E PASS at one step from the kinds of entertainment in which pomp and ceremony would be monstrous, to the etiquette of public places, where forms must be rigidly observed. There would be no good purpose served in repeating

what has been said elsewhere as to etiquette to be maintained on the street, and in the ballroom, so far as these apply to public places; but in passing, it will be well to say, that, whether casting aside ceremony, or firmly intrenched behind its bulwarks, ladies and gentlemen never fail to make it apparent to their friends, that high-souled courtesy is the ruling principle of their lives. Gentlemen never invite a lady to any public amusement on the spur of the moment, nor will a lady accept such an invitation, unless from a

near relative. The day before is the shortest notice that should be given, by oral or written invitation, and when the gentleman is inviting the lady for the first time, he must include another lady or member of the family. The lady invited will answer without delay, so that good seats may be obtained if she accepts, and in the event of her declining another lady may be solicited to participate.

When entering a place of amusement after the per- formance has commenced, make as little noise as possible, and always be on time if that can be arranged. Enter walking by the side of the lady unless the entrance or aisle is too narrow, in either of which events the lady yields precedence, as the gentleman must communicate with the usher, find the seat, and make arrangements.  The inner seat, or that from which the

best view can be obtained, is the privilege of the lady, the gentleman taking the outer or less advantageous position. While the play or concert proceeds retain your seat, and preserve silence, as standing or making a noise must disturb or inconvenience others. Conversation at intervals between the acts, and in low tones, is desirable, but whispering and loud talk are inadmissible, together with all eccentricities of manner. Whatever conduct would be blamable in the drawing-room must not be indulged in when you attend public amusements. If a gentleman is recognized by a lady in the boxes or stalls on the other side of the theater, he will bow, but the lady will give only the faintest form of acknowledgment. No gentleman will quit the side of the lady whom he is escorting to visit the refreshment rooms, or for any purpose except on the lady's behalf, during the evening.

At a concert, when an interval is allowed for promenading, the escort may ask the lady if she desires to walk, and he will attend upon her, whether she promenades or retains the seat. Applause at concert or play should be moderate. A gentleman escorting a lady will not surrender the position he occupies, even to another lady; his duty is to remain beside the lady who has honored him with her company, as well between as during the acts. During the promenade on such occasions friends will not continue to recognize each other; once suffices; and a lady will not stop to converse with other gentlemen, nor accept their company and attentions. Long conversations, even between intimate friends, in public places, must not be entered upon.

The libretto of the opera and the bill of the play are necessary to the understanding of the amusement, and must be obtained on entering the opera house or theater, but if you cannot obtain it at that time, send the usher to procure what you want, as it is wrong to leave the lady alone. Convey the lady to the theater, and on her return home, in a carriage if possible, especially in unpleasant reather. If there is a crowd the usher will clear the way through the aisles. Between the acts, a gentleman having been recognized by the lady you are

of goods, such as redeeming a church, school-house or institution from debt, and ladies unused to storekeeping serve the various stalls. Gentlemen who would show no such mark of respect in ordinary places of business, remain uncovered while in attendance at a fancy fair, to compliment the ladies.

Chaffering¹ as to the price appended to an article is wrong, because you can buy or pass without buying, and any unfavorable comment is ungracious to the ladies concerned in preparing or selling the articles ibr a good object. Urgent entreaties to buy should not be indulged in, as people who attend will use their own judgment as to purchasing, and their presence is an evidence that they are willing to assist. Conduct that would be condemned elsewhere, cannot be justified by the fact that it brings discredit on a good purpose.

Refreshment tables and lotteries are parts of the machinery of fancy fairs, about which good people differ materially, but there can be no doubt that ladies should not lend their persuasive eloquence to either system of money-making.

A gentleman may not demand change, should be over. pay for any article he may purchase at a fancy fair, but the lady will hand the change without demur, leaving to the gentleman the graceful opportunity which he has probably considered to offer the overplus as a contribution. In all cases gentlemen should provide themselves with such sums as they are willing to bestow on the fund, and their smallest purchases deserve thanks.

Studio and Picture Gallery.

The studio of the artist is his empire, and within that domain you must not question his absolute authority. He has a right to demand that you shall not meddle with his work in any stage, uninvited. The picture with its face to the wall is sacred. The portfolio must not be touched. The lay figure, drapery, furniture or article of virtú² is “taboo,” and has been posed for artistic purposes which deserve respect. Never enter a studio unasked by the artist, and when you are invited go on time, as every moment is golden.

Children are perpetual sources of apprehension in a studio; therefore leave them at home, for their own comfort and that of the artist, as well as your own. If you have promised to sit attend at the moment named, because other subjects are to follow you, and will be inconvenienced by want of punctuality on your part. If the artist is at work, remember that your persistent notice of his operations may annoy and disturb him.

The courtesy you would show to a guest in your house is due to an artist. If you like his works, show your appreciation by quiet attention, and if you do not approve, be silent. Extravagant praise or blame would be equally ill-bred, but a few words modestly said may convey your friendly regard in good taste. The studio is a workshop where undertakings not yet ready for the public eye are in progress, and where confidential commissions may be executed; consequently you will see nothing there  beyond what you are invited to examine.

An unfinished picture is not a matter for exhibition, even though you may have given the commission.

Some artists smoke in their studios, and others object to the aroma af tobacco among their paintings. Gentlemen never smoke in the apartment of another without permission. Act among artists as you would among other gentlemen, and as you would not whisper in the drawing-room, do not indulge in such a solecism in the studio. You may give rise to the idea that you are unfavorably criticising the works around you. The bargains and commissions of the artist are not public property unless he chooses to make them, and undue curiosity in such particulars is an impertinence, offered to a gentleman who has claims on your courtesy.

You may mean to purchase a picture, and if so there is no harm in your mentioning that fact, connecting it with your approval of some work then before you, of which you may ask the price, but it would be wrong to chaffer about the sum asked, beyond mentioning the limits of your proposed outlay, so that the artist may consider your offer if so disposed. Generally the better plan is to send a courteous note to the artist with a definite offer, or to employ an agent or mutual friend as buyer.

Some visitors to studios outrage the proprieties by touching frames and pictures with hands, canes, parasols and other articles as though they could not be hurt; while their loud comments on art generally, and on the specimens before them, imply that all beside them are in their novitiate. Others use the studio as a place for discussion and disputation, oblivious of the fact that artists live by the exercise of their genius, and by the visits of appreciative buyers who have no interest in general gossip. Your well-meant criticisms, however wisely directed, may be the means of deferring or defeating an intended sale.

Etiquette of Shopping.

General Washington was expostulated with for raising his hat to a negro, and he replied, “I would not allow any man to outdo me in politeness.” Courtesy in the store, exhibited in conversation with proprietors and clerks, is as necessary and commendable as the same quality in the drawing-room. A lady marks her goodness and wisdom by using polite forms of speech when, instead of saying, “I want,” she says, “Will you, if you please?” after indicating the article she wishes to see.

Purchase some aricle at the counter if you find it possible, as the clerk will be discredited if he does not effect a sale after showing you many articles. Apologize for extra trouble given in any case, and when you leave the counter bow politely.

If another lady is examining goods that you wish to see, wait until she has finished with the article, and then take it in hand. Opinions given unsought indicate ill breeding, in a store as elsewhere. Especially avoid audible comparisons with the goods seen in other stores, and when only a small purchase is made after a large amount of trouble, apologize politely for the inconvenience you have caused. You need not carry parcels; the shopkeeper will be better pleased to send them in his delivery van.

1. Chaffering: haggling.

2. Article of virtú: (It.) Curiosity, art object.

3. Booker T. Washington told this story of George Washington in Up from Slavery, where the exact quote is “Do you suppose that I am going to permit a poor, ignorant, coloured man to be more polite than I am?” Ouch.