or 'set' in the shape of a painted
'ancestor,' a practicable piece of furniture, or a bit of bank for
introduction into the elegant saloon, the cottage interior, or the wood
scene. Once only are our scenic services in special request for a fairy
piece, which the manager has announced with 'entirely new decorations.'
Though the public believe that four months have been employed in the
preparations, we have barely as many days for the purpose, and during
this short space we produce that gorgeous temple which is destined to
form a conspicuous feature in the well-worn wood scene, and we add to
the native charm of the elegant saloon and the cottage interior with
suitable embellishments. Dutch metal and coloured foils, lavishly
administered, cover a multitude of imperfections, and we have still the
red fire and an indulgent public to fall back upon. Our efforts are
rewarded by thunders of applause on the part of the audience, and
eulogistic paragraphs in the local papers.

To oblige our worthy friend Don Benigno we are, upon another occasion,
induced to paint and embellish his quitrin--a two-wheeled carriage of
the gig class, the component parts of which bear one to the other
something of the proportions of a spider and his web; the body of the
conveyance being extremely small, the shafts inconceivably long, and the
wheels of a gigantic circumference. The street-doors of most Cuban
houses are constructed with a view to the admittance of such a vehicle,
which when not in use is carefully enveloped in brown holland, like a
harp or a chandelier during the out-of-town season, and is deposited in
the hall or passage of the threshold, and in some cases in a corner of
the marble-paved reception room. The presence in our studio of Don
Benigno's quitrin is therefore not very remarkable. Many weeks, however,
elapse before we can get rid of this unsightly piece of furniture.
Several coats of paint and varnish have to be applied, and innumerable
coloured lines introduced, before it is ready to receive the more
artistic touches. All devices connected with painting are by our Cuban
patrons generalised under the head of 'paisaje' or landscape, and in the
present instance the landscapes include two views of Don Benigno's crest
together with his elaborate monogram.

A couple of mulatto art-aspirants whom we graciously receive as
disciples for one hour daily, help considerably in this undertaking, and
take such an especial delight in it that