temporarily. On Good Friday the bells do not ring, all musical sounds are interdicted, and the hours, night and day, are announced by the dismal noise of wooden clappers, wielded by negroes stationed near the different churches. A sermon is delivered in each church. In the middle of it, a scroll is suddenly unfolded from the pulpit, on which is an exaggerated picture of the bleeding Christ. This act is accompanied by loud groans, which come from stout-lunged individuals concealed in the vestry and engaged for the purpose. The priest becomes greatly excited, and actually sheds tears. On one of these occasions I squeezed myself into the crowd, and watched the effect of the spectacle on the audience. Old Portuguese men and Brazilian women seemed very much affected—sobbing, beating their breasts, and telling their beads. The negroes behaved themselves with great propriety, but seemed moved more particularly by the pomp, the gilding, the dresses, and the general display. Young Brazilians laughed. Several aborigines were there, coolly looking on. One old Indian, who was standing near me, said, in a derisive manner, when the sermon was over, "It's all very good; better it could not be" (Está todo bom; melhor naō pude ser).
The negroes of Pará are very devout. They have built, by slow degrees, a fine church, as I was told, by their own unaided exertions. It is called Nossa Senhora do Rosario, or Our Lady of the Rosary. During the first weeks of our residence at Pará, I frequently observed a line of negroes and negresses, late at night, marching along the streets, singing a chorus. Each carried on his or her head a quantity of building
