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50
mirror-dazzling
jewels,
Duncan Rinaldo, left, and Don Alvarado as the twin brothers, Esteban and Manuel, add but one ill-fated thread to the story.
ALONG the avenue of powdered shells and up to the plaza of Lima rolls a coach, all sugar-cookie decorations. The silver trappings on the prancing, white horses reflect the sun in slanting prisms. Indians dance the festiva! day away, after the ship bearing Dona Clara, the newlywed, and her Conde Vicente to Spain has been blessed amid grand speeches, much ritual and considerable wine.
Polished ballroom floors, voluminous brocades and plumage piled high on patrician heads. And in the theater, grandees of the Spanish nobility wax enthusiastic over La Perichole's charms, a crimson flame in her dance of the petticoats, or chortle behind their hands at her impersonations of their confreres.
Set in an atmosphere of quaintness and color, the vice-regal court at Lima in the early eighteenth century is a miniature replica of Spanish grandeur. Behind the frail curtain of formal ceremonies and petty pomp there are webs of jealousies,' the ambitions and the roof an artificial life.
The Bridge
An ancient structure gathers eral lives into a unique pattern Rey," the strange story which
By Myrtle
borne in their chairs, must ford the gorge far below, a tedious and fatiguing trip of .many hours, with perhaps a drenching ; so they, like the poor and the Indians, cross on foot the ladder of osier.
Made by the Incas, the old bridge must have been always there, antedating not only memory, but even legend. A century, perhaps. The bridge has come to have symbolic meaning. When it suddenly collapses, catapulting five people into the gorge, the Limeans tremble. God has disowned them! All brightness has gone out of life.
Fra Junipero, the Franciscan, chances to witness the catastrophe. Only for a moment is his own peace disturbed, for tranquillity must be restored to his despairing flock. Imbued himself with precious faith, he would find proof for a world that demands facts. Himself content to contemplate the infinite, his soul must drift down to their level and convince them with the finite.
So he goes about
mances
Contrasting the studied frivolity of this first splendor set up in a new world, months away from the old, is the rugged simplicity of the convent of Santa Maria Rose de las Rosas, with its strict regimen.
Each walks the Bridge of San Luis Rey, from Lima to Cuzco. There, only, is caste common. The rich, to be
making inquiries, filling notebooks, picking up fragmentary skeins. His results are puzBad and old and
zling good,
Lily Damita as Camila, the waif who is transformed into a theatrical queen of Lima, carries on her play acting offstage with Michael Vavitch, as the Viceroy.
young, have gone. No proof of any theory in that. Only when he follows those threads from the lives that have gone with the bridge, into the lives of those who remain, and weaves them together, does he see the truth. For not only in the five-fold tragedy, but in the others' characters, too, is found the reason and the epilogue.
Then he tells his flock about the Marquesa, and Pepita, the secrets of Manuel and Esteban shuttered by their silence, the unselfish love of