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      The Pearl of the Antilles, or An Artist in Cuba

      PREFACE

      Cuba having lately become a prominent object of attention, both to Europe and America, I venture to think that any trustworthy information that can be given respecting it, may prove acceptable to the reader. I approach my task with no great pretensions, but yet with an experience acquired by many years' residence in the Island, and an intimate intercourse with its inhabitants. I arrived there in 1864, when Cuba was enjoying uninterrupted peace and prosperity, and my departure took place in the first year of her adversity. Having thus viewed society in the Island under the most opposite conditions, I have had various and ample opportunities of studying its institutions, its races and its government; and in availing myself of these opportunities I have endeavoured, as far as possible, to avoid those matters which are alike common to life in Spain and in Cuba.

      As I write, Cuba is passing through a great crisis in her history. For this reason my experiences may prove more interesting than they might otherwise have done; nor do I think that they will be found less attractive, because it has been my choice to deal with the subject before me from the point of view rather of an artist than of a traveller or a statistician.

      Perhaps I may be allowed to add, that the matter contained in these pages will be almost entirely fresh to the reader; for, although I have included a few papers which I have from time to time contributed to All the Year Round, Cassell's Magazine, and London Society, I have taken care to introduce them in such a manner as not to break the continuity with which I have endeavoured to connect the various parts of my subject.

      In explanation of the title chosen for this volume, I may remark that 'the Pearl of the Antilles' is one of the prettiest in that long series of eulogistic and endearing titles conferred by poets and others on the Island of Cuba, which includes 'the Queen of the Antilles,' 'the Jewel in the Spanish Crown,' 'the Promised Land,' 'the Summer Isle of Eden,' 'the Garden of the West,' and 'the Loyal and Ever-faithful Isle.'

      CHAPTER I.

      A CUBAN WELCOME

      My companion and brother-artist, Nicasio Rodriguez y Boldú, is a native of Cuba, and as he has signified his intention to visit his birthplace in the West Indies, we bid 'addio' to fair Florence, where for three years we have dwelt together and followed our profession, and, embarking in a French steamer at St. Nazaire, we set sail for the Pearl of the Antilles.

      Our official reception at Santiago de Cuba is far from cordial. Before we land, the Spanish authorities meet us on board, and, after a careful inspection of our passports, present each of us with what they call a 'permit of disembarcation,' for which we have to pay sixteen reales 'fuertes.' Having, so to speak, purchased 'tickets of admission' to the Spanish colony, and having also deposited our luggage in the 'cloak-room' of the establishment – which in this instance is represented by a custom-house – we naturally expect to be favoured with a 'bill' of tropical performances. No such bill is, however, presented to us; but as a substitute, we obtain full particulars by application, within a month after our arrival, to the chief of police. From this functionary we learn that our 'tickets of admission' are available only for one quarter's sojourn in the island, and that if we desire to remain for a longer period, an official 'season-ticket' must be procured. The authorised programme of the 'Loyal and Ever-faithful Isle' is divided into a great many Acts. One of these acts announces that 'no foreigner is allowed to reside more than three months in the island without procuring first a carta de domicilio (habitation license), which he may obtain by a petition supported by the consul of his nation.' The carta de domicilio will enable the foreigner in question to dwell unmolested in this strangely governed country for a period not exceeding five years; but he may not leave the island, neither may he remove to another town, without a pass from a Capitan de Partido, a Celador, or some such official.

      The chief of police moreover tells us that, conformably with another act or article in his code, the 'applicant' must represent himself as a Catholic; that he must take the oaths of fidelity and vassalage before the governor, and that within the prescribed five years 'a foreigner must be either naturalised, or he must leave the country.'

      Yet another act proclaims that during the first five years of his residence, 'the said foreigner may not carry on nor may he possess a shop, a warehouse, or become a captain of a vessel. He may, however, have a share in a company or firm of Spaniards.'

      But the strangest mandate of all is that which denies to 'any inhabitant whatsoever' the privilege of moving from one house to another 'without giving notice of such removal to the chief of police!'

      Thus much for our welcome by the authorities of Cuba!

      The Cubans themselves are, however, more obsequious. Long before we have anchored in the Cuban bay, the news of our arrival has reached the ears of my companion's friends, who hasten to greet us from little canoes with white awnings to ward off the rays of the scorching sun. Having landed, and satisfied the authorities, we are escorted by a number of these friends to our future residence, which we had decided should be an hotel. But my partner's friends will not hear of our lodging at a strange place, and one of their number, who claims close relationship with Nicasio, succeeds in persuading us both to become his guests. He accordingly hails his two-wheeled quitrin, and drives us to his dwelling. The rest of our friends follow on foot, and are invited by our host, Don Benigno, to partake of the sumptuous banquet which has been prepared in honour of Nicasio's return to his native country. Several ladies are present, and with these in light muslin dresses – the gentlemen in their suits of white drill – the long table with its white covering – the spacious dining-hall with its white-washed walls – and the glare of the sun which pours in from numerous windows and open doors – the scene is enlivening, to say the least of it; while a singular contrast is supplied by the sombre appearance of the slaves who serve round the condiments.

      Of course my companion is lionised and made much of on this occasion, and his friend – whom everybody addresses, on account of his nationality, as 'el Caballero Inglés,' is treated with every show of attention. Being fresh from Europe we are both examined and cross-examined upon the questions of news, and to satisfy all demands requires no inconsiderable amount of oratory. Healths are drunk and responded to by some of the company, and Don Benigno's nephew, Tunicú, delivers some appropriate verses of his own composition, which he has dedicated to his kinsman Nicasio.

      It is not the custom in this country for the ladies to retire after a meal, and leave their lords to their cups and conversation, but everybody remains seated until black coffee and big Havana cigars are handed, the cloth has been removed, and our host's baby – a girl ten months old attired in nature's vestments – has been placed for general inspection and approval in the centre of the festive board.

      When everybody has sufficiently devoured with his or her eyes this kind of human dessert, Don Benigno's lady – Doña Mercedes – proposes to adjourn for music and dancing to the reception-room – an apartment which is little better than a continuation of the dining-hall; the boundary line between the two chambers being defined by a narrow slip of wall.

      The musical entertainments begin with a performance on the piano by a sun-burnt young lady attired in a low-necked, short-sleeved dress, who accompanies another young lady who essays a patriotic song commencing:

      in which she assures her audience, in Spanish verse, that there is no place like Cuba, and no country more fertile and picturesque than the Pearl of the Antilles. This favourite ditty is called a Melopea, or words without a melody – the words being simply 'spoken,' and closely followed on the piano by lively music.

      This song and another having been disposed of, partners are selected and the Danza Criolla – a popular Cuban valse – is for the rest of the afternoon (for it is still broad daylight) performed. The guests then depart; and after a little conversation with Don Benigno and his family, Nicasio and I are conducted by a black domestic to our dormitories.

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