Next in the procession was a condemned witch on a wheelbarrow. Her face had been hideously painted, and in her hand she swung a huge whiskey bottle. She was followed by a group of Chinese, each with a long pigtail, and they by a troupe of dancing Kameruns. The procession moved on in the following order: a giant carrying twenty-seven quart beer mugs; a woman’s orchestra consisting exclusively of old women; a wagon from one of the peasant districts bearing the inscription, “Adorers of Taxes”; a smoking club with the Swedish match merchant; a wagon with a replica of the Spittler Gate made of beer kegs; the so-called guard against sparks; a nurse with a grown child in diapers and Hussar boots; the seven Swabians on velocipedes; a cabriolet with a gaily dressed English family; a conveyance carrying authors. There were two inscriptions on it: “The And So Forths” and “The Et Ceterists.” At the end of the procession was a wagon with a skilful imitation of the Goose Man. It had been made out of old boards, hoops, clay, old rags, and iron. The Goose Man himself wore an open velvet doublet and short velvet trousers, from the pockets of which protruded rolls of banknotes. Instead of a cap he had a rusty pan on his head, and on his feet was a pair of worn patent leather shoes. Under each arm he carried a goose. The geese had been made of dough. Their heads were not the heads of geese but of women artificially painted and with so-called taws, or marbles, for their eyes. The face at the Goose Man’s left looked melancholy, the one at his right was cheerful. This was the centre of attraction; it was surrounded by the largest crowds. Every time it came within sight of a fresh group of on-lookers there was a tremendous shouting and waving of flags. This was true even where it was plain that the people did not appreciate the significance of it. Pulchinellos brandished their wooden swords, Indian chieftains danced around it screaming their mighty war-whoops, a Mephistopheles turned somersaults, knights mounted on stilts saluted, and children with wax masks shrieked until it was impossible to hear one’s own voice. Daniel had watched the performance with relative indifference. He had regarded it merely as a display of commonplace ability to amuse the people. Then came the wagon with the imitation of the Goose Man. On it stood Schwalbe the sculptor, gloriously drunk. Beside him stood Kropotkin the painter in his shirt sleeves, apparently oblivious to the fact that it was cold. A fearfully fat youth—a future school officer, so far as could be determined from his looks—had hit upon the happy idea of pasting the title of the _Fränkischer Herold_ to the Goose Man’s hat. This took the initiated by storm.