A gay and festive Chinese brakeman, on the railroad near Guines.—The shirt-collar-and-pair-of-spurs style of costume.
ONE OF THE SENSATIONS IN CUBA.
The Great Cave near Matanzas.—Picturesque House over the Entrance.
THE GREAT CAVE NEAR MATANZAS.
A section of the interior—showing the comfortable manner in which our artist followed the guide, inspected the stalactites, and comported himself generally.
THE OUTSKIRTS OF MATANZAS.
One of the Fortifications.—Sketched from the end of the Paseo, on a day hot enough to give anything but a donkey the brain fever.
ARCHITECTURE IN MATANZAS.
A romantic little tienda mista (grocery store) on a corner, in the Calle Ona.
A CAFFETAL NEAR MATANZAS.
Our Artist becomes dumb with admiration, at the ingenious manner of toting little niggers.
THE PICTURESQUE IN MATANZAS.
A singular little bit, out of the Calle Manzana.
A SUGAR PLANTATION, NEAR THE YUMORI.
| Our Artist essays to drink the milk from a green Cocoa: | Fatal effect.—An uncomfortable sensation! |
A BED-CHAMBER IN MATANZAS.
First night at the "Gran Hotel Leon de Oro."—Our artist is accommodated with quarters on the ground-floor, convenient to the court-yard, and is lulled to sleep by a little domestic concert of cats, dogs, donkeys, parrots and game-cocks.
ECONOMY IS WEALTH.
Showing the manner in which one ox accomplishes the labor of two, in San Felipe.
THE SUBURBS OF CALABAZAR.
A Planter's Hut, and three scraggly Palm Trees in the dim distance.
PLANTATIONS NEAR MARIANAO.
A Colored Beauty toting Sugar Cane from the field to the grinding mill.
ARCHITECTURE IN HAVANA.
A conglomerate Esquina, on the corner of Calle Obispo and Monserate.
LAST NIGHT IN HAVANA.
Alarm of Our Artist and Wife, upon going to their room to pack, and discovering that a Tarantula has taken possession of their trunk.
PART II.
———
PERU.
PERUVIAN SKETCHES.
| Friendly Counsels. | Good for Digestion. |
| A Disagreeable Berth. | An Eye for an Eye. |
| A Colored Reception. | Who Knows? (nose). |
| The Naked Truth. | Discretion in Valor. |
| A Panama Laundress. | Black Warriors. |
| A Man for A' Hat. | Music hath Charms. |
| Domestic Bliss. | A Chariot Race. |
| A Bit of a Church. | An Antique. |
| Hot Weather. | Family Arrangement. |
| What an Ass! | Heads of the People. |
| A Happy Family. | By their Fruits. |
| Land at Last. | A Beast of Burden. |
| Callao Cathedral. | A Night Adventure. |
| A Baggage Train. | A Runaway. |
| Cathedral at Lima. | The light Fantastic. |
| A Water-carrier. | A Rooster. |
| A Bag of Cuffey. | A Chime of Bells. |
| Birds of a Feather. | Dog-days. |
| A China Bowl of Soup. | Pork Business. |
| Thing of Beauty. | When shall we three. |
| Fondest Hopes Decay. | Unhand me! |
| Rat-ification Meeting. | Nothing venture. |
| A Back Seat. | A great sell. |
| An excellent View. | A beggarly Show. |
| Bread-baskets. | A Dead-head. |
THE START—STEAMSHIP "HENRY CHAUNCEY." FROM NEW YORK TO ASPINWALL.
Sea-sickness being a weakness of Our Artist, he determines to be fore-armed, and accordingly provides himself with a few simple preventives, warmly recommended by his various friends.
IN THE CARIBBEAN SEA.
Our Artist, having indulged rather freely in the different preventives, gets things mixed, and wishes that his friends and their confounded antidotes were at the bottom of the Dead Sea.
ARRIVAL AT ASPINWALL.
First impressions of the city and its inhabitants.—Colored citizens on the dock, awaiting the steamer's advent.
ISTHMUS OF DARIEN.
View from the window of a Panama railroad car—showing the low-neck and short-sleeve style of costume adopted by the youthful natives of Cruces.—Also a sprightly specimen of the one-eared greyhound indigenous to the country.
A VIEW IN PANAMA.
The old and weather-beaten church of Santa Ana—and in the foreground, with basket on her head, baby under one arm, and bowl of milk supported by the other, a colored lady of West Indian descent, vulgarly known as a "Jamaica nigger."
AN AFTERNOON AT PANAMA.
Deeming it always incumbent upon the traveller to invest in the products of the country, Our Artist provides himself with a good sensible Panama hat, and thus with wife and "mutual friend," he peacefully and serenely meanders around among the suburbs of the city.
A STREET SCENE IN PANAMA.
Our Artist, with the naked eye, beholds a pig, a fighting-cock, and a black baby, all tied by the leg, at the humble doorway of the residence of a colored citizen, in the principal street of the capital of Central America.
IN THE BAY OF PANAMA.
Our Artist wanders about the sleepy little neighboring island, Taboga, where the English steamers lie, and sketches, among other picturesque bits, the clean little whitewashed cathedral in the dirty little Broadway of Taboga.
STEAMSHIP "CHILE."
FROM PANAMA TO CALLAO.
Crossing the equinoctial line, Our Artist discovers that the rays of a vertical sun are anything but bracing and cool.
PAYTA—A SEAPORT IN PERU.
Our Artist, having understood that this town is chiefly remarkable for its fine breed of mules, ironically inquires of a native Venus if this can be considered a good specimen. The N. V. treats Our Artist with silent, stolid, Indian contempt.
NATURAL HISTORY IN PERU.
Our Artist visits a coasting-vessel just arrived from Guayaquil, loaded with every variety of tropical fruit, and a sprinkling of tame monkeys, parrots, alligators, white herons, iguanas, paroquets, spotted deer, etc.
ARRIVAL AT CALLAO—THE HARBOR.
The landing-boat being a trifle too much loaded by the head, Our Artist finds it somewhat difficult to steer.
ARCHITECTURE IN CALLAO.
The little one-story Cathedral on the Plaza, which the earthquakes have so frantically and so vainly tried to swallow up or tumble down.
ARRIVAL AT LIMA.
Triumphal entry of Our Artist and his much-the-better-half; reviving the brilliant days of Pizarro and his conquering warriors, as they entered the "City of the Kings."—The Peruvian warriors in the present century, however, conquer but the baggage, and permit the weary traveller to walk to his hotel at the tail-end of the procession.
THE CATHEDRAL AT LIMA.
An after-dinner sketch (rather shaky) from our balcony in the Hotel Morin, on the Grand Plaza.
DOMESTICS IN PERU.
One of the waiters at our hotel, clad in the inevitable poncho—A genuine native Peruvian, perhaps a son of "Rolla the Peruvian," who was "within."
A PERUVIAN COOK.
Peeping into the kitchen one day, Our Artist perceives that a costume, cool and negligé, may be improvised by making a hole in a coffee-bag and getting into it.
STREETS OF LIMA—CALLE JUDIOS.
Almost every other street in Lima has a stream of filthy water or open sewer running through the middle of it, offering rich fishing-grounds to the graceful gallinazos or turkey-buzzards, who thus constitute the street-cleaning department of the municipal government.
CELESTIALS IN PERU.
Our Artist is here seen resisting the tempting offer of a bowl of what appears to be buzzard soup, in front of one of the Chinese cook-shops that abound in the neighborhood of the market at Lima.
DOLCE FAR NIENTE—A DREAM OF PERU.
Our Artist before going to Lima, during little poetical siestas, had indulged in lovely romantic reveries, the burden of which he sketches in his mind's eye, Horatio—but
THE SAD REALITY.
Alas! too frequently his thirsty eye is met only by such visions as the above—and the lovely beauties of Lima, where are they?
BEDROOMS IN PERU.
A section of the inner-wall to our chamber at the Hotel in Lima.—The condition of things at the witching hour of night, judging by the sounds.
STREETS OF LIMA.—CALLE PALACIO.
A young Peruvian accompanying its mamma to market in the morning.
STREETS OF LIMA—CALLE PLATEROS.
A picturesque little mirador or lookout at the corner of Calle Plateros and Bodegones, opposite the Hotel Maury, with balconies ad lib.
OCCUPATIONS IN LIMA.
The panadero, or baker, as he appears on his mite of a donkey, rushing round through the streets of Lima, delivering bread to his customers.
CARRIAGES AND PAVEMENTS IN LIMA.
Our Artist, after a hearty dinner, extravagantly engages a three-horse coupé, and goes out for a regular, genuine, native Peruvian ride.
That his bones are unbroken, and that he is yet alive to tell the tale, remains to him an unfathomable mystery.
COSTUMES IN LIMA.—THE SAYA Y MANTO.
Our Artist has heard a good deal about the magnificent eyes of the Limanian women; but as he never sees more than one eye at a time, he can't say much about them, with any regard for the truth.
HEAD-DRESSES IN LIMA.—THE MANTO.
The Señoritas look very prettily sometimes, with their black mantillas thrown gracefully over their heads, (See Geographies, etc.,) but when you come across a party possessing a decided nose, in profile, the effect is rather startling.
REVOLUTIONS IN PERU.
Our apartments look out upon the Grand Plaza, where the fighting usually takes place; and as the windows are mostly broken by the balls of the last Revolution, (Nov. 6, 1865,) and it's about time for another, Our Artist gets into ambuscade every time he hears a fire-cracker in the street.
THE WAR WITH SPAIN.
Two native and dreadfully patriotic Peruvian soldiers on review before their superior officer.
MARTIAL MUSIC IN PERU.
The National Hymn, with variations, as rendered by the Royal Band in front of President Prado's palace on the Grand Plaza.
FINE ARTS IN PERU.
A hasty sketch of Mistress Juno and her peacocks, as represented by fresco in the doorway of a Lima palace—Calle Ayachucho.
DARK AGES OF PERU.
The old unfinished church and deserted monastery of San Francisco de Paula—Calle Malambo.
LOCOMOTION IN SOUTH AMERICA.
What the country people would do down there, if the jackasses were only long enough.—What they do do, is but slightly caricatured by Our Artist.
HAIR-DRESSING IN LIMA.
Ladies' style as seen at the theatre.
Also Our Artist before and after he had his hair cut in the latest Lima fashion.
A FRUIT-STALL AT CHORRILLOS.
Our Artist, as he appeared when stricken with amazement at the huge clusters of white grapes that are everywhere, for a mere song, sold in Peru.
SHOPPING IN PERU.
A Peruvian materfamilias, having bought a few simple house-keeping articles in town, is here seen returning to her mountain home, accompanied by her purchases.
THE FLEAS OF LIMA.
Having been nearly devoured by these carnivorous little devils, Our Artist sprinkles himself with Turkish flea-powder one night before retiring, and is charmed at the rapid and parabolic manner with which they desert him.
THE LLAMAS OF PERU.
Our Artist had heretofore fancied that it would be immensely jolly to ride one of these singular beasts of burden; but when he encounters this one, on a lonely road outside the walls one day, he begs to be excused.
TERPSICHORE IN PERU.
Our Artist assists at a mask-ball in the Jardin Otaiza, and is puzzled at the nationality of the costumes worn by the dancers.
CHURCH ORNAMENTS IN LIMA.
The statues in the niches and on the spires of the Cathedral look very well in the daytime; but at night, when the turkey-buzzards roost on their heads, the solemnity of the thing is somewhat marred.
THE BELLS OF LIMA.
Lima is full of churches, and the churches are full of bells; and as they ring and bang away from dewy eve till early morn, their cadences are calculated to disturb somewhat the peaceful slumbers of Our Artist.
PERUVIAN BARK—IN THE ROUGH.
Our Artist is treated to plenty of this quinine (canine) salutation, whenever and wherever he pays a visit in Lima.
TRANSPORTATION IN PERU.
"This pig went to market," but as he wouldn't go decently, he was tied upon the back of the ever-patient donkey, and so, nolens volens, came to Lima, crossing the bridge over the Rimac, where Our Artist sketched him.
PRIESTS AND FRIARS OF LIMA.
A theological discussion of the gravest import takes place between three jolly Fathers of the Roman Catholic Church—a Dominican, a Mercedarian, and a Buena-Muertean.
Scene—The square in front of the church of San Francisco, with its crooked cross.
ENTOMOLOGY IN SOUTH AMERICA.
Our Artist doesn't want to say anything against the insects of Peru; but the way in which one of his hands swelled up, after a bite from some unknown varmit in the night, was, to say the least, alarming.
LOTTERIES IN PERU.
Having invested in the semi-monthly Lima lottery, Our Artist feels so confident of drawing the $4,000 prize, that he gets extravagant, wears his good clothes, and smokes one-dollar cigars; but a revulsion of feeling takes place after the drawing produces nothing for him but blanks.
CURIOSITIES OF PERU.
Having been informed by a musty old sepulchral monk that the remains of Pizarro might be seen behind this grating, Our Artist tremblingly gazes therein—but as it is pitch dark, he doesn't recognize Pizarro.
A COUP D'ŒIL IN LIMA.
A picturesque view of the great stone bridge over the rapid river Rimac, showing the towers of the church Desamparados, the Arch with illuminated clock, and the spire of Santo Domingo.—Sketched with about ninety-seven Peruvian beggars looking over Our Artist's shoulder.
LAST DAY AT LIMA.
A visit to the Museum—which contains a not very remarkable collection of Peruvian antiquities—and where Our Artist sees all that remains of the once magnificent Atahualpa, last king of the Incas.
Alas, poor Yorick! To this complexion must we come at last.—Fit sketch wherewith to end this strange, eventful history of "Our Artist in Peru."
PART III.
———
SPAIN.
A SPANISH OVERCOAT.
Our Artist, upon his arrival in "Sunny Spain," is overtaken in the Pyrenees, on the French Frontier, by a terrific snow-storm, and is compelled to provide himself, at BAYONNE, with an Overcoat of the Country.
HACKMEN IN SPAIN.
Portraits of the three Hackmen, who (upon our arrival at the City of BURGOS, in the dead of night,) meet us at the Rail Road station, and propose accompanying us to our Hotel.
A CITIZEN OF VALLADOLID.
Here is a faithful portrait of the Old Party who entered the cars at VALLADOLID; carrying with him a few travelling conveniences.
A MADRID HAT.
This is a Spanish Dandy at the Grand Opera House in MADRID:—first, with his cigarette and new Hat of the period; second, after his Hat had been sat upon by a fat old Señora, during the third act of Lucia di Lammermoor.
LOTTERIES IN SPAIN.
Nearly all the Lottery tickets in Spain are publicly sold in the streets by Beggars: and this is the sort of Vagabond in MADRID to whom Our Artist confided $16 for a ticket that won a prize of $5.
SIGHT-SEEING IN SPAIN.
There are so many hundred apartments to be seen in the famous PALACE OF THE ESCORIAL, that Our Artist is obliged to follow his Brigand of a Guide rather rapidly, in order to view them all in one day.
NAPOLEON BONAPARTE.
Our Artist sees from the car-window, at a Rail-Road Station near Toledo, what, at a first glance, appears to be a statue of Napoleon Bonaparte,—but: (see next page.)
A RAIL-ROAD OFFICIAL.
—— the Statue suddenly becomes animated and revolves; and the side-view reveals a CIVIL GUARD, with carbine and knapsack beneath his big military cloak.
ARCHITECTURE IN CORDOVA.
A picturesque little half Moorish and half Spanish dwelling house, in the Calle Jesus Maria; with a couple of Priests in earnest discussion.
BALCONIES IN SEVILLE.
Sketch of a private residence in Calle San Pablo; from the upper Balcony of which, Our Artist had a rose thrown to him, while a cloaked Assassin of a probable Lover, glowered savagely at him from the doorway.
IL BARBIERE DI SIVIGLIA.
The Barber of Seville, according to Rossini's Opera, and according to the way in which he is popularly believed to disport himself.—(See next page.)
A BARBAROUS PROCEEDING.
The Barber of Seville, as he actually exists in that city, and precisely as he appeared while operating upon our Artist, one day, in the Calle de las Sierpes.
A CAFÉ IN SEVILLE.
Our Artist discovers, one day, in the Calle Tunidores, not exactly the most fashionable Café in SEVILLE, but a Café glorying in the ambitious name of JULIUS CÆSAR!
TYPES OF SPANISH CHARACTER.
Fellow Passengers in the Diligence to MALAGA—one, a corpulent and famous Bull-Fighter, and the other, an envious and admiring follower of the same ennobling Profession.
SPANISH STAGE-COACHES.
The light and graceful antediluvian Diligence that transported us up the Sierra Nevada Mountains, from MALAGA To LOJA.
LOCOMOTION IN SPAIN.
This sketch is an attempt to display the general character and construction of one of the seven Mules that drew our Diligence over the hills from MALAGA To LOJA.
THE SPANISH GUITAR.
A characteristic little sketch of a Guitar Player, in the window of a second-story dwelling, on the Alemeda de Verano, at GRENADA.