modern skyscrapers. For several blocks they drove on wide avenues, then suddenly turned into narrow side streets and were transported into the sixteenth century when Peru was a Spanish colony. They passed houses with Spanish balconies and plazas with their dominating churches. JoNell had read a number of books on Peruvian history before this trip. She knew a great earthquake had destroyed half the city in 1746. When Viceroy Amat arrived in 1761, he had brought with him architects to rebuild the city, and during that period, colonial art had flourished.
JoNell saw stucco walls surrounding buildings and homes. Arch-shaped passageways in the walls gave entrance to patios where banana trees and other tropical plants grew in lush profusion.
They turned down the tree-lined Avenida de Descalzos which lead to the convent of the same name.
Miguel pointed out one of the tourist attractions, the Quinta de Presa. It was a beautiful rococo palace built under the influence of Viceroy Amat, and now was a museum. JoNell made a mental note to visit the building if she had the opportunity to do some sightseeing while she was in Lima.
At last they left the main part of the city behind and arrived at the residential suburbs. Miguel drove the big car through a gateway, followed a winding graveled drive under a thick grove of trees and finally arrived at a large parking area outside a bright yellow garage. Beyond the garage was a colonial style two-story home that could only be described as a mansion. The estate grounds were on a bluff and from this vantage point there was a view of the blue Pacific sparkling in the distance.
"We are here," Miguel announced with an obvious note of pride. He jumped out of the front seat, hurried around to JoNell's side of the limousine and opened her door with a deep bow.
"Seňor Del Toro tell me to say for him,
Mi casa es su casa
. My house is your house."
Chapter 2
"I show you to your rooms, then I bring your bags," Miguel said. He took JoNell's hand, helped her out of the back seat, then opened the door for Uncle Edgar. He showed the way along a graveled path that wound between shrubbery from the parking area to the mansion. "You be very
comodo
here. You like it?"
JoNell sensed that it was extremely important to Miguel that she be pleased. "Oh, yes. It's beautiful," she said with total honesty. The great mansion was yellow stucco with black, wrought-iron filigree over the windows. The massive lawn was immaculate, not a blade of grass out of place. In the center of the yard, in front of the mansion, a water fountain bubbled and splashed. Along the stucco fence were trees, shrubs and flowers. Wild orchids grew in profusion. A greenhouse tucked back under the trees was as large as JoNell's little home back in Florida. A large balcony jutted out from one side of the house, under which was a sun deck. Behind the house was an Olympic size swimming pool.
"Come inside," Miguel urged, opening a massive oak front door.
The interior of the house was magnificent. A marble floored foyer led directly to an outdoor patio with another dazzling lighted fountain. The entire house was built around the patio, and all rooms opened onto it. High ceilings gave the rooms an air of spaciousness. Floor to ceiling windows were draped with red velvet. Expensive paintings gave a special touch of elegance to the walls. JoNell recognized an original Goya and a Rembrandt. Sparkling chandeliers hung from the high ceilings. White doves cooed inside golden cages on each side of a white marble statue of Venus. On one side of the main entrance room was a cage-like door which JoNell realized opened to an elevator.
"Nice, huh?" Uncle Edgar finally commented.
"I'd say that's an understatement," JoNell gasped. "Do real people actually live in houses like this?"
"I dunno," replied Uncle Edgar. "But it appears we're about to find out."
"This way,
por favor
," Miguel said with a slight bow. "I show you your rooms."
"Well, thank you,"