as offering our traveler a
glimpse of Paraguayan "high life" under its most favorable auspices.

[Illustration: A SUGAR-HOUSE.]

The cathedral is one of the masterpieces of M. Forgues's _bete noire_,
the Jesuit style of architecture. On the occasion of the Te Deum the
altar is brilliant with light. Silver plates cover it, as they do all
its accessories. Behind it is a carved wainscoting painted red and green
and gilded profusely, while in a niche is a small effigy of the Blessed
Virgin. At the beginning of the service a curtain rises to the sound of
music and exposes this niche to view. The Brazilian minister, M.
d'Azambuja, is the "marquis of Carabas" of Asuncion, and hence, as the
representative of the nation that conquered Paraguay, he enjoys his
privileges, one of which, apparently, is to keep the ceremony waiting
for half an hour, while the president of the republic, his cabinet
ministers, the foreign representatives and the officers of the army of
occupation who are present twiddle their thumbs, the Paraguayan
officials showing in their faces their sense of the Brazilian's want of
respect. Finally the minister arrives in a coach-and-four. The vehicle
is of the hackney-coach variety. The horses stop in the thick sand in
the middle of the street, unable or unwilling to go farther, and the
coachman in gold-lace livery jumps from his seat and opens the door of
the coach, exhibiting as he does so, in consequence of the inopportune
displacement of his coat-tails, a very undiplomatic spectacle in the way
of soiled stockings. The minister, however, makes amends for the
lackey's shortcomings, for he is brilliantly attired in white cassimere
breeches and a marquis's coat with embroidery, while a three-cornered
chapeau with white plumes adorns his head. As he descends from his
carriage the guard presents arms, and a horrible noise ensues of two
brass bands--one military and one marine--playing different tunes on
every separate instrument in the hands of the performers, while the
discharge of petards mingles with military commands. Amid all this
tumult and under a broiling sun the Brazilian minister makes a majestic
entrance into the cathedral, passing solemnly through the line of
authorities to the place of honor.

The celebration of Brazil's independence opens with a salvo of petards
at the door, after which follows a medley of trombones, flutes,
triangles and big drums, the whole dominated by an exasperating tenor
voice