The house itself is filled with plants and flower-pots on stands of Chinese porcelain.

Even the saints bedeck themselves, the images and relics put on a festive air, the dust is brushed from them and on the freshly-washed glass of their cases are hung flowery garlands.
In the streets are raised at intervals fanciful bamboo arches, known as _sinkaban_, constructed in various ways and adorned with _kaluskus_, the curling bunches of shavings scraped on their sides, at the sight of which alone the hearts of the children rejoice.

About the front of the church, where the procession is to pass, is a large and costly canopy upheld on bamboo posts.

Beneath this the children run and play, climbing, jumping, and tearing the new camisas in which they should shine on the principal day of the fiesta.
There on the plaza a platform has been erected, the scenery being of bamboo, nipa, and wood; there the Tondo comedians will perform wonders and compete with the gods in improbable miracles, there will sing and dance Marianito, Chananay, Balbino, Ratia, Carvajal, Yeyeng, Liceria, etc.

The Filipino enjoys the theater and is a deeply interested spectator of dramatic representations, but he listens in silence to the song, he gazes delighted at the dancing and mimicry, he never hisses or applauds.
If the show is not to his liking, he chews his buyo or withdraws without disturbing the others who perhaps find pleasure in it.