Debt Management 411

Three is a strong and growing partiality among us for the Italian style. Originally adapted to the manifestation of social life, in a climate almost the counterpart of that of the Middle and Southern portions of our country—at least so far as relates to eight months of the year, it is made to conform exactly to our tastes and habits, with, perhaps, less alteration than any other style. Its broad roofs, ample verandas and arcades, are especially agreeable in our summers of dazzling sunshine, and though not so truly Northern, as other modes that permit a high roof, still it has much to render it a favorite in the Middle and Western sections of our Union.

As a rural style, expressing country life, the Italian is inferior to pointed and high-roofed modes. If it is not so essentially country-like in character, it is however remarkable for expressing the elegant culture and variety of accomplishment of the retired citizen or man of the world, and as it is capable of the most varied and irregular as well as very simple outlines, it is also very significant of the multiform tastes, habits, and wants of modern civilization. On the whole, then, we should say that the Italian style is one that expresses not wholly the spirit of country life nor of town life, but something between both, and which is a mingling of both.

The leading features of this style are familiar to most of oui readers. Roofs rather flat, and projecting upon brackets or cantilevers; windows of various forms, but with massive dressings, frequently running into the round arch, when the opening is an important one (and always permitting the use of the outside Venetian blinds); arcades supported on arches or verandas with simple columns, and chimney-tops of characteristic and tasteful forms.

In entering the supper room, the head is opposite the door, should the tables run in that direction. If they are laid crosswise as you enter, the head may be either to the right or to the left of the entrance, according as it may have been decided on by the managers. Should they not have made any previous arrangements, you proceed to the further end, followed by as many as can conveniently be seated. Each couple should keep their position in the lines, so that all may take their places at the table in regular order. There is often reluctance on the part of some gentlemen to taking the head of the table, from the onerous duty it imposes upon them of carving. It ought to be the pleasing duty of every gentleman to provide for his fair partner, and if a fowl lay before him, requiring his service, he should not hesitate, but use his dexterity to the best of his knowledge. In requesting a lady to take wine, you say, Shall I have the pleasure of taking a glass of wine with you ? Should she consent, you immediately pass the wine, and when ready, you meet her regards with a pleasing smile, politely bowing, holding the glass at the same time in your right hand, you partake of the contents.

In taking your teat at the supper table, the lady takes her place to the right of the gentleman.

It is not considered proper for a gentleman to eat with his gloves on, though a lady may do so without being contrary to etiquette.

The selection of dogs, then, is to be made from the following: first, the old Spanish pointer; second, the modern pointer; third, the setter; fourth, the Russian setter. I have said that the old Spanish is too slow, lumbering, and pottering for grouse, and that the modern dog may be procured of good lasting and ranging powers, yot with good nose. The setter, I have also remarked, may be obtained sometimes with all the desirable points in perfection, but I have said nothing of the Russian setter. This variety is much woollier in its coat than the English or Irish, and the quality of the hair is very like that of the Skye terrier. He has, generally, a very good nose, is very hardy, but bears heat badly, aud constantly wants water.

I have, however, known some exceedingly good dogs of this breed. They are very apt to get disease of the skin, and if they do they are very difficult to cure, on account of the matting of their hair. Altogether, therefore, I prefer a well-bred pointer; but I should select one strong and bony in frame, with good loins, and with feet round and hard. This lost point is very essential; no matter what the shape, if the horny matter on the pod is thin, they will soon wear sore; the toes, also, should not spread apart, or the skin between will become sore, whether hairy or not. The head should be broad, with well-developed nose, aud the secretions of that part should make the end moist and soft. But, it may be said, if the pointer and setter each possesses what the other wants, why not combine the two in one perfect cross ? This theory has, however, been carried out with a want of success which too often attends upon that tempting bait—theoretical reasoning.

Though the style called Norman in England is only Romanesque architecture, introduced into that country as early as the 14th century, the Anglo-Norman has some features peculiar to itself, that make it worthy of the study of the architectural student.

This design is one by W. Russell West, Esq., Architect, of Cincinnati. It is highly picturesque, and, in a suitable locality, would have a very striking and spirited effect. Such a locality, of course, would hardly be found in a flat country, but amid wild scenery and hills, whose pointed tops are in harmony with the strength of the heavenward-pointing round tower.

Of course, this is not a house to please a practical, commonsense man. It is not a rational house, in the same manner that the classical villa, full of logical, straight lines, is rational; for there is here hardly a single continuous, unbroken line—every opening is arched, and all tendencies is towards the pyramid or the curve. Hence, it is clear, that only those who expect to find in a country house something that rises into the romantic and ideal, will prefer this villa.

In composing it, the architect has evidently sought to preserve a strong expression of unity throughout, for he has only introduced the simple arched window, decorated with the zigzag or chevron molding—and this gives an agreeable simplicity to the exterior, notwithstanding its irregularity.

There is much more of beauty in the arched windows than in square-headed ones of common form; there is much more of strength and picturesqueness in the broken outlines of tower and roof than in the unvaried horizontal lines of square houses; and there is something of historical and poetic interest in a style which was common in the early times of the Anglo-Saxons.

The following hints on Ball-room Etiquette may be of ise to persons unacquainted with dancing, or who have not been accustomed to attending balls with ladies. In calling for the lady you have invited, be punctual at the hour appointed; if you order a carriage hand her in hist, and sit opposite to her unless she requests you to change your position. In leaving the carriage you will precede the lady and assist her in descending, you will then conduct her to the ladies’ dressing-room, leaving her in charge of the maid, while you go to the gentlemen’s apartments to divest yourself of overcoat, hat, and boots, adjust your toilet, draw on your gloves, (white or colored).

The lady in the meantime, after arranging her dress, retires to the ladies’ sitting-room, or awaits your arrival at the door of the dressing-room, according as the apartments may, be arranged. Your first duty is to procure a programme for, your partner, and introduce your friends, who place their names, on her card for the dances engaged. You should always dance first, with your own partner, afterwards you may exchange partners with a friend or dance again with her, should she not be engaged. The floor-managers give the order to the orchestra to commence, and who also take the lead in entering the ball-room. You either join in the promenade, or conduct your lady to a seat. Before taking your place in the set, await the signal from the managers or the call of the trumpet.

Having now described the habits of the game to be found, and having already prepared the dogs for the task which they have to perform; having also prescribed the best gun, and the most appropriate dress, I shall proceed to the investigation of the best mode of combining all these several elements, until they assume the form in which the cook or the Flemish school of painters especially delight—viz., Dead Game. I have already given instructions in the general management of the gun; and it is to be supposed that its possessor, before he ventures upon the moors for the first time in his life, oas made himself as perfect as he can, by assassinating all the cock-sparrows and larks which he can come near. If the moor has been judiciously chosen and well-preserved, it is fair to conclude that there are plenty of grouse upon it; and the only thing necessary is to find them, by means of the nose, sagacity, and steadiness of your dogs.

But now comes the question which has been so often discussed—are pointers or setters best for this purpose? The arguments on both sides would fill up many a page, if carried on in the loose rambling way which sportsmen so often indulge in ; but it will be much simplified by ascertaining what we are going to compare. takes a lot of heavy lumbering pointers, yet with good cases, and he complains that they find him no game, and knock up in a couple of hours—and it is perfectly true that they do.

Both the elevation and plan of this dwelling express something between a farm-house and a villa; the broad, overhanging roof and the truncated gables, giving the exterior a somewhat more rustic expression than we usually find in the latter. In the ornamental veranda, stretching along the whole front, there are evidences of villa-like comfort, and the broad, shady balcony over the porch (10 feet square), not only gives character and depth of shadow to the effect of the building, but affords a somewhat retired place of rest, where views more extensive than those from the principal floor may be had, and where the ladies of the family will find it agreeable to pass their summer mornings in demi-toilette.

The arrangement of accommodation, Fig. Ill, unites compactness, convenience, and comfort. The entrance hall, 12 by 15 feet, opens into the three principal apartments, which are drawing-room, living or dining-room, and study.

It will be noticed that the drawing-room in this country house is large in proportion to the other apartments. Many architects would have divided this space into two rooms, connected by large sliding doors. But we greatly prefer, wherever it is in accordance with the rest of the plan, one large drawing-room to two small parlors, thus connected.

The large room not only has greater unity of effect, being simpler and nobler in the impression it makes of space and breadth, but it is more essentially country-like than rooms with folding doors, however excellent the latter contrivance to increase effect in a limited space. We must also add to this, the increased coolness of single large apartments in summer, when, chiefly, they are in daily use in the country.

The alphabet of dancing consists of the ” Five Positions,” the proper combination and use of which, will enable the pupil to engage in any dance in common use; the first position — stand erect, avoiding all appearance of stiffness, the lady holding her dress with both hands, using only the ‘tips of the fingers and thumbs; the shoulders should be thrown well back, the head erect, the heels placed close together, the toes turned completely outwards, and in a line with the heels. The same position for a gentleman except that the arms should hang naturally by his side. (The above position of the body and arms apply to all of the five positions. )

Second position; slide out the right foot in a line with the left, the toe resting on the floor, the heel raised, and the instep gracefully curved.

Third Position : place the heel of the right foot in the hollow of the left foot, the feet half crossed.

Fourth position : place the right foot in the same position as in the second position, except that it is nearly in a line with the toe.

Fifth position : place the heel of the right foot against the toes of the left: bring the right foot in the fourth position; the third position; the second position; and the first position; after which rise on the toes and reverse by using the left foot to make the five positions. It is very important that the five positions should be well practiced, as the future grace and skill of the pupil mainly depends upon it.