The priests in the chancel are numerous, perhaps twenty or more. The service is chanted with no aid of instruments, except once the accompaniment of a small and rather disordered organ, and chanted in very loud and often harsh and blatant tones, which reverberate from the marble walls, with a tiresome monotony of cadence. There is a degree of ceremony in the placing, replacing, and carrying to and fro of candles and crucifixes, and swinging of censers, which the Roman service as practised in the United States does not give. The priests seem duly attentive and reverent in their manner, but I cannot say as much for the boys, of whom there were three or four, gentlemen-like looking lads, from the college, doing service as altar boys. One of these, who seemed to have the lead, was strikingly careless and irreverent in his manner; and when he went about the chancel, to incense all who were there, and to give to each the small golden vessel to kiss (containing, I suppose, a relic), he seemed as if he were counting his playmates out for a game and flinging the censer at them and snubbing their noses with the golden vessel.
There were only about half a dozen persons at mass, beside those in the chancel; and all but one of these were women, and of the women two were Negroes. The women walk in, veiled, drop down on the bare pavement, kneeling or sitting, as the service requires or permits. A Negro woman, with devout and even distressed countenance, knelt at the altar rail, and one pale-eyed priest, in cassock, who looked like an American or Englishman, knelt close by a pillar. A file of visitors, American or English women, with an escort of gentlemen, came in and sat on the only benches, next the columns; and when the Host was elevated, and a priest said to them, very civilly, in English, “Please to kneel down,” they neither knelt nor stood, nor went away, but kept their seats.
After service, the old sacristan, in blue woollen dress, showed all the visitors the little chapel and the cloisters, and took us beyond the altar to the mural tomb of Columbus, and though he was liberally paid, haggled for two reals more.
In the rear of the Cathedral is the Seminario, or college for boys, where also men are trained for the priesthood. There are cloisters and a pleasant garden within them.
VII
Gold and silver—Coinage—Family breakfasts—Coolies—Jesus del Monte—View of city and harbor from Jesus del Monte—Taste for proper names of towns, shops, etc.—Opera at the Villanueva, the boxes, ladies, Captain-General, soldiers.
Breakfast, and again the cool marble floor, white-robed tables, the fruits and flowers, and curtains gently swaying, and women in morning toilets. Besides the openness to view, these rooms are strangely open to ingress. Lottery ticket vendors go the rounds of the tables at every meal, and so do the girls with tambourines for alms for the music in the street. As there is no coin in Cuba less than the medio, 6¼ cents, the musicians get a good deal or nothing. The absence of any smaller coin must be an inconvenience to the poor, as they must often buy more than they want, or go without. I find silver very scarce here. It is difficult to get change for gold, and at public places notices are put up that gold will not be received for small payments. I find the only course is to go to one of the Cambios de Moneda, whose signs are frequent in the streets, and get a half doubloon changed into reals and pesetas, at four percent discount, and fill my pockets with small silver.
Spent the morning, from eleven o’clock to dinnertime, in my room, writing and reading. It is too hot to be out with comfort. It is not such a morning as one would spend at the St. Nicholas, or the Tremont, or at Morley’s or Meurice’s. The rooms all open into the court yard, and the doors and windows, if open at all, are open to the view of all passersby. As there are no bells, every call is made from the veranda rail, down into the courtyard, and repeated until the servant answers, or the caller gives up in despair. Antonio has a compeer and rival in Domingo, and the sharp voice of the woman in the next room but one, who proves to be a subordinate of the opera troupe, is calling out, “Do-meen-go! Do-meen-go!” and the rogue is in full sight from our side, making significant faces, until she changes her tune to “Antonio! Antonio! adonde está Domingo?” But as she speaks very little Spanish, and Antonio very little French, it is no difficult for him to get up a misapprehension, especially at the distance of two stories; and she is obliged to subside for a while, and her place is supplied by the parrot. She is usually unsuccessful, being either unreasonable, or bad pay. The opera troupe are rehearsing in the second flight, with doors and windows open. And throughout the hot middle day, we hear the singing, the piano, the parrot, and the calls and parleys with the servants below. But we can see the
