Entering Marston's mansion, we find its interior neater than its weather-stained and paintless sides portended. Through the centre runs a broad passage, and on the left and right are large parlours, comfortably furnished, divided by folding doors of carved walnut. We are ushered into the one on the right by a yellow servant, who, neatly dressed in black, has prepared his politeness for the occasion. With great suavity, accompanied by a figurative grin, he informs us that master will pay his respects presently. Pieces of singularly antique furniture are arranged round the room, of which, he adds, master is proud indeed. Two plaster figures, standing in dingy niches, he tells us are wonders of the white man's genius. In his own random style he gives us an essay on the arts, adding a word here and there to remind us of master's exquisite taste, and anxiously waits our confirmation of what he says. A large open fire-place, with fancifully carved framework and mantel-pieces, in Italian marble of polished blackness, upon which stood massive silver candlesticks, in chased work, denotes the ancient character of the mansion. It has many years been the home of the ever-hospitable Marston family. In another part of the room is a mahogany side-board of antique pattern, upon which stand sundry bottles and glasses, indicative of Marston having entertained company in the morning. While we are contemplating the furniture around us, and somewhat disappointed at the want of taste displayed in its arrangement, the door opens, and Sam, the yellow servant, bows Marston in with a gracious smile. It is in the south where the polite part is played by the negro. Deacon Rosebrook and Elder Pemberton Praiseworthy, a man of the world, follow Marston into the room. Marston is rather tall of figure, robust, and frank of countenance. A florid face, and an extremely large nose bordering on the red, at times give him an aldermanic air. He rubs his fingers through the short, sandy-coloured hair that bristles over a low forehead (Tom, the barber, has just fritted it) smiles, and introduces us to his friends. He is vain-vanity belongs to the slave world-is sorry his eyes are grey, but adds an assurance every now and then that his blood is of the very best stock. Lest a doubt should hang upon our mind, he asserts, with great confidence, that grey eyes indicate pure Norman birth. As for phrenology! he never believed in a single bump, and cites his own contracted forehead as the very strongest proof against the theory. Indeed, there is nothing remarkable in our host's countenance, if we except its floridness; but a blunt nose protruding over a wide mouth and flat chin gives the contour of his face an expression not the most prepossessing. He has been heard to say, "A man who didn't love himself wasn't worth loving:" and, to show his belief in this principle of nature, he adorns his face with thick red whiskers, not the most pleasing to those unaccustomed to the hairy follies of a