As the dusk descends upon Sorrento, and the sea turns grey, the narrow, tortuous streets resume an appearance of vast age. They are very silent at this hour; the shops are mostly closed; the children hawking woodwork have gone home. One's footsteps echo all down the winding alleys, and the tall houses look mysterious and gloomy. Such was the aspect of the town on the evening of Good Friday, when I took my stand in the garden of the Hotel Tramontano to see the procession of our Lady of Sorrows, who, having gone out at daybreak to seek the body of the Lord, has now found it, and is bearing it in solemn mourning through the city streets. Along the narrow lane which passes the hotel a row of lamps has been set, and little knots of people are moving up and down, laughing and jesting, with little outward recognition of the nature of the rite. The procession has already started; it is in a church at the further end of the long alley, and every ear is strained to catch the first sound of the chanting which will herald its approach. Wherever the houses fall back a little the space is banked up with curious spectators. Some devout inhabitant hangs out a string of coloured lamps, and is rewarded by a shower of applause and laughter, which has scarcely died away when a distant strain of mournful music casts a hush over the throng. Far down the alley one sees the glittering of torches, and a slow, sobbing march, indescribably weird and majestic, resounds through the blue night, with soft beat of drum and now and then a clash of cymbals. Very slow is the approach of the mourners, but now there is no movement in the crowd. Men and children stand like ranks of statues, watching the slow coming of the torches and the dark waving banners which are borne behind them. So the heavy rhythm of the funeral march goes up into the still air, knocking at every heart; and after the players, treading slow and sadly, come the young men of Sorrento, two and two, at wide intervals, hooded in deep black, their eyes gleaming through holes in the crape masks which conceal their faces. Each bears some one among the instruments of the divine passion--the nails, the scourge, and scourging pillar, the pincers--while in their midst rise the heavy folds of a huge crape banner, drooping mournfully from its staff. Next comes a silver crucifix raised high above the throng, and then, as the head of the procession winds away among the houses, the throbbing note of the march changes to a sweeter and more plaintive melody, while from the other hand there rises the sound of voices chanting "Domine, exaudi." In a double choir come the clergy of the city and the country round, all robed in solemn vestments, and between the two bodies the naked figure of our Lord is borne recumbent on a bier, limbs drawn in agony, head falling on one side, pitiful and terrible, while last of all Our Lady of Sorrows closes the long line of mourners.