nothing
vulgar or common about any of the proceedings, or about the countless
tableaux which pass along the private streets. Everything is what has
been described as orderly disorder. Everything is attractive and easy.

The ball, which is a prominent feature of a Creole carnival, is a
wonderful combination of Nineteenth Century aristocratic ideas and of
Oriental humor. The guests are in full dress, and represent the highest
elements of Southern society. Around the carpeted floor, those who have
taken part in the pageant march in their grotesque costumes. An
apparently blood-thirsty Indian, brandishing a club over his head, darts
for a second from the line to go through the motions of dashing out the
brains of perhaps a most intimate friend, who has no idea who has thus
honored him by a recognition.

Another man, who in everyday life is, perhaps, a sedate banker or a
prominent physician, is masquerading in some extraordinary attire with a
mask of extraordinary dimensions and significance. He sees in the throng
a young lady of his acquaintance, and proceeds to shake hands with her
with great effusion. So well is the secret kept, that she has no idea
that the apparently frolicsome youth is a middle-aged man of business,
and she spends perhaps half the night wondering which of her beaus this
fearfully and wonderfully disguised man was.

Of the balls which succeed carnivals in the cities which delight in
these temporary divorces from the cares of business and finance, pages
might be written. One ball only need be mentioned in any detail. This is
the ball given by the "Knights of Revelry," in connection with and at
the expense of the Mobile clubs. The entire theatre was rearranged in
illustration of the theme of the club's pageant for the year. All around
the halls were hung tapestries and banners, artistically decorated, and
arranged so as to convey the idea of forests and gardens. The very doors
were converted into mimic entrances to caves and parterres, and the
general effect was entrancing as well as sentimental. The band was
hidden from the guests in a most delightfully arranged little Swiss
chalet, and refreshments were served from miniature garden pavilions.
The very floors upon which the dancing was to take place were decorated
so as to present the appearance of a newly mown lawn.

The height of realism was attained by means of an imitation moat over
the orchestra well. Across this was a drawbridge, which was raise