the bridegroom's left arm. She heads the procession going down the church (taking the bridegroom's left arm); behind her walk her bridesmaids, each accompanied by a groomsman. The rest of the guests follow without regard to precedence. The bride's mother should be the first to leave the church after the bridal pair have driven off, otherwise she will not be back in time to receive the guests. There is no precedence for anyone else, except that the bridegroom's relations are always given precedence when it is possible. AT THE HOUSE.-The mother of the bride stands at the drawing-room door, and shakes hands with every one who enters (unless she has previously greeted them in the church). The father of the bride stands near her, and also shakes hands with all the guests. The bride and bridegroom stand a little further in, and the guests should make their way to them, to shake hands and offer congratulations, as soon as they have spoken to the parents. The bridal pair stand near the fireplace, or under the chandelier, or anywhere where they can be well seen; they very often stand beneath a large bell made of white flowers. When the guests have looked at the wedding presents the tea is announced, and the bridal pair lead the way into the tea-room. A WEDDING TEA.-A wedding tea is a very popular function, and a wedding breakfast is very seldom given now except in the country, where-people have to drive a long way to the house. The refreshments are placed on long tables, the servants standing behind to pour out the The tendency of modern life is in shortening the periods of mourning, and half-mourning is less insisted on than formerly. In the days of our mothers "going into black" was a very lengthy business, and one only emerged from it by means of gentle gradations of grey and mauve. Nowadays we see people in deep mourning one day and in colours the next, and they re-enter society much sooner than used formerly to be the case. Widows do not make themselves so conspicuous as of yore, and some of them object to assuming the orthodox bonnet with the long drooping veil, the wearing of which is the acme of discomfort. A few diamonds are permissible now even in the deepest mourning, though coloured stones or gold and silver are still rigidly excluded. The following are the periods of mourning generally observed, but all of them may be slightly shortened if desired : WIDOWS.-A widow wears mourning for two years; crape for a year and nine months; plain black for the remaining period. The entire dress is made of crape for the first year, after that the dress is trimmed with bands of crape which get beautifully less as time goes on. The widow's bonnet used to be worn as long as crape was worn, the only difference being that a long net veil was substituted for the crape one after the first year. Very few people now wear the widow's bonnet for longer than a year, and some widows prefer a small plain bonnet of ordinary shape instead. No one wears widows' caps now, they are quite out of fashion except for old people, and very few widows care to wear the white lawn collars and cuffs which used once to be de rigueur. If adopted for the first month they are Proverb-The borrower every tea, the gentlemen waiting on the ladies. Tea and coffee are placed in large silver urns. Champagne is offered also, and the eatables consist principally of sandwiches of description, aspic jellies, sweets, ices, fruit, rolled bread and butter, and fancy cakes. A white satin flag should be placed in the middle of each plate of sandwiches, with the name of the contents noted on it in silver letters. The cake may be placed on one of the tables, or else on a separate stand, which can be hired from the confectioners. When a little time has elapsed the bride cuts the cake (or rather the first slice), and the servants cut up a goodly portion of the cake into tiny pieces, and hand it round to the guests. No one must refuse wedding cake, it would be considered ill-mannered. Speeches have gone out of fashion now, the only health which is proposed being that of the happy pair, which should be done by the eldest friend of the family (or most distinguished guest) as soon as the cake has been cut. The bridegroom responds to this toast. If he likes to propose the bridesmaids' health he can do so, and the best-man should return thanks. But it is not usual, the only toast which is absolutely necessary to propose being the health of the bride and bridegroom. Directly the speeches are over the bride leaves the dining-room to put on her travelling dress, accompanied by her chief bridesmaid. The guests crowd into the hall to witness the departure of the happy pair, and it is etiquette to take leave as soon as this has happened. OF MOURNING. generally cast aside afterwards, as they are extremely inconvenient and extravagant. A widow should only wear dull materials, crape, crêpon, canvas, chiffon, dull silk, grenadine, and dull jet. In the evening the dress should be of dull black silk; the neck is generally cut in a small V and filled in with pleatings of black lisse. Some widows wear the ordinary low-neck bodice in society, so as to look more like other people. The dress is entirely black in this case, and not cut in any extravagant fashion. Plain black silk relieved with a little jet is in the best taste, though black chiffon or mousseline de soie may be worn if preferred. A modern widow has a much larger choice of soft dull materials than had her predecessor, and there is no occasion for her to make her mourning too monotonous. A few diamonds may be worn by a widow even when she is in the deepest mourning, singlestone ear-rings are permissible, and a small brooch forms a decided relief to the sombre attire. WIDOWERS. A widower should wear mourning for two years. PARENTS. Their children should wear mourning for a year and crape should be worn for half the time; after that plain black for four months, and half-mourning for two. SONS AND DAUGHTERS.-The same as for parents-viz., crape for six months, then black for four months, and half-mourning for two. MOURNING FOR INFANTS. The mourning worn is never extreme, though the loss is perhaps heavier than any. Black is worn for three months, but some people prefer to retain it for double that time. Crape is not worn for infants or young children. is servant to the lender. GOOD STYLE. the upward movement of the foot) till it is in the position of Fig. 3. This completes the forward movement; in the next three steps the action is reversed as follows: BACKWARD STEPS. 1. (Fig. 4.) Starting from the last position and continuing to turn on the sole of the right foot, let the left slide over the floor in a circle till it reaches an intermediate position; then transfer the balance to the left leg. 2. (Fig. 5.) Bring the right foot behind the left, the toe just touching the floor. 3. (Fig. 6.) Without moving the right toe turn on the sole of the left foot, drawing it slightly behind the right heel, which is turned forward to the left as the knee turns outwards, bringing the feet to the position of the last illustration. The backward slide of the left foot must be executed without any change of balance, the foot moving almost imperceptibly. Begin again at Fig. 1. Gentlemen commence with the backward, ladies with the forward steps. The motion should be smooth and gliding, and in no case should the foot leave the floor. Proverb-It is never too late to mend. GOOD STYLE. Pas de Quatre, or Military Schottische, is, next to the Waltz, perhaps the most popular or modern Ball-room dances. Its lively steps are those of an old Scotch lilt and the old Schottische hops, the whole movements consisting of three slides and a hop executed four times straight forward by the partners, hand in hand. The gentleman then holds the lady by the waist as for a waltz, and the partners walk and hop eight times while turning, as in the original Schottische; the galop step may be danced instead of the hops if preferred. The lady and gentleman stand opposite to each other, and dance four bars of the Scotch Strathspey or Reel Step. The gentleman then places his arm round the lady's waist and they occupy four bars with alternate "pas jettés and pas sautés." Proverb-Continual dropping wears away stone The Polka should be danced with spirit, but anything like a "rollicking" style is to be Ornamental and Solo Dancing is now very popular, and certainly promotes grace of movement and general physical good. Scotch Reels and Strathspeys are sometimes danced as Solos, sometimes with partners, and have a variety of steps and figures. Irish Jigs, Hornpipes, and Spanish dances are taught now-a-days by the most fashionable instructors, while skirtdancing, with its graceful postures and elaborate steps has become very generally popular. The Cotillon is a fashionable pastime more resembling a game than a dance, though Waltzing occupies the. in-.. tervals between the figures. These are so numerous that a booklet has been devoted to their description. Some have accessories by means of which charming souvenirs are presented to the guests; for example, one in which prettily painted bowls are distributed among ladies and gentlemen, the owners of corresponding bowls dancing together. "Le Mouchoir" is a figure in which a lady knots one corner of her handkerchief; her partner introduces four gentlemen who each choose a corner of the handkerchief, and the lady dances with the one who finds the knot. "Les Quatre Coins," "Le Fandango," "La Finale, &c., are all amusing figures of the Cotillon which depends for its success in a large measure on the sprightliness of its leaders. The most popular of modern Square dances is undoubtedly the Lancers, in which eight or sixteen dancers take part, the later being the usual number. FIRST FIGURE-La Rose.-The top lady and vis-à-vis, gentleman advance to the centre, retire, advance again and swing round with both hands. The top couple change places with opposite couple, passing in the centre, and returning outside (Fig. 1). All set to corners and turn (Fig. 2). This is repeated by each lady and vis-à-vis. SECOND FIGURE-La Lodoiska.First couple advance and return with hands joined, advance àgain, the gentleman leaving his partner in the centre. They set, and return. Side couples join the couples on their right and form two lines at top and bottom which advance and retire, then turn with partners to places. When the side couples dance this figure, the lines are formed at sides. THIRD FIGURE-Le Dorset.-Ladies all advance to centre, curtsey and retire; the gentlemen then join hands in a ring, the ladies resting their hands on their partners" arms. All move round, breaking off when they reach their places. Gentlemen advance to centre, and, bowing to ladies, link arms or give left hands across to each other; in the former case the ladies form an outside ring, in the latter the gentlemen give their disengaged hands to their partners, and all move round to their places. This figure is performed twice. FOURTH FIGURE-L'Etoile.-Leading couples advance and visit couple on right, then cross Proverb-Practice makes perfect. over to visit the cpposite couple; they then perform demi-moulinet with side couples, giving across, first, their right, then their left hands, form two circles of four and move half round in one direction and half in the other. This is repeated by the side couples. FIFTH FIGURE Les Lanciers. After a preliminary chord the Grand Chain is at once commenced, right and left hands being given alternately, with a slight pause when partners meet. Places being regained, the leading couple promenade or waltz round inside the figure and stand in their places with their backs to the centre, the side couples falling in behind them to form two lines. All chassez-croisez and balancez, ladies lead round to the right, gentlemen to the left; partners meet, and, joining hands, lead up the centre. All form two lines, partners facing, advance, retire, then turn partners to place. Grand Chain. Each couple leads round in turn. In Sixteen Lancers, Figure 1 is commenced by the two top ladies and their vis-à-vis gentlemen. Figures 2 and 4 by the top and bottom leading couples. In Figure 5 an outer and an inner circle are formed for the Grand Chain. SECOND FIGURE.-Top and bottom couples advance and retire, then change places with their vis-à-vis; again advance and retire, recross to places and set to partners. Side couples repeat. THIRD FIGURE. First lady and opposite gentleman change places; return, joining left : hands and giving right hands to their partners. All four balancez in a line, half promenade with partner to opposite place. First lady and opposite gentleman advance and retire, advance again and bow. Both couples advance and retire, then cross right and left to places. This is done four times, each lady and opposite gentleman commencing in turn. FOURTH FIGURE. First couple advance and retreat; advance again, the gentleman leaving his partner with vis-à-vis gentleman, who, giving his hand to both ladies, advances with them, retires, re-advances and leaves the two ladies with the top gentleman, who once more advances. All join hands in a circle and move to the left; disengage hands at opposite places and return right and left to their own. Second couple and sides repeat. FIFTH FIGURE. All join hands in a circle, advance and retire. Each gentleman takes his partner as if for a Galop; they advance and retire four times, then cross to opposite places; advance, retreat, and return to own places. Ladies Chain, and join hands again, advancing and retiring as before. Side couples repeat.. The Galop. The Galop is a favourite dance with which to close the programme, especially at country balls. The step is very simple-Slide the left foot forward (for a gentleman; a lady begins with the right), bring the right up close behind it; again slide the left foot forward, throwing the balance of the body on to it, and bring up the right. This may be repeated any number of times till you wish to turn, when use the waltz step. Country Dances are still popular everywhere, Sir. Roger de Coverley" being the leading favourite. Proverb The sleep of a labouring man is sweet. |