she would have betrayed not only her own but the national feeling on the subject, by saying--"I lose nothing by the indulgence. At any moment I can find a purchaser for real jewelry."
An hour passed, and signs of impatience were becoming visible in the crowd, when the sounds of distant music caused a sudden and deep silence. A feeling of awe seemed to have fallen at once on the multitude, and every bronze-colored face was turned with a reverential expression toward the street by which it was known the procession would enter the Praca. Slowly the music drew near, now reaching us in full strains, then seeming to die away in soft cadences. Meantime the guns from the forts and shipping renewed their firing, and the bells swung out their grandest peal. Curiosity was at its height, when the foremost row of the procession met our view--four men walking abreast, wearing violet-colored silk cassocks, with round capes reaching to the girdles, and holding in their hands wax candles of an enormous size. A long train, habited in the same way, followed these, and then came four ecclesiastics in black silk gowns and Jesuits' caps, bearing aloft a large and gorgeous purple banner, in the centre of which were four letters in gold, "S.Q.P.R," being the initials of a sentence, the translation of which is, "To the Senate and People of Rome."
After this followed another long line of men in violet, and then again four clothed in black, carrying a wax image, large as life, on a platform, meant to represent the garden of Gethsemane. Round the edge were artificial trees about a foot and a half in height, having their foliage and fruit richly gilt. The figure was clothed in a purple robe, and on the brow was a crown of thorns. It was in a kneeling position, and the face was bowed so low you could not distinguish the features, but the attitude [{270}] gave you the impression that it was making painful attempts to rise, which the weight of the huge cross on the shoulders rendered ineffectual. Another train of candle-bearers followed this, and then, in robes of rich black silk, and having on their shoulders capes of finest lawn trimmed with costly lace, came four priests holding up a gorgeous canopy, having curtains of white silk and silver, which glittered and flashed as the faint breeze, sweet with the perfume of flowers and fruit-trees, dallied amidst the rich folds. From the centre of the canopy was suspended a silver dove, its extended wings overshadowing the head of the bishop, who walked beneath, robed in his most gorgeous sacerdotal habiliments. Between his hands he carried the host, and as he passed along thousands of prostrate forms craved his blessing. Following the canopy were more men with tapers, and dressed in violet silk; then another purple banner of even greater expansion than the first; then a lovely train of little girls dressed to represent angels; then the band playing the Miserere; and lastly a regiment of Portuguese soldiers. As soon as the last of the men in violet had entered the cathedral, the door was closed; the soldiers formed in lines on each side; the band was silent; and, at the command of an officer, all uncovered their heads, and stood in an attitude expressive of deep humiliation. This scene was meant to represent that sorrowful yet glorious one enacted eighteen centuries ago in the judgment hall of Pontius Pilate. The little girls remained outside as well as the soldiery.
The dress of these children was tasteful and picturesque. They wore violet-color velvet dresses, very short and full, and profusely covered with silver spangles; white silk stockings and white satin or kid shoes; rich white and silver wreaths, and bright, filmy, white wings.