They saw advancing towards them, to the sound of this pleasing music, what they call a triumphal car, drawn by six grey mules with white linen housings, on each of which was mounted a penitent, robed also in white, with a large lighted wax taper in his hand. The car was twice or, perhaps, three times as large as the former ones, and in front and on the sides stood twelve more penitents, all as white as snow and all with lighted tapers, a spectacle to excite fear as well as wonder; and on a raised throne was seated a nymph draped in a multitude of silver-tissue veils with an embroidery of countless gold spangles glittering all over them, that made her appear, if not richly, at least brilliantly, apparelled. She had her face covered with thin transparent sendal, the texture of which did not prevent the fair features of a maiden from being distinguished, while the numerous lights made it possible to judge of her beauty and of her years, which seemed to be not less than seventeen but not to have yet reached twenty. Beside her was a figure in a robe of state, as they call it, reaching to the feet, while the head was covered with a black veil. But the instant the car was opposite the duke and duchess and Don Quixote the music of the clarions ceased, and then that of the lutes and harps on the car, and the figure in the robe rose up, and flinging it apart and removing the veil from its face, disclosed to their eyes the shape of Death itself, fleshless and hideous, at which sight Don Quixote felt uneasy, Sancho frightened, and the duke and duchess displayed a certain trepidation. Having risen to its feet, this living death, in a sleepy voice and with a tongue hardly awake, held forth as follows:

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