Besides these Limeñas of European origin there is another class, descendants of the ancient Peruvians, who, though not beautiful like their fair neighbors, present some remarkable characteristics. Their complexion approaches the color of copper, with a pale tinge of gold. Their whole aspect has in it something bizarre, but at the same time not altogether unattractive. In dress they are fond of strange combinations. A balloon-like garment of white muslin or gaudy calico; a Guayaquil hat with high crown and immense brim, decorated with huge bows of ribbon on the "company side" of the head; their abundant hair carefully divided and pouring down their backs in sable cascades; and, foremost and above all, a well-fitting stocking and shoe upon a foot unimpeachably small, form their favorite costume. These _cholitas_ are admirable horsewomen, usually riding astride, cavalier fashion, and wearing the formidable Peruvian spur. [Illustration: COMING FROM MASS.] The saya y manto is always worn when going to church. There the absence of seats obliges each female to kneel upon the flags, unless she be provided with a servant to carry a piece of carpet upon which to kneel. To look upon them reclining immovably against the walls or the base of a column, the eyelids drooping upon the pale cheek, or the look fixed upon the tracery of the roof overhead (for in church the manto is not rigorously closed) one might imagine the Limeñas to be statues of meditation. Only the sign of the cross rapidly traced over the forehead shows them to belong to the breathing world. In the sanctuary no sound disturbs the harmony of the sacred offices. The incense, the pious hymns, the soft breathing of the organ, and in some of the churches, the notes of numerous birds of song caged among the crystal lustres of the candelabra, are mingled with the solemn chant of the monks. Service over, and what a change! Life seems to reanimate those marble limbs; those fixed looks become lively and sparkling; and noise and bustle take the place of the former silence. As the fair Limeña leaves the cathedral the black musicians fill the air with the sound of their drums and clarinets, the lottery-men cry their tickets upon one side of the entrance, and upon the other a fat ecclesiastic vends the effigy of the saint who chances to be in fashion. The Limeña, restored to her proper character, draws the shrouding manto over her features; makes gay and lively answers to the insipid compliments paid her by the young men lounging under the portico; and buys with one hand a lottery ticket, and with the other a relic or an image which she hopes will make her number a lucky one.