Numerous walks converge to open spots adorned with gushing fountains, and clumps of jessamine, myrtle, and rose bushes, surrounded by stone benches for the tired promenaders. Statues, unfortunately far below mediocrity in their execution, stand at the entrance of each walk; but, thanks to the deep shadow, the whistling of the evening breeze in the foliage, the buzz of the hummingbirds flying from flower to flower, and the harmonious strains of the cenzontles hidden in the fragrant clumps, you gradually forget those unlucky statues, and fall into a gentle reverie, during which the mind is borne to unknown regions, and seems no longer connected with earth.
But Mexico is a thorough country of contrasts. At each step barbarism elbows the most advanced civilization. Hence all the carriages, after driving a few times round the Alameda, take the direction of the Paseo de Bucareli, and the promenaders spread over a walk, in the Centre of which there is a large window in the Wall, protected by rusty iron bars, and through which come puffs of poisoned air. It is the window of the Deadhouse, into which are daily thrown pell-mell the bodies of men, women, and children, assassinated during the previous night, hideous, bloody, and disfigured by death! What a brilliant, what a delicious idea, to have placed the Deadhouse exactly between the two city walks!
The Paseo, or promenade, of Bucareli--so called after the Viceroy who gave it to Mexico--resembles the Champs Elysées of Paris. It is, in reality, merely a wide road, with no other ornament than a double row of willow and beech trees, with two circular places, in the centre of which are fountains, adorned with detestable allegorical statues and stone benches for pedestrians.
At the entrance of the Paseo de Bucareli has been placed an equestrian statue of Charles IV., which in 1824 adorned the Plaza Mayor of Mexico. When the Emperor Iturbide fell, this monument was removed from the square and placed in the University Palace yard--a lesson, we may here remark, given by a comparatively barbarous people to civilized nations, who in revolutions, as a first trial of liberty, and forgetting that history records everything in her imperishable annals, carry their Vandalism so far as to destroy everything that recalls the government they have overthrown. Owing to the intelligent moderation of the Mexicans, the promenaders can still admire, at the Bucareli, this really remarkable statue, due to the talent of the Spanish sculptor, Manuel Tolsa, and cast in one piece by Salvador de la Vega. The sight of this masterpiece ought to induce the Mexican municipality to remove the pitiable statues which disgrace the two finest promenades in the city.