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,