round the door, and it looks very badly to see a lady, unattended, going through a crowd of gentlemen.

It is best at a ball, to dance only every other dance, as over-fatigue, and probably a flushed face, will follow too much dancing. Decline the intermediate ones, on the plea of fatigue, or fear of fatigue.

Never go into the supper-room with the same gentle man twice You may go more than once, if you wish for an ice or glass of water, (surely no lady wants two or three suppers,) but do not tax the same gentleman more than once, even if he invites you after each dance.

No lady of taste will carry on a flirtation in a ball room, so as to attract remark. Be careful, unless you wish your name coupled with his, how you dance too often with the same gentleman.

If you are so unfortunate as, forgetting a prior en gagement, to engage yourself to two gentlemen for the same dance, decline dancing it altogether, or you will surely offend one of them.

Never press forward to take the lead in a quadrille, and if others, not understanding the figures, make confusion, try to get through without remark. It is useless to attempt to teach them, as the music, and other sets, will finish the figure long before you can teach and dance it. Keep your temper, refrain from all remark, and endeavor to make your partner forget, in your cheerful conversation, the annoyances of the dance.

There is much that is exhilarating in the atmosphere of a ball room. The light, music, company, and even dancing itself, are all conducive to high spirits; be care

ful that this flow of spirits does not lead you into hoy. denism and rudeness. Guard your actions and your tongue, that you may leave the room as quietly and gracefully as you enter it.

Avoid confidential conversation in a ball room. It is out of season, and in excessively bad taste.

Be modest and reserved, but avoid bashfulness. It looks like a school-girl, and is invariably awkward.

Never allow your partner, though he may be your most intimate friend, to converse in a low tone, or in any way assume a confidential or lover-like air at a ball. It is in excessively bad taste, and gives annoyance frequently, as others suppose such low-toned remarks may refer to them.

Dance as others do. It has a very absurd look to take every step with dancing-school accuracy, and your partner will be the first one to notice it. A quadrille takes no more steps than a graceful walk.

Never stand up to dance in a quadrille, unless you are perfectly familiar with the figures, depending upon your partner to lead you through. You will probably cause utter confusion in the set, annoy the others forming it, and make yourself appear absurd.

No young lady should go to a ball, without the pro tection of a married lady, or an elderly gentleman. Never cross a ball room alone.

Never remain in a ball room until all the company have left it, or even until the last set. It is ill-bred, and looks as if you were unaccustomed to such pleasures, and so desirous to prolong each one. Leave while there are

still two or three sets to be danced. Do not accept any invitation for these late dances, as the gentleman who invites you may find out your absence too late to take another partner, and you will thus deprive him of the pleasure of dancing.

CHAPTER XX.

PLACES OF AMUSEMENT.

Do NOT accept an invitation to visit any place of public amusement, with a gentleman with whom you are but slightly acquainted, unless there is another lady also invited. You may, as a young lady, go with a relative or your fiancée, without a chaperon, but not otherwise.

Having received an invitation which it is proper for you to accept, write an answer immediately, appointing an hour for your escort to call for you, and be sure that you are ready in good season. To arrive late is not only annoying to those near your seat, whom you disturb when you enter, but it is ill-bred; you will be supposed to be some one who is unable to come early, instead of appearing as a lady who is mistress of her own time.

If the evening is cloudy, or it rains, your escort will probably bring a carriage; and let me say a few words here about entering and leaving a carriage.

How to get in is difficult, but of less importance than getting out; because if you stumble in, no one sees you, but some one who may happen to be in the carriage; but how to get out is so important, that I will illustrate it by a short diplomatic anecdote :

"The Princess of Hesse-Darmstadt," says M. Mercy d'Argenteau, an ambassador of the last century, "having been desired by the Empress of Austria to bring her three daughters to court, in order that her Imperial Majesty might choose one of them for a wife to one of her sons, drove up in her coach to the palace gate. Scarcely had they entered the presence, when, before even speaking to them, the empress went up to the second daughter, and, taking her by the hand, said, 'I choose this young lady.' The mother, astonished at the sudlenness of her choice, inquired what had actuated it. 'I watched the young ladies get out of their carriage,' said the empress. 'Your eldest daughter stepped on her dress, and only saved herself from falling by an awkward scramble; the youngest jumped from the coach to the ground, without touching the steps; the second, just lifting her dress in front, so as she descended to show the point of her shoe, calmly stepped from the carriage to the ground, neither hurriedly nor stiffly, but with grace and dignity: she is fit to be an empress; her eldest sister is too awkward, her youngest too wild.'"

THE THEATRE.-Here you must wear your bonnet, though you may throw aside your cloak or shawl, if you desire it. Your escort will pass to your seats first, and then turn and offer his hand to lead you to your own. Once seated, give your attention entirely to the actors whilst the curtain is up-to your companion when it is down.

Do not look round the house with your glass. A lady's deportment should be very modest in a theatre. Avoid carefully every motion or gesture that will attract