So we go, rattling down hill, into Naples.
A funeral is coming up the street, towards us. The body, on an
open bier, borne on a kind of palanquin, covered with a gay cloth
of crimson and gold. The mourners, in white gowns and masks. If
there be death abroad, life is well represented too, for all Naples
would seem to be out of doors, and tearing to and fro in carriages.
Some of these, the common Vetturino vehicles, are drawn by three
horses abreast, decked with smart trappings and great abundance of
brazen ornament, and always going very fast. Not that their loads
are light; for the smallest of them has at least six people inside,
four in front, four or five more hanging on behind, and two or
three more, in a net or bag below the axle-tree, where they lie
half-suffocated with mud and dust. Exhibitors of Punch, buffo
singers with guitars, reciters of poetry, reciters of stories, a
row of cheap exhibitions with clowns and showmen, drums, and
trumpets, painted cloths representing the wonders within, and
admiring crowds assembled without, assist the whirl and bustle.
Ragged lazzaroni lie asleep in doorways, archways, and kennels; the
gentry, gaily dressed, are dashing up and down in carriages on the
Chiaji, or walking in the Public Gardens; and quiet letter-writers,
perched behind their little desks and inkstands under the Portico
of the Great Theatre of San Carlo, in the public street, are
waiting for clients.
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