I have never visited a city which so impressed one with the fact that, in appearance, it had remained just as it was four hundred years before. There is no decay, no ruins, no sign of disuse; it is, on the contrary, clean and brilliantly beautiful in color, with dancing blue waters all about it, and with enormous palms moving above the towering white walls and red tiled roofs, but it is a city of the dead. The open-work iron doors, with locks as large as letter-boxes, are closed, the wooden window-shutters are barred, and the wares in the shops are hidden from the sidewalk by heavy curtains. There is a park filled with curious trees and with flowers of gorgeous color, but the park is as deserted as a cemetery; along the principal streets stretch mosaic pavements formed of great blocks of white and black stone, they look like elongated checker-boards, but no one walks upon them, and though there are palaces painted blue, and government buildings in Pompeiian red, and churches in chaste gray and white, there are no sentries to guard the palaces, nor no black-robed priests enter or leave the churches. They are like the palaces of a theatre, set on an empty stage, and waiting for the actors. It will be a long time before the actors come to Mozambique. It is, and will remain, a city of the fifteenth century. It is now only a relic of a cruel and barbarous period, when the Portuguese governors, the "gentlemen adventurers," and the Arab slave-dealers, under its blue skies, and hidden within its barred and painted walls, led lives of magnificent debauchery, when the tusks of ivory were piled high along its water-front, and the dhows at anchor reeked with slaves, and when in the market-place, where the natives now sit bargaining over a bunch of bananas or a basket of dried fish, their forefathers were themselves bought and sold.