THE Dancing-Mafter: OR, The Art of DANCING EXPLAINED. 

Wherein the Manner of Performing all Steps in Ball Dancing is made easy by a new and familiar
Method. 

In TWO PARTS. 

The Firft, Treating of the proper Pofitions and different Attitudes for Men and Women, from
which all the Steps are to be taken and performed; adorned with inftructive Figures: With a
Defcription of the Menuer Figure, fhewing the beautiful Turns and graceful Motions of the
Body in that Dance. 

The Second, Of the Ufe and graceful Motion of the Arms with the Legs in taking the proper Movements
and forming the Contrafts, with Figures for the better Explanation. 

The Whole containing Sixty Figures drawn from the Life, and curioufly Engraved on COPPER PLATES.

Done from the French of Monfieur RAMEAV, BY J. ESSEX, Dancing-Mafter. 

LONDON Printed, and Sold by him at his Houfe in Rood-Lane, Fenchurch-ftreet; and J. Brotherton,
Bookfeller, at the Bible in Cornbill. M.DCC.XXVIII. 

To Mr. Grofcourt . 

SIR, 

THE general Character you bear in the World will, I doubt not, appear Motive fufficient why
I addrefs you in this Kind; for as you have an indifputable Claim among the Mafters of our Profeffion
to be esteemed one of the Firft , fo A 2 the the Delicacy of your Judgment will vindicate my Choice,
as well as recommend this Undertaking, which will fhine in a better Light under your Protection.

AS I have had the good Fortune as well as Happinefs to have known you for many Years, fo I have made
it a constant Obfervation that your Scholars of both Sexes have diftinguifhed themfelves
by a fingular Merit in their Performances, which joined to a juft Cadence, an handsome and agreeable
Manner, and an unaffected Deportment, evidently fhew you to be that great Mafter you have always
been taken for for by thofe of the niceft Tafte and Politenefs: And as all thefe Advantages in
the Scholar muft have been acquired from a correct Imitation of the Mafter, you have been that
happy Man, who by your Example have fhewn them what it is to be genteel Dancers. 

I could enlarge upon this Subject, but that I am unwilling to be thought guilty of Flattery;
however I may fay this, that I have been acquainted with your eafy Manner of Teaching; and muft
own I admire that particular Elegancy which hath always been your utmoft Care and Study. THERE-

THEREFORE with the greateft Efteem for your Perfon and Merit, I declare my felf, 

SIR, Your moft Obedient Humble Servant, J. Effex. THE PREFACE. 

DANCING being the peculiar Genius of the French Nation, they have for many Years taken great
Pains to find out its Beauties as well as Advantages to Mankind in all Refpects, fo as to qualify
Perfons, of what Condition foever, to dance well, and give them a good Carriage and genteel
Behaviour in Conversation. The Book I here recommend I have tranflated from the French of Monfieur
Rameau , which is in great Efteem among the Mafters there. 

MY natural Inclination to ferve the Profeffion, as well as to improve the Art, invited me to
take this Work in hand, finding of what fingular Ufe and Advantage it would be to the Mafters
and their Scholars to know the juft Pofitions of the Body, and the Length of all Manner of Steps
in Dancing. 

I fhall not trouble the Reader with Encomiums upon my Author concerning his Work, it will fufficiently
fhine by its own proper Merit when we come to fhew what Pains he hath taken to find out fo familiar
and eafy a Method in teaching a Manner of Dancing which will be of fuch vaft Ufe to Mafters to instruct
their Scholars, who by this Means will not lofe by changing them for new ones, which is too commonly
done, but on the contrary by obferving this Method duly, they will rather make a better Improvement.
DANCING 

DANCING here in England has been very much advanced within this twenty Years, which I muft confefs
hath been chiefly owing to the Mafters now in Being, particularly Mr. Weaver , who gave us the
Inftitutions for Dancing, which I fhall here take Notice of; and in the next Place mention his
Hiftory of Dancing, with the Rife of the Pantomimes , which are now fo much in Vogue: His Mars
and Venus , a Dramatick Entertainment, was the firft of this Kind produced on the Britifh Stage,
or in the Kingdom; it was well performed and had great Applaufe; all the Characters are juftly
drawn and finely executed. He performed Vulcan himself, and fhewed the Paffions to great Advantage;
like a fecond Laberius to whom Auguftus Coefar gave a Ring of Gold for his extraordinary Action;
a Prefent not ufed to be given to any but thofe who had ferved their Country in the Wars. 

IN his Anatomical Lectures upon Dancing, he has laid down Rules for Standing, Walking, Leaping
a ing or Springing, wherein he gives us the five Pofitions and their Ufes: He goes on and calls
the Inftitutions for Dancing; as firft the half Coupee, fecondly a Coupee, thirdly a March,
fourthly a Bound, and fifthly a Contretem or compofed Hop: And thefe he lays down as the firft
Principles to all manner of Steps in Dancing. 

HE was the firft that tranftated Moufieur Feuillet , concerning the Writing down of Dances
in Character, into the Englifh Language. Our Profeffion in general are obliged to him for the
many Proofs of his Knowledge, that are fo many Helps to our Art, which in Reality he has rather
made a Science. 

I hope the Reader will not be prejudiced againft me for making mention of fome of our Englifh
Mafters and Performers, fince they bear an equal Merit with any in Europe , though they cannot
extend the Reputation of their Names fo far as thofe of the French Nation, becaufe we are Iflanders,
Iflanders, and confined to our Language; and the principal Mafters living in Paris , have the
Advantage of the Univerfality of their Language; and the Situation of their Metropolis being
upon the main Continent, and the Place of Reception for Strangers of all Nations, whereby the
Fame of their Performances can fpread itfelf to the remoteft Parts of Europe , and even into
many of the politeft Cities of Afia and Africa . 

THE late Mr. Ifaac , who had the Honour to teach and inftruct our late moft excellent and gracious
Queen when a young Princefs, firft gained the Character and afterwards fupported that Reputation
of being the prime Mafter in England for forty Years together: He taught the firft Quality with
Succefs and Applaufe, and was juftly ftiled the Court Dancing-Mafter , therefore might truly
deferve to be called the Gentleman Dancing-Mafter. His Qualifications were great; for he
was both generous and charitable to all: He was an agreeable Figure in his Perfon, and had a handsome
a 2 Mein Mein joined to an easy Addrefs and graceful Deportment, which always appeared without
Affectation. 

MONSIEUR L'Abbe , who came from France about the Year 1700, fucceeded him at Court. He is an excellent
Mafter, and was a great Performer when upon the Stage: Nobody gave greater Satisfaction to
the Spectators than he did in his Performances. His Talent chiefly lay in the grave Movement,
and he excelled all that ever appeared on the Englifh Stage in that Character; and what more
eminently makes him fhine, is his excellent Inftructions of those of the Royal Family whom
he hath the Honour to teach, and who by their noble Presence, eafy Deportment, and graceful
Carriage proclaim the Merit of their Mafter. 

Mr. L'Abbe bred up Mr. D' la Garde , who maintained the genteel Part of Dancing upon the Stage
many Years after his Mafter, and with great Honour fupported the Character the World had long
before entertained of Mr. L' Abbe being a com- Mr. 

Mr. D' la Garde was happy enough in his Comic Performances, but more graceful and pleafing in
the Serious. 

Mr. Firbank was for fome time Competitor to Mr. D' la Garde ; for he was ftrong and active in his
Way of Dancing, yet very taking and genteel, which he kept up fo long as he performed on the Stage.
The World must allow him an extraordinary Genius in Mufick, and his happy Compofitions in feveral
Dramatick Entertainments by their great Succefs confirms this to a Demonftration. 

THERE are many more excellent Mafters in England that I could mention but it would fwell this
beyond a Preface. The Performers upon both Stages at this Time are very eminent in Serious as
well as Comic, which fhews what I have said before to our Improvement. 

AND fince I am fpeaking of Performers, I cannot omit the late Mr. Shaw , who has fo often appeared
peared with Mrs. Booth , of whom I fhall fpeak by and by: He was very excellent in many Characters;
the laft he performed was Mercury in Dr. Fauftus , which he did with that Correctnefs and Truth
in all its Attitudes, that thofe who have attempted that Character fall but fhort of him. 

HE was bred under Mr. Caverley , whom I take to be the firft Mafter in teaching young Ladies to
dance, by applying a long Train of Obfervations collected from Practice and the Strength of
his own Genius, how to form a young Female Scholar, as to Pofition, Carriage, and Behaviour;
for if the Firft is juft, the Second or Motion will be eafy, confequently genteel, and the Behaviour
or Refult of thefe Applications may be very agreeable. This is a Character that evidently fhines
in Mr. Caverley , and by the Merit of which he has undeniably produced many excellent Scholars:
I may venture to fay he was the firft Mafter that ever brought a Boarding-School to that height
of Reputation as it now ftands at this Time. He keeps up up fo fine an Oeconomy in his Family by
his prudent manner of educating and inftructing fo many young Ladies according to their Capacities,
that it produces an admirable Effect, whereby none go from him unimproved. He is now in the eightieth
Year of his Age, and ftands firm upon his Legs, his Body is upright and erect, and his Eye-fight
and Memory in Perfection. He has taken a Partner to his Affiftance, Mr. Aylworth , a Perfon fo
well qualified and fo equal to the Task, yet he himfelf bears half the Burthen ftill, and teaches
with as much Life and Spirit as if he was but half that Age. Wonderful! what will not Exercife
and Application do? 

WE have had a great many Women attempt to be Theatrical Dancers, but none ever arrived to that
Height and Pitch of Applaufe as the incomparable Mrs. Booth , in whom Art and Nature are fo beautifully
wove together, that the whole Web is of a Piece fo exquifitely formed to Length and Breadth,
that the Produce of the many different Characters Characters fhe reprefents is the Wonder
and Admiration of the prefent Age, and will fcarce be credited by the Succeeding. I fhall beg
leave to mention the Chaconne, Saraband, Menuet , in all which fhe appears with that Grace,
Softnefs, and Addrefs none can look on but with Attention, Pleafure, and Surprife. She far
excels all that went before her, and must be the juft Subject of Imitation to all that dare attempt
to copy after her. Befides all thefe, the Harlequin is beyond Defcription, and the Huffar another
oppofite Character in which fhe has no Rival. All which fhew how many extenfive as well as extraordinary
Qualifications muft concentre in one Perfon to form fo bright a Genius: A Subject becoming
the moft elevated Wit to defcribe, and the politeft Tafte to contemplate. THE THE French PREFACE.

IF I have given this Book the Title of The Dancing-Mafter , 'tis not out of a rafh Prefumption
to attribute fuch a Title to my felf: But as there is not one among all the Mafters who teach the
Art of Dancing with Applaufe, that has communicated the Rules in Writing, I have ventured to
undertake it: And though I have all my Life ftudied the Pofitions and true Addrefs of the Body,
to be the better able to inftruct my Scholars, I have not fo much grounded them on my own Experience
as the Abilities of the greateft Masters with whom I have had the b Opportunity Opportunity
of converfing; that is to fay, I have delivered in Print the Leffons which I have often feen them
teach; therefore without examining whether I have held the firft Rank in my Profeffion or not,
the Rules I lay down may justify the Title of this Work. 

I dare flatter my felf that the Pains I have taken will be of Service to young People, who by purfuing
this Method may comprehend and more exactly perform what their Mafters had taught them; to
this End I have caused many Copper Plates to be engraved, which reprefent the Dancer in the feveral
Pofitions: For Precepts communicated by the Eye have always a better Effect than thofe that
want fuch Affiftance. 

THE Publick will not expect a long Difcourfe on the Rife and Antiquity of this Art from me, who
have fpent all my Time in ftudying and teaching to dance, a Task I fhall leave to the Learned,
among whom some celebrated Authors have taken Notice Notice of it, whofe Works I fhall not take
upon me to quote. 

BUT the Reader would have Reafon to complain if at a Time when Dancing is arrived to the greateft
Perfection, I fhould not take notice of the Progrefs it made towards the latter End of the last
Age, and ftill makes every Day by the Emulation which the Entertainments of the Royal Academy
of Mufick excite; for Dancing ought not to be looked upon as an Exercife only invented for Pleafure,
though I believe it had its firft Rife from the Joy and Mirth at Feasts and Banquets, but it is
upon the same Footing with Comedy. Mankind have endeavoured to draw an Advantage from what
their Pleasures alone firft made them invent. 

IF Dancing was only to be practifed on the Stage, it would be the Employment of very few Perfons,
but I may say nobody ought to be a Stranger to it, were it only to be practifed in b2 their their
Youth: For Dancing gives a Grace to the Advantages we receive from Nature, by regulating all
the Motions of the Body, and ftrengthens it in its juft Pofitions; and if it doth not quite efface
the Defects we are born with, it foftens or conceals them. This Definition alone is fufficient
to fhew the Ufe of it, and to excite a Defire of becoming a Proficient. 

WE may fay to the Glory of our Nation that it has a true Tafte of fine Dancing. Almoft all Foreigners
far from difallowing it, have very near an Age admired our Dancing, and formed themfelves in
our Academies and Schools: Nay, there's not a Court in Europe but what has a Dancing-Mafter
of our Nation. 

THE Reign of Lewis the Great will always be looked upon with Juftice as a Reign in which the moft
illuftrious Men flourifhed. Among all the Arts brought to Perfection by the Encouragement
and Liberality of fo powerful a Monarch, Dancing made the quickeft Progrefs; every thing feemed
to favour it. That Prince, who was endowed by Nature with a noble and majeftick Figure, loved
from his Infancy all manner of Exercifes, and had all the Graces added to thofe natural Gifts
which could be acquired. The Tafte he had of Dancing engaged him in the peaceable Times of his
Reign to give thofe magnificent Entertainments of Dancing, Ballets, at which this Prince
was pleafed to be prefent, with all the Princes and Lords of his Kingdom. How great was the Emulation
of all the young Courtiers with the Hopes of being admitted to the Pleafures of fo fplendid a
Court? Neverthelefs Dancing did not appear in all its Luftre till the Birth of Opera 's. Lully
the Italian , coming into France at nine Years of Age, learnt Mufick here; and having an extraordinary
and fublime Genius, foon raifed himself above all the Compofers of his Time. After having compofed
the Mufick of feveral Ballets, he undertook to entertain the Court and and Town with thofe Lyrick
Tragedies which ftill charm, and are the Admiration of all Spectators. 'Twas then this new
kind of Entertainment appeared on the Theatres at Paris , under the Name of Opera's, till then
known only to the Italians . 

LULLY , who from his Youth was attached to the Court of Lewis the Great , in a manner forgot his
Country, and by his Performances made France triumph even over Italy by the Charms of thofe
very Sights which Rome and Venice had invented. Not fatisfied with fetting them off with all
the Luftre Mufick was capable of, as he was obliged to reprefent Triumphs, Sacrifices, Enchantments,
and noble Banquets, which required Dances in Characters, he made choice of the moft able Dancers
in France . 

BEAUCHAMP , who was the Compofer then at Court of the King's Ballets, as Lully was of his Mufick,
was pitched upon to compose the Opera Dances . I cannot beftow too much Praife on the juft juft
Reputation he acquired: His firft Effays were Mafter-ftrokes, and he always equally fhared
the Suffrages the Mufician daily gained. He was learned and curious in his Compofitions, and
ftood in need of Perfons capable of executing what he had invented. Happy was it for him that
there were at Paris , and at Court thefe moft able Dancers, viz . St. Andre , Favier the Elder,
Favre, Boutteville, Dumiraille , and Germain : But how excellent foever their Talents were,
the Palm, by their own Confeffion, was referved for Pecour and L'Eftang , who from that Time
became the Models of all that would fhine in the fame Sphere. Tho' their Characters were different,
they were both formed by Nature with all the Graces and Difpofitions of fine Dancing. 

L'ESTANG danced with a Noblenefs and Exactnefs, and Pecour appeared in all Characters with
a Grace, Justnefs and Activity; and both fo agreeable in their Converfations, that the greateft
Lords took a Pleafure to have them in their Companies. LULLY 

LULLY , who lived long enough to gain himfelf a Reputation, but who might have added to the Glory
of France by the new Productions he was capable of, died in the Year 1687. Upon his Death Beauchamp
left the Opera . Pecour , who at that Time had gained a great Reputation by his Performances in
Dancing, and who had alfo made his Effays on Ballets for the Court, was made choice of to compofe
the Dances for the Opera , and foon fhewed that he had a fuperiour Genius. He ftood in need of all
his Qualifications to fucceed worthily the former Mafter, which he compleated by the infinite
Variety and new Charms with which he fet off thofe fame Ballets which Beauchamp had before performed.

THE Women who for some Time had been admitted into the Opera Dancing , contributed much to its
Magnificence. Mademoifelles de la Fountain , and Subligni , who diftinguifhed themfelves,
raifed an Emulation in feveral young Women Dancers that that came into the Opera , who were made
Ufe of to figure with fome of the moft able Dances: 

BLONDY , the Nephew and worthy Pupil of Beauchamp , began then to fhew himfelf, and difputed
the Glory with Balon whofe Reputation is so juftly eftablifhed. This laft had a great deal of
Judgment and a prodigious Activity: He was for many Years the Pleafure and Admiration of all
Spectators, which Merit of his was recompenfed by the Honour he had of being the firft Mafter
to Lewis the Fifteenth, our auguft Monarch, the Love of his People, and the Hopes of all Arts.

BALON having quitted the Opera , all Lovers of Dancing were senfible of that Lofs, and the moft
promifing young Dancers ftrove to fucceed him. 

DU MOULIN , the Youngeft of the four Brothers, who are all very deferving, and who at this Time
diftinguifh themfelves in feveral Characters, was the Perfon that came the neareft up to Balon
, c and and who in fome meafure afforded the Publick fome Confolation. He had the Advantage at
firft of being the Partner in a double Dance with Mademoifelle Guiot , who was an excellent Dancer,
and by his fuccefsful Attempts made himfelf capable of figuring with the incomparable Mademoifelle
Prevoit . 

'TIS here that I wifh it in my Power to pay that juft Tribute of Praife her Merit calls for. In one
fingle Dance of hers are contained all the Rules we are able to give on our Art, and fhe puts them
in Practice with such a Grace, Juftnefs, and Activity, that fhe fhe may be looked on as a Prodigy
in this Kind. She juftly deferves to be regarded as Terpfichore the Mufe, whom the Ancients
made to precide over Dancing, and has all the Advantages over Proteus in the Fable. She at Pleafure
affumes all manner of Shapes, with this Difference only, that Proteus oftentimes made ufe
of them to frighten curious Mortals that came to confult him, and fhe to inchant the greedy Eyes
of thofe that that look on her, and to gain the Applaufe of every Body, which excites a noble Emulation
among the other Women Dancers. 

MADEMOISELLE MENESE , who dances always with Marcel in double Dances of a particular Kind,
embellifhes the Entertainment and gains the Praifes of the Publick. 

THE Rife of Marcel's Reputation is an Epocha remarkable enough in the Opera . 

CAMPRA , who of all the Succeffors of Lully in Compofition of Mufick, has obliged the Theatre
with a Number of fine Performances brought on the Venetian Feafts . There was a very fingular
Scene in this Ballat, in which a Dancing-Mafter in a Song boafts of all the Advantages of his
Art; and as at the fame Time he performed the different Characters of Dancing in the Ballets,
and had a small Voice and a good Tafte of Singing, he undertook this Flight, and fucceeded fo
well in it, that from that Time he engaged the Publick to c2 obferve obferve with more Attention
his Talent for Dancing, where he has conftantly maintained what could be expected from him.

I may fay that the double Dance which he performed and does now every Day with Blondy , is like
a Picture in which the Likeneffes are so juft and the Colours fo lively, that one cannot forbear
admiring them. 

THESE are the Mafters who have furnifhed me with the Rules I have laid down in this Work, which
has been revifed by the Mafter who fince the Death of Lully compofed the Ballets of the Opera
, and under whom the moft able Dancers are now bred, from whom I have received too advantageous
an Approbation not to flatter myfelf with some Succefs. 

The End of the Preface . THE THE CONTENTS OF THE FIRST PART . 

Chap. Page 

I. OF the Manner of difpofing the Body 1 

II. Of the Manner of Walking well 3 

III. Of the Pofitions and their Rife 6 

IV. Of the firft Pofition 7 

V. Of the fecond Pofition 8 

VI. Of the third Pofition 9 

VII. Of the fourth Pofition 10 

VIII. Of the fifth Pofition 12 

IX. Of Honours in General 13 

X. Of the Manner of taking off the Hat, and putting it in again 14 

XI. Of Honours of different Kinds 17 

XII. Of Honours backwards 20 

XIII. Of the Manner how Women ought to walk and appear gracefully 22 

XIV. Of feveral Sorts of Honours 24 

XV. Of the Honours ufed in Entering a Room, or in an Affembly 26 

XVI. Of the Ceremonial obferved at the King's great Ball 28 

XVII. Of the Manner of behaving genteely at regulated Balls 31 

XVIII. Of the Manner of making the Honours before Dancing 34 

XIX. A Difcourfe on the Movements in General 38 

XX. Of the Manner of making half Coupees 41 

XXI. Of the Menuet Step, and the eafieft Way of performing it on different Sides 43 

XXII. Of the Menuet, and the Manner of dancing it regularly 48 

XXIII. Of the Graces that may be made in the Menuet, and the Care Care that fhould be taken to figure
equally 52 

XXIV. Of the Manner of moving the Arms in a Menuet 56 

XXV. Of the Contretems, or Compofed Hop of the Menuet, and the Manner of making them 59 

XXVI. A Difcourfe on the Courant in general 63 

XXVII. Of the Courant Step or March 66 

XXVIII. Of the Boree Step and Fleuret 70 

XXIX. Of Coupees of different Manners 76 

XXX. Of Coupees of Motion 80 

XXXI. Of the falling Step and Gaillard 82 

XXXII. Of Pirouetts 86 

XXXIII. Of Ballances 89 

XXXIV. Of the Siffonne Step 91 

XXXV. Of the Rigaudon Step 93 

XXXVI. Of Bounds or half Capers 95 

XXXVII. Of the Contretems of the Gavotte, or Contretems forwards 97 

XXXVIII. Of feveral forts of Contretems fideways 99 

XXXIX. Of Chaffes of different Manners 103 

XL. Of Sallies or Starting Steps of the Feet 107 

XLI. Of the Opening of the Leg. 109 

XLII. Of Beats after different Manners 110 

THE CONTENTS OF THE SECOND PART . 

Chap. Page 

A Difcourfe on the Arms, and of the Ufe of knowing how to move them gracefully 113 

II. Of the Pofitions of the Arms and their proper Elevation 115 

III. Of the different Movements of the Arms 117 

IV. Of the Manner of moving the Wrift 119 

V. Of the Movement of the Elbow and Shoulder 121 

VI. Of the Oppofition of the Arms to the Legs 123 

VII. Of the Manner of moving the Arms in the Courant Step and half Coupees backwards 126 

VIII. Of the Manner of moving the Arms with the Boree Step or Fleurets 130 

IX. Of the Manner of moving the Arms with different Sorts of Coupees 135 

X. Of the Manner of moving the Arms with Coupees of Motion 138 

XI. Of the Manner of moving the Arms with the falling Step and Gaillard 140 

XII. Of the Manner of moving the Arms with Pirouetts 143 

XIII. Of the Manner of moving the Arms with Ballances 145 

XIV. Of the Manner of moving the Arms with the Siffonne Step 147 

Of 

XV. Of the Manner of moving the Arms with the Rigaudon Step and Bounds 149 

XVI. Of the Manner of moving the Arms with the Contretems of the Gavotte 151 

XVII. Of the Manner of moving the Arms with the open Contretems or Chaconne 154 

XVIII. Of the Manner of moving the Arms with the Contretems Balonnez 155 

XIX. Of the different Manners of moving the Arms with all Sorts of Chaffees 157 

XX. Of the Manner of moving the Arms with Sallies or Starting Steps 159 

THE Dancing - Mafter. PART the First . Chap . I. Of the Manner of difpofing the Body . 

TO teach well, it is the Mafter's Bufinefs to begin well: But as the Scholar's Vivacity, or fometimes
too clofe a Purfuit of his Studies, makes him forget moft of his Exercifes, and commonly that
of Dancing, which is not thought so neceffary as it really is, fince 'tis by that we behave our
felves fo gracefully in the World, and our Nation is fo much diftinguifhed: I have laid down
a Plan, or Method of Teaching' B for for the Mafter to lead his Scholar from one Step to another,
and at the fame Time inftruct him in the different Motions of the Arms, to make them agreeable
to the different Steps in Dancing: And as it is effential to difpofe the Body in a graceful Pofture,
that fhall be explained in this firft Chapter, and alfo reprefented by this Figure. 

THE Head muft be upright, without being ftiff ; the Shoulders falling back, which extends the
Breaft, and gives a greater Grace to the Body; the Arms hanging by the Side, the Hands neither
quite open nor fhut, the Wafte fteady, the Legs extended, and the Feet turned outwards. I have
endeavoured to make this Figure as expreffive as poffible, that at the Sight of it any one may
form the Body as it ought to be. 

I have given it an Attitude, or Pofture ready to walk; for which Reafon the left Foot is placed
foremoft, and the Right ready to move, either to make a Step forwards or fideways, becaufe the
Body refting on the Left, the Right by that Means may move eafily. I hope after all thefe Precautions,
no one will be fo ridiculous to be ftiff or formal, which ought to be avoided as much as Affectation;
a juft Carriage requiring nothing more than a natural, free, and cafy Air, which is to be only
gained by Dancing. CHAP. Chap . II. Of the Manner of Walking well . 

THE Body refting as before reprefented, it is ready to do what you would have it, either to Walk,
make a Bow, or Dance: But as the Manner of Walking well is very ufeful, becaufe on it depends the
firft Principle of Dancing a good Air, I fhall defire the Reader to obferve the eafy Method I
fhall prefcribe, in which he will meet with no unnatural Action. 

SUPPOSING then the left Foot foremoft, as the Figure fhews, the Body muft be fupported by it;
and at the fame Time the right Knee bends, and the Heel rifes by the Motion of the Body, on the left
Leg, which by confequence raifes the Right, which by extending the Knee that was bent, and moving
it forwards, performs the Action of Walking; but obferve to carry it no farther than the Diftance
of a Foot between the two, which is the Proportion of a Step, and to fet the Heel down before the
Toe, which advances the Body on the Foot you reft upon; whereas if you fet the Toe down firft,
it throws the Body backwards, and is very tirefome. The Legs ought to be very much extended in
their B 2 due due Time, and the Hips turned outwards, becaufe the lower Parts are governed by
this commanding Joint, which gives a Difpofition to the Knees and Feet: What I mean by the Legs
being extended at their due Time, is, that the Knees be ftretched out when you move either the
one or the other Foot, which will prevent your croffing your Steps, a Fault feveral People are
guilty of for want of Obfervation; for having the Knees outwards, and the Legs extended, prevents
their Hobling, and even gives the Pan of the Knee, or ufes it to a better Situation. I faid alfo,
that one ought to extend the Legs in moving them forwards, which will prevent walking too wide,
or too clofe; and I am certain by following these Rules, no Perfon can be guilty of the Faults
I have mentioned. 

THERE ought alfo to be a Method obferved in Walking, which fhould be neither too faft nor too
flow; the laft bordering on Indolence, and the other on Folly; therefore both Extreams ought
to be avoided. I have already faid that the Head ought to be upright, and the Wafte fteady, by
which Means the Body will preferve an advantageous Situation. As to the Management of the Arms,
let them hang eafy by the Side of the Body, obferving only, that when you advance with the right
Foot, you make a fmall Motion with the left Arm forwards, which makes a fmall Contraft and Balance,
and follows naturally: But as many, for for want of taking Notice, may be ignorant of this Action,
I think this Remark no ways unneceffary. 

AS to the Manner of Walking, one Foot is to be underftood as well as another, in a Step either forwards,
backwards, or afide; but in Dancing, the Name of a Step includes feveral Steps together, and
which are fometimes varied in feveral Movements, which neverthelefs compofe but one Step;
as the Boree Step, the Courant Step, the Menuet Step, and many others, which I shall teach the
Manner of performing; and as all thefe different Movements ought to be taken properly, and
the Rules to be followed are grounded on the five Pofitions, they fhall be explained in the following
Chapters. CHAP. Chap . III. Of the Pofitions and their Rife . 

WHAT is called a Pofition, is no more than a juft Proportion, found out to divide, or bring the
Feet nearer together, in a limited Diftance, whether the Body be in an easy Balance, or perpendicularly
Upright; or whether it be in Walking, Dancing, or Standing. Thefe Pofitions were brought to
light by the Pains of the late Monfieut Beauchamp , who form'd to himfelf an Idea of putting this
Art into fo neceffary an Order. 

THEY were not known before his Time; a Proof of his Penetration in this Art, and ought to be look'd
upon as Rules that fhould be followed without any Difpenfation. I have been inform'd by himself,
that according to the Rules of his Time, they reckon'd but five Steps in Dancing, from which
all the reft in practice were derived; and as he had a fertile Genius, and was ready at Invention,
a Qualification as neceffary for a Compofer of Dances, as well as of Mufick, he found that there
was nothing of more Importance to fupport the Body in a graceful Attitude or Pofture, and the
Steps in a juft Meafure, than to introduce thefe five Pofitions. CHAP. Chap . IV. Of the first
Position . 

THE Pofitions, as I have already faid, being only to give a juft Proportion to the Steps, to keep
the Body erect and fteady; but to comprehend it with more Eafe, it muft be obferved, that this
Figure, as well as the others, only differs by the Pofitions of the Legs and Feet: For the Body
ought always to be upright, and refting on both Legs. This firft Pofition is to have the Legs
well extended, the two Heels clofe together, and the Feet equally turn'd outwards: Its Ufe
is to take the Motion from the clofed Step, in a Sink; becaufe all Steps, which begin by half Coupees
ought to be taken from this Pofition. And the Reafon is, that when you fink, if one Foot was behind
the other, the Knees would more eafily fall in; whereas the Heels being clofe together, the
Knees turn equally outwards, and moreover the Body appears more ftraight; which I fhall explain
at large in the Manner of taking the Movements, since I only intend here the Explanation of the
Pofitions, and to give a Demonftration of them. CHAP. Chap . V. Of the Fecond Pofition . 

THIS fecond Pofition, by its Situation, fhews the Diftance to be obferved in thofe open Steps
which are made fideways. It reprefents both Legs afunder, which ought not to be at a greater
Diftance than the Length of the Foot, which is the juft Proportion of a Step, and the true Pofition
of the Body on both Legs, which is demonftrable by the Shoulders being of an equal Height; for
this Reafon the Body can eafily reft its Weight on either Leg, without ufing any forced Action,
the fames as in the open Steps, which are made fideways, jointly with the fifth Pofition, which
are thofe ufed in going fideways; the Fifth being for the crofs Step. It muft be obferved that
both the Feet be on the fame Line, the Legs extended, and the Feet turned equally outwards, that
the Body may reft on both Legs, as in the firft Pofition. 

I defire the Reader to have these Pofitions by heart, not only for the Proportion of the Steps,
but alfo for the Manner of making them, becaufe I fhall quote hereafter from what Pofition a
Step is taken, and that by which it ends: Wherefore if a Perfon does not remember them, inftead
of making a better Progrefs, he will be obliged to have recourfe to the Beginning of the Book,
which will very much retard the Execution of the Step. CHAP. Chap . VI. Of the third Position
. 

THIS Pofition is designed for the inclofed Step, as well as others; and is never perfect but
when both Legs are fo well extended and clofed together, that light cannot be seen between them;
therefore I have taken the more Pains with this Figure, for the more eafy Comprehenfion of this
Pofition; and that the Eye, the Mirrour of Knowledge, may give more Strength to my Expreffion,
by bringing the Reader to a clearer Underfstanding of my Meaning. 

THE Body refts erect on both Feet, the left Foot foremoft, but croffed before the Heel of the
Right at the Inftep, as fhewn by the Figure. This Pofition is the moft neceffary in Dancing well,
it teaches the Dancer to ftand firm, to extend the Knees; and ufes him to that Regularity which
is the Beauty of Dancing. C CHAP. Chap . VII. Of the fourth Position . 

THIS Pofition regulates the Steps forwards or backwards, and gives them their due Proportion
which ought to be obferved either in Walking or Dancing. It is put in the fame Light as the others;
but though the Diftance that ought to be between the two Legs does not appear fo plain as it would,
had they been drawn in a Profile; yet it is easy to be difcern'd by the Perfpective, how much the
left Foot is advanced before the Right: And what moreover engaged me to put it in a front View,
was the expofing all the Parts to Sight. It ought to be obferved in this Pofition, that the Feet
be placed one before the other, and in a ftraight Line, without croffing them, and efpecially
in Dancing; for by croffing the Feet in a Movement forwards, it happens that one cannot rife
again with the fame Eafe; and befides it puts the Body out of its Poize, and distorts it. 

AS to Walking, if a Perfon croffes his Legs, it makes him go awry, as well as diforders the Body,
which one fhould take Care of. This indeed ought to be the Mafter's Care, for ill Habits are fometimes
contracted at the Beginning, which prove afterwards very difficult to overcome; and yet yet
how good soever the Mafter may be, if the Scholar does not ftrive to break himfelf of them, 'tis
to little Purpofe. Then it will be objected, that a Perfon has not a Difpofition: To that I anfwer,
We have always one when we have a good Will, which argues neither more nor lefs, and is eafy to
prove; for don't we Walk, and make Bows? Therefore there needs nothing further to be done, than
to apply ourfelves to make them well, and to walk handfomely: For when you can make a Bow with
a good Grace, you are drawn infenfibly to have a Tafte for Dancing. 

IT may be urged further still, that there ought to be a good Difpofition to dance well: I own it;
and yet Perfons may dance tolerably well, I'll be bold to fay, without a Difpofition; for Dancing
is no more than to know how to fink and rise properly. C 2 CHAP. Chap . VIII. Of the fifth Pofition
. 

THIS last Pofition, as I have already faid, is for the crofs Step, moving either to the Right
or Left, and is infeparably from the Second; for from thefe two Pofitions the Body can move on
any Side without turning, and ftill preferve its Prefence. But to perform it as it fhould be,
the Heel of the Foot that croffes, fhould not go beyond the Toe of the hinder Foot, which would
be contrary to all Rules, for the Body would not find its Centre: Befides, by the foremoft Foot
going beyond the hindmoft Toe, the Knee of the hindmoft Leg would fall inwards: It may be feen
by the Figure, where the Feet are no more crofs'd than the Rule permits. 

I have taken Care in all thefe Pofitions, that the Body fhould reft firm on both Legs, which fhews
by the Diftance observed, one may move one Foot, resting the Body on the other without any forced
Action. I fhall not fpeak of the falfe Pofitions, becaufe they feem to me to be ufelefs for young
People to learn, but leave them to thofe Mafters who have a Fancy to teach them their Scholars;
they are indeed very frequent in Comick or Grotefque Dancing. CHAP. Chap . IX. Of Honours in
General . 

IT is very neceffary for every one, in what Station of Life foever he be, to know how to take off
his Hat as he ought, and to make a handfome Bow; But as Bows are made after different Manners,
according to different Occafions requiring them, I shall explain each in particular, agreeable
to the Figures representing the principal Actions of the Body, after I have shewn in the following
Chapter the Manner of taking off and putting on the Hat again; a very useful Instruction for
Youth, who will not eafily be made fenfible of the Confequence thereof. CHAP. Chap . X. Of the
Manner of taking off the Hat, and putting it on again . 

AFTER having demonftrated the Pofitions, and fpoke of Honours in general, to purfue the Order
I ought to obferve; and as nobody makes a Bow before he takes off his Hat, it fhall be the Subject
of this present Chapter. 

THE Body being difpofed according to the Rules beforementioned, if you would falure, any one,
the Arm muft be raifed to the Height of the Shoulder, as this firft Figure (1) reprefents, having
the Hand open (2); then bend the Elbow to take off the Hat, which makes a half Circle, according
to thefe Words; The Bend of the Elbow , which has its Point from the Elbow it felt. 

THE Elbow being bent, as you see by the fecond Figure, and the Hand open, as in the firft Figure,
it muft be carried to the Head, which fhould not move; then place the Thumb againft the Forehead,
and the Fingers on the Brim of the Hat cock'd up, and clofing the Thumb and the four Fingers, hold
it fo; then raifing the Arm a little higher, it lifts the Har off off the Head at once, and extending
itfelf, falls by the Side of the Body, which is call'd, The Fall of the Arm , as exprefs'd by the
Figure. 

THIS third Figure reprefents the Manner of holding the Hat hanging down by the Side, the Crown
downwards. 

ALL thefe different Poftures reprefented by thefe three Figures, are only to fhew the Manner,
and different Times that ought to be obferved in this Action; for it fhould not be underftood
by thefe different Poftures, that there fhould be any Stop made at each Time, for that would
be ridiculous. What I mean is, that there fhould be no Interval, and that thefe three Motions
fhould be fo imperceptible, that they should feem but as one fingle Action; which I thought
proper to diftinguifh by each principal Pofture or Attitude, for the better Apprehenfion
of them: Viz . to raife the Arm from the Side, bending the Elbow; to carry it to the Head, and take
hold of the Hat; to lift it off, and let the Arm fall by the Side again. 

AND to put it on again, the same Order is to be obferved; that is, to raife the Arm from the Side
to the Height of the Shoulder, and bending the Elbow, put the Hat on the Head, preffing the cock'd
Brim at the fame Time with the Hand, to force it down in one Action, and not to clap the Hand on the
Crown, which would be ungenteel; for the Head ought not to make any Motion to receive it, but
the Hand and Arm fhould put it on: Neither ought the Hat to be prefs'd down too hard, by reafon
of the Difficulty there would be to take it off again; its Ufe being only for an Ornament. One
ought to obferve alfo not to take it off formally, nor to advance the Arm and Hand too forwards,
which would hide the Face; nor even to ftoop with the Head, and let the Hat carclefly fall over
the Face, which would look very ill. 

THE moft graceful Manner of wearing it, in my Opinion, is this: To clap it firft on the Forehead
a little above the Eyebrows, and preffing the Cock moderately, force it down no farther behind
than a juft Proportion will admit; the Fore-part to be lower a fmall Matter than the Back-part.
The Button ought to be on the left Side, and the Corner or Point of the Hat over the left Eye, which
difengages the Face: For to wear it quite back gives an aukward filly Air, and too much prefs'd
down gives a melancholy or angry Look; whereas the Manner of wearing it, as I have fhewn, feems
both decent, modeft, and agreeable. CHAP. CHAP . XI. Of Honours of different Kinds . 

HAVING prepared the Reader, by the preceding Chapter, of the Manner of taking off the Hat, I
fhall now fpeak of every Bow in particular, to let him know the Difference, by fhewing him the
Manner of making them properly, according to the different Occafions that offer every Day;
and fhall begin with that made forwards: The Body being upright, flide either the right or left
Foot forwards to the common Proportion, which is the fourth Pofition, as reprefented by thefe
two Figures, which exprefs in their Attitudes, the Uprightnefs of the Body, with one Foot foremoft,
to remind you that the Body ought not to incline or ftoop, till after you have moved the Foot,
becaufe the Body follows the Legs; and what it ought to do afterwards, appears by the other two
Figures which are bent. 

I fay then, that you ought to move the Foot gently forwards, leaving the Weight of the Body on
the hinder Leg, the Knee of which is forced to bend by the Weight of the Body; whereas the foremoft
Leg ought to be very much extended: But the Inclination of the Body is greater of lefs D according
according to the Quality of the Perfon you falute: The Head alfo inclines, which is one of the
effential Parts of the Bow. And in bending the Wafte, extend not the hinder Knee, becaufe that
would raife the Hip, and make the Body feem awry; whereas in the Difpofition I have given, all
the Parts are fupported by their Oppofites: But when you rife again, let it be with the fame Eafe
you bow'd; and in rifing leave the Weight of the Body on the foremoft Leg, which gives the other
behind the Liberty of advancing forwards, or ftepping fideways to make another Bow, which
is commonly made behind, and what I fhall explain in the Manner of making your Honours in entering
a Room. 

IN making a paffing Bow in walking, it is to be done as the former, except that you muft turn your
Body half fideways towards the Perfon you bow to, fliding that Leg before you which is next them,
bending the Wafte and inclining the Head at the fame Time, as I have endeavoured to exprefs in
this Figure. 

IF the Salute is to be paid on the left Side, it muft be with the left Foot, and on the right Side
with the right Foot. But as Bows are ufed in feveral Places, I ought to diftinguifh thofe where
they ought to be made with the greateft Obfervance: For Example; thofe in the Streets may be
made more carelefly; but thofe in publick Walks, where Perfons fo the beft Fafhion refort,
they muft be made with more Care and Regard. Regard. In walking in fuch publick Places, People
generally wear their Hats under their Arms; therefore if you meet a Perfon of a fuperiour Rank,
you muft take your Hat in your right Hand, and afterwards make a very low Bow, to fhew the greater
Refpect. 

IT is alfo neceffary to obferve, when you bend the Body, not to incline the Head fo much as to hide
the Face, which is fo much the more palpable Fault, becaufe you put the Perfon in doubt whether
or no it is him you falute; therefore before you begin the Bow, look the Perfon modeftly in the
Face, which is what we call directing your Bow before you make it. I am very well perfwaded, that
by Attention to thefe Obfervations, every one will make their Honours with all the Grace they
require; but as the fureft Way of learning is a frequent Repetition of what we defire to know,
I exhort thofe young Gentlemen who are bred in Academies and Colleges, to apply themfelves
clofely to their Honours, fince they are moft expofed to the Meeting of their Mafters or Tutors,
and indifpenfibly obliged to pay or return a Salute; therefore I advife them to apply themfelves
more ftrictly to thefe Things, that they may become more habitual to them. D 2 CHAP. Chap . XII.
Of Honours backwards . 

THESE Bows are made quite different from the former, as they are more refpectful; and for this
Reafon require more Care, it being a Pleafure to a Man's felf to be diftinguifhed from the common
People. Suppofing then the Hat in the Hand, and the Feet in the fourth Pofition, and the Body
as the Figure reprefents, the Weight of the Body on the left Foot, and by confequence the Right
ready to move, or make a Step, which it does on the fame Line: The Heel is firft fet down in making
this Step, and the Body refts the more eafily thereon; then make the Bow as this fecond Figure
reprefents, which is in the fourth Pofition. 

THE Body being thus refted on the right Foot (3), and the Left (4) ready to move, you draw it eafily
behind the right Foot (3), in the third Pofition, rifing at the fame Time that you draw the Foot
behind, which brings the Body upright, and is the Extent of your Honour. 

I have feen many bow from the Wafte, and draw the Leg at the fame Time: I think it very good; but,
in my Opinion, the Manner I have defcribed feems more graceful, and to have a much better Air.
1 

I have told you that this Bow is different from that forwards, which is made by fliding the Foot
and bowing at the fame Time; whereas in this backwards, you firft bow the Body and Head before
you move the Foot, but not at too great a Diftance of Time, becaufe thefe Honours onght to be made
together to avoid Affectation. 

BUT the Way to bring one's felt to a Habit of doing them well, is to make feveral together, which
will be the more eafy, as the Foot drawn behind having finifhed the Extent of the Step, you have
the Weight of the Body upon it, and from thence move the foremoft Foot afide to make another,
and fo continue to make feveral together; for when you have the Manner of making them with one
Foot, you make them eafily with the Contrary; and fo by practice you make them equally with one
Foot as well as the other. CHAP. Chap . XIII. Of the Manner how Women ought to walk and appear gracefully.

I DOUBT not but I fhould be accufed of Indifference, or of knowing only how to teach Men, if I fhould
not fhew my Zeal and Care for the Inftruction of the fair Sex, who are the Life of Dancing, unlefs
I would cut off the moft beautiful Part of the Creation; for without Women there's no Spirit
in Dancing; they raife that ardent and noble Emulation that appears between them and us, when
we dance together, efpecially thofe who delight in this Exercife, of which there is a great
Number; for nothing to me feems more engaging in a Company, than to fee two Prefons of each Sex
dance together with Juftnefs and Applaufe: For which Reafon, independantly of what I have
already faid of the Manner of Walking in the foregoing Chapters, which equally regards both
Sexes, the fame Remarks are necefiary for the Women, who ought to turn out their Feet, and ftraighten
or extend their Knees; though it is faid by fome, that thefe Faults are imperceptible in them;
but to undeccive fuch Perfons, efpecially thofe young Ladies who are negligent of themfelves,
let them walk before a Glafs, and obferve the Manner Manner I have laid down in the preceding
Chapters, and let them walk carelefly, they will find they have another Air, and own, that by
holding their Heads upright the Body is more fteady, and by extending their Knees their Steps
are more firm. 

IN fhort, I have made an Obfervation, which feems to me very juft, on the Manner of carrying the
Head; which is, that a Woman, how graceful foever fhe may be in her Deportment, may be differently
judged of: For Example; if fhe holds it upright, and the Body difpofed, without Affectation,
or too much Boldnefs, they fay there goes a ftately Lady; if the carries it negligently, they
accufe her of Careleffnefs; if fhe pokes her Head forward, of Indolence; and in fhort, if fhe
ftoops, of Thoughtleffnefs, or want of Affurance; and fo on. 

THEREFORE my Defire is, that young Ladies would only obferve the eafy Method I lay down, to avoid
the Faults I have recited, which has engaged me to place this Figure here which reprefents the
Carriage they ought to have in Walking: Viz. the Head upright, the Shoulders down, the Arms
bent, and eafily drawn back to the Body, and the Hands before, one upon the other, with a Fan;
but above all, without Affectation. CHAP. CHAP . XIV. Of Feveral Sorts of Honours. 

WOMEN labour not under the fame Difficulties that the Men do, to make their Honours; it is enough
for them to have a good Prefence, that they turn their Feet out, flide them properly, fink equally
on their Knees, and hold up their Heads, their Bodies being fteady, and their Arms'well placed,
as this Figure fhews, which is what is moft effential. 

WE may distinguifh three forts of Honours for them as well as ourfelves, viz . a Courtefy forwards,
a paffing Courtefy, and a Courtefy behind, which is that which fhews the greateft Refpect,
and in which there is made a little Stop, and the Sink much lower. 

I fhall begin with those forwards: One Foot muft be flid gently before, to the fourth Pofition,
leaving the Weight of the Body on both Legs; then fink eafily with both Knees, not bending in
the Wafte, that ought to be moft upright, without wavering, which oftentimes happens by the
Feet being ill placed, either too clofe or too wide; but when you have funk low enough, rise again
with the fame Eafe, which finifhes the Honour. AS 

AS to that en paffant , or paffing by one, it is made after the fame Manner, except that when you
meet any Perfon, you make two or three Steps forwards to begin your Honour, looking at the Perfon
you falute, to direct your Courtefy, and at the fame Time turn half fideways towards the Perfon
you falute, and flide forwards the Foot that is neareft to them; then fink, and rife again eafy,
obferving to reft the Weight of the Body on the foremoft Foot, to be able to move with the Hinder.

THIS fecond Figure is to reprefent and give a just Idea of this Honour, which being made on the
right Side, the Head is turned on the fame Side, and the right Shoulder, as you fee, falling back.
But as thefe Courtefies are moft ufed in publick Walks, and other Places of Ceremony, it ought
to be obferved, that when you falute any one above you, inftead of making your paffing Courtefy,
you fhould make one backwards, to thew the greater Refpect. 

THIS Courtefy is made by a Step on either Side, in the fecond Pofition; the Weight of the Body
refting on the moved Foot, and the other drawn to it with both the Heels clofe together, in the
firft Pofition; then fink on both Feet very low, and rife again with the fame Eafe; But if you
are to make a fecond Courtefy, you muft reft the Weight of the Body on the Foot you have drawn,
and ftep the other Foot E afide, afide, and do the same Thing with the other Foot. For this Reafon
I have drawn this Figure, which reprefents a Courtefy, in a direct Profpect, or to the Prefence,
which I thought very neceffary to come at a true Eclairciffement. Alfo Care fhould be taken
not to draw the Foot and fink at the fame Time, which would diforder the Body, put it out of its
perpendicular Pofition, and make it waver. 

I have alfo faid that the two Heels fhould be clofe to one another; in which Pofition, when you
bend the Knees, turning them outwards, neither is advanced before the other; whereas by drawing
one Foot behind the other, the Knee muft appear forwards, and will more eafily fall inwards,
both which Faults fhould be avoided. CHAP . XV. Of the Honours ufed in Entering a Room, or in an
Affembly. 

WHEN you come into a Room, pull off your Hat with the right Hand, as I have faid in the tenth Chapter,
and advance two or three Steps forwards, that the Door may not be in your Way; and alfo take time
to direct your Honours: Afterwards make your firft Bow forwards; forwards; but in rifing up,
reft the Body on the Foot moved forwards, and with the Hinder, ftep afide in the fame Lino, according
to the fecond Pofition, to make your Bow backwards. 

AFTER thefe two Bows, you enter; and if there be a great deal of Company feated on both Sides of
you, make your Honours en paffant as you go along on both Hands, as you go through the Company.

BUT in cafe you go to fpeak to any one, in accofting him, you make the fame Bows as at your Entrance;
and in quitting him, make two Bows backwards, and others en paffant , as far as good Manners allows
of, which has no Bounds; the Behaviour of People of Fafhion being the beft Rule. 

AFTER having taught the Manner of entering a Room, I muft, to purfue the Inftruction neceffary
for Youth, give an Idea of a Ball, and of the Manner of behaving with Politenefs, whether a Perfon
be taken out to dance, or goes to take out another, which fhall be explained in the following
Chapters. E2 CHAP. CHAP . XVI. Of the Ceremonial obferved at the King's great Ball . 

I THOUGHT I could not give a Defcription capable of gaining Attention for the Ceremonies and
Rules of private Balls, before I gave a fhort Account of the King's grand Ball; to which, as it
is the Entertainment of People of the firft Rank, all private Balls ought to be conformable,
as well for the Order kept, as the Refpect and Politenefs obferved therein. 

FIRST you muft know, that nobody is admitted in the Ring but Princes and Princeffes of the Blood;
then Dukes and Peers, and Dutcheffes; and after them, the other Lords and Ladies of the Court
according to their Rank; the Ladies placed foremoft, and the Lords behind them. 

EVERY one being thus placed in Order, when his Majefty has a Mind the Ball fhould begin, he rifes,
and the whole Court does the fame. THE 

THE King places himfelf in that Part of the Room moft proper for the Beginning of the Ball, (which
is by the Mufick Room). The late King ufed to dance with his Queen, and in her Abfence his Majefty
took out the firft Princefs of the Blood, and they placed themfelves firft, and after them every
one in a Row according to their Rank; all the Lords on the left Side, and all the Ladies on the Right;
and in this Order they made their Honours one before the other. Afterwards his Majefty and his
Partner led up the Brawl, which was danced wherever there were any Court Balls, all the Lords
and Ladies following their Majefties, each on their Side; and at the End of the Strain, the King
and Queen went to the Bottom, and the next Couple led up the Brawl in their Turn, and fo fucceffively
till their Majefties came at the Top again: After which they danced the Gavotte in the fame Order
as the Brawl, every Couple going to the Bottom in their Turn; and then made the fame Honours in
parting as they did before they began to dance. 

AFTERWARDS they danced double Dances; but formerly the Courant ufed to be danced after the
Brawls: And Lewis the Fourteenth danced one better than any Perfon of his Court, as I fhall give
you an Account hereafter; but now the Menuet is danced after the Brawls. THEREFORE 

THEREFORE after the King has danced the firft Menuet, he goes to his Seat, and every Body then
fits down; for while his Majefty is dancing, all ftand: After which the Prince, who is to dance
next, makes the King a low Bow, and then goes to the Queen or firft Princefs, and they make their
Honours together before they begin to dance; and after the Menuet, they make the fame Honours
as before. Then this Lord makes a very low Bow to this Princefs at parting from her, becaufe nobody
offers to reconduct her to the King. 

AT the fame Inftant he advances two or three Steps, to addrefs himfelf by a Bow to the Princefs
that is to dance next, to invite her to dance, and there waits for her to make their Honours together
to the King, as fhewn by the Figures (1), (2); then they defcend a little lower, as reprefented
by the Figures (3), (4), and make the ufual Honours together before dancing, and dance a Menuet,
and then make the fame Honours again; afterwards he makes her a Bow backwards, taking his Leave,
and goes to his Place; whilft the Lady obferves the fame Ceremonial to invite another Prince,
and fo to the End. But if his Majefty defires another Dance to be danced, one of the firft Gentlemen
of his Bed-Chamber fpeaks for it; but ftill the fame Honours are obferved. CHAP CHAP . XVII.
Of the Manner of behaving genteely at regulated Balls . 

AS I propofed in all this Treatife to teach Youth the Manner of Behaviour in publick Places;
and as Balls give a certain Freedom, by the eafy Admittance every Body finds, and as a great many
who come puffed up with I know not what Birth or Rank, but little Manners, take Liberties contrary
to a juft Order and Decorum, I fhall set down here the Ceremonies that ought to be obferved, to
prepoffefs my Readers in their Favour by their Politenefs. 

AS in regulated Balls there's a King and Queen, whofe Example is to be followed, they begin to
dance, and when their firft Menuet is over, the Queen invites another Gentleman to come and
dance with her; and after they have danced, he reconducts, and asks her in a handfome Manner,
who fhe has a Mind that he fhould take out; and then making her a Bow, goes to the Lady he is to dance
with, to invite her to dance. But if fhe is talking to any Body, and does not come prefently, he
muft go to that Part of the Room where they begin to dance, and wait for her, watching her her Motions
to go to meet her, which is what good Manners requires. After the Menuet, or other Dance, you
make the fame Honours as before you begun: And independant of all this, the Gentleman makes
a Bow backwards, and goes to his Place. 

BUT if any one takes you out, when 'tis your Turn you muft ask that Perfon that firft ask'd you,
otherwife it would be a Breach of good Manners: This Rule is equally to be obferved by the Ladies.
So when you are invited to dance, you must go to the Place where they begin, and make your Honours
before Dancing: And after you have danced, and made your Honours again, lead the Lady to her
Place, and then invite another Lady; but fhould you happen to take out a Lady that excufes herfelf
with not being ufed to dance, or not having learnt long enough, you muft lead her back to her Place,
and pitch upon another, to prevent any Diforder in the Ball. But when you are prefs'd clofe to
dance, and have once refufed before, you muft not dance all that Ball, notwithftanding any
Perfwafion, becaufe that would affront the Perfon that ask'd firft, which ought to be obferved
by Perfons of both Sexes. Alfo they that have the Management of the Ball ought to take Care that
every one dances in their Turn, to avoid Confufion and Difpleafure; and if any Perfons come
in Mafquerade, to make them dance firft, that they may introduce their Company Company afterwards;
Regard being always to be had to Mafques, as they often difguife People of the firft Rank. 

I doubt not, but by thefe Precautions, thofe that affift at Balls, and thofe that make the Company,
will diftinguifh themfelves only by their good Manners and Breeding. 

AS to private Dancings in Families, which are generally compofed of Relations and Friends,
the fame Ceremonial ought to be obferved, as well as in Balls; that is, to know how to take a Perfon
out to dance, by making their Honours properly, and returning them reciprocally. Above all,
I recommend to young Perfons, for whom thefe Dancings are often made, to obferve thefe Rules
that there Mafters ought to have taught them, and to take a Pride in the Education they receive.
F CHAP. CHAP . XVIII. Of the Manner of making the Honours before Dancing. 

THOUGH the Honours before Dancing are made after the fame Manner as thofe backwards, yet they
require fome particular Inftructions; therefore I defire Attention to the Rules I fhall give,
to make them well, which is of Confequence, becaufe in whatever Company we are, we generally
look very earneftly at thofe that are going to dance; and when any one prefents himfelf with
a good Grace, we are very much prepoffeffed in the Favour of him, that fhould he not dance so extraordinarily
well, it is some Merit to know how to make a Bow handfomly. 

I alfo am obliged to inform you, that you ought to have your Gloves on before you place yourfelf
for dancing, nay, even before you go to ask a Lady to dance, for it is a Piece of Rudenefs to make
her wait for you. 

I fuppofe you then standing afide of one another, the right Foot foremoft, in the fourth Pofition,
as this Figure reprefents: I fhall not fpeak of the Manner of pulling off the Hat, having already
fpoken of it before, but shall only tell tell you, that here it muft be taken off by the left Hand,
with the fame Precautions as with the Right, the Body being refted on the left Foot (1), the right
Foot before (2), take off the Hat with the left Hand, letting it fall by the Side, the fame as the
right Arm, as demonftrated (3), prefenting at the fame time the right Hand (4) to the Lady, looking
at her. 

THESE two Figures are to fhew the Gentleman and Lady placed as they should be; the Lady on the
Right, and the Gentleman on the Left afide of each other, on the fame Line; the Gentleman holding
the Lady by the Hand, his below (5), and hers above (6); her right Arm extended by her Side, holding
her Pettycoat with her Thumb (7), the Hand being hid by the Pettycoats as the Arm is turned outwards.

FROM this Attitude the Man moves his right Foot afide to the Line (8), which is the fecond Pofition,
and the Lady her left Foot alfo afide to (9) in the fame Pofition. 

THESE two other Figures exprefs the Form of this Honour; the Man having moved his Foot into the
fecond Pofition, refts the Weight of his Body on it, and bows at the fame Time to make his Honour,
which is made as the Honours backwards, as I have faid before: But in making this Honour he does
not let the Lady's Hand go; and to make you fenfible of all the Times, I'll distinguifh them.
F 2 THE 

THE Body refting intirely on the right Foot (10), the Left is ready to move (11); but from the
Beginning to rife from your Bow, the Left with the Heel raifed, flides at the fame Time behind
the Right, a little farther than the third Pofition, as appears by the Figure (12), which brings
the Body again into its perpendicular Station. 

BUT in rifing again, the Body rests on the left Foot, and you let go the Lady's Hand, fliding the
right Foot forwards, croffing it a little more than in the fifth Pofition. In making this Step,
the Body moves different from other common Steps, becaufe it turns to the Left, moving the Leg
and Arm of the fame Side at the fame Time; and when you flide the right Foot, the left Knee bends,
which by its Motion throws the Body on the right, and by making a quarter Turn about to the Right,
fets you oppofite to your Lady. Then make a Step, with the left Foot afide, in the fecond Pofition,
and looking at her to direct your Honour, bow from the Wafte and incline the Head, as in the Firft,
and rifing, draw the right Foot behind: But if you are to dance a Menuet, you in rifing leave the
Body on the Left, to move with your Right in the Menuet Step. If it is another Dance, you muft,
after drawing the right Foot behind, leave the Weight of the Body on that, to be able at the fame
Time to flide the left Foot forwards, to return to the Place from whence you made your firft Honour;
and making a quarter Turn to the Left, and and another Step with the right Foot, which sets you
before the Prefence, there to wait for the Time of the Mufick to begin your Dance. 

AS to the Lady, having the left Foot before, in the fourth Pofition, fhe fteps afide with it in
the Second, and afterwards drawing the Right quite clofe in the Firft, bends both Knees equally,
as I have fhewn before. The firft Honour being finifhed, fhe muft leave the Weight of her Body
on the right Foot, and flide the Left forwards a little beyond the fifth Pofition, to make a quarter
Turn to the Left and at the fame Time make a ftep with the right Foot afide which brings her oppofite
to her Partner; then looking at him, and drawing the left Foot clofe to the Right, she finks eafily,
and rifes again, refting the Body on the left Foot, to be able to move with the right in the Menuet.
But if 'tis another Dance, fhe muft flide the right Foot forwards fomewhat beyond the fifth
Pofition; and in returning to the Place from whence fhe began her firft Courtefy, and making
a quarter Turn to the Right, and a Step with the left Foot in the fecond Pofition, fhe will front
the Prefence. CHAP. CHAP. XIX. A Difcourfe on the Movements in General . 

As it is moft effential in Dancing, to know how to take the Movements, the Way to perform them
juftly, is to know them well, and to know them thoroughly, to underftand the Power of Motion,
which is what I fhall endeavour to make you apprehend by the Rules of Art. 

THERE are three Movements from the Wafte to the Feet, which is that of the Hip, Knee, and Inftep:
From thefe principal Movements we form all the different Steps in Dancing. 

BUT they are not brought to their Perfection until the Joints have made their Flexions, or Bendings,
and regain'd the Situation they were in before; that is to fay, the Leg ftretch'd out. 

I fhall begin then by the Explanation of that of the Inftep, which has two ways of moving, to wit,
Tenfion and Extenfion, according to the Terms of Anatomifts, which is what we we call raifing
the Toe and fetting it down: In my Opinion I find it the moft tirefome Motion of all, becaufe it
fupports the Weight of the Body in its Equilibrium or Balance, and is the moft neceffary to dance
well: 'Tis by its greater or lefs Strength that the Leg extends it felf with moft Eafe, either
in Dancing or Jumping; for the Inftep, by its Strength, raifes you with Sprightlinefs, and
when you fall again you light on your Toes. The Number of Steps on the Toes in Dancing make you
feem fomewhat more light; but it is the Hip that makes the Step, and the Inftep which fupports
the Body and compleats it, by carrying it on with that Lightnefs. 

THE Movement of the Knee is different from this because it is not in its Perfection but when the
Leg is extended and on the Toes, as is plain in the half Coupees, where the Knee bends, and the
Toe is raifed a little; but when you make the Step and raife yourfelf, 'tis the Inftep that compleats
it; therefore the Movement of the Knee is infeparable from the Inftep: That of the Hip is very
different, its Movement is not fo apparent, but neverthelefs it governs and dispofes the other
Movements, since neither the Knees nor Feet could turn out if the Hip did not turn firft, which
is undeniable, fince it is the commanding Joint. But there are Steps in which no other Joint
but the Hip has any thing to do, as in the Capers in Theatrical Dancings, in which, which the Hips
only move the Legs, which are to be well extended, therefore neither Inftep nor Knee moves.
But as I took upon me only to give Inftructions in the feveral Steps ufed in Ball Dancing, I fhould
not inlarge on thofe which are more difficult to be performed. CHAP. CHAP . XX. Of the Manner
of making half Coupees . 

AFTER having cleared up the three Movements, I fhall defcribe the Manner of making a proper
Ufe of them. As no bent Step can be made without the Movement of the Knee, and as commonly all thofe
Steps which are compofed of many Steps, begin with half Coupees, whether it be with the right
or left Leg, its no matter; but fuppofing it to be with the Right, the left Foot muft be foremoft,
in the fourth Pofition, and the Body reft upon it, as reprefented by this firft, Figure, which
hath the Body refted forwards upon it, the Right being ready to move, having nothing but the
Toes placed on the Ground. 

THEREFORE to begin this half Coupee, you bring the right Foot up to the Left, in the firft Pofition,
and bend both Knees equally together, keeping the Body on the left Foot, as fhewn by this fecond
Figure, which hath both the Feet clofe together, the Body all the while on the Left (2), the Right
off the Ground, both the Knees equally benr, and turned outwards, the Waste steady, and the
Head upright. G IN 

IN this Sink you carry the right Foot before you, without rifing, to the fourth Pofition, as
this third Figure fhews; and at the fame Time bring the Body forwards on it, rifing upon the Toes
of the right Foot (3), with an extended Knee, and bringing the left Foot clofe up (4), with its
Knee extended alfo, as the fourth Figure reprefents, which for that reafon we may call the Equilibrium
or Balance, becaufe the Body is only fupported by one Foot. Afterwards you let the Heel down
to the Ground, which makes an End of this Step, and leaves you in a Pofition of making fuch another
with the other Foot, obferving the fame Rules; and fo continue the Practice for feveral times
without Intermiffion, obferving to fink eafy, and rife on the Toes, extending the Knee at every
one of thefe half Coupees, which is a Step the moft effential in dancing well; for it gives Facility
in extending the Knees, and makes you acquainted with the Strength of the Inftep: Therefore
good Dancing very much depends on this firft Step, fince the knowing how to fink and rife well
makes the fine Dancer. 

THE fame Rule is to be obferved in making them backwards and fideways, which is not to move the
Foot before you fink. CHAP. CHAP. XXI. Of the Menuet Step, and the eafieft Way of performing
it on different Sides . 

HAVING intelligibly fhewn the moft eafy Manner of making half Coupees, which are the Bafis
and Foundation of different Steps: And as a Menuet is a Dance the moft in Requeft, I fhall inftruct
you in the moft eafy Method of attaining to dance it well. 

YOU muft first know that the Menuet Step is compofed of four Steps, which neverthelefs by their
Connexion, according to the Terms of Art, make but one fingle Step. This Menuet Step hath three
Movements, and one March on the Toes; viz. the first is a half Coupee of the right Foot, and one
of the Left; a March on the Toes of the right Foot, and the Legs extended: At the End of this Step
you fet the right Heel foftly down to bend its Knee, which by this Movement raifes the left Leg,
which moving forwards makes a Tack or Bound, which is the third Movement of this Menuet Step,
and its fourth Step. G 2 BUT 

BUT as this Step is not agreeable to every one, becaufe it requires a very ftrong Inftep; for
this Reason it is not fo much ufed, but a more eafy Method introduced, of only two Movements,
which I fhall defcribe. 

YOU muft alfo know that this Step is compofed of four Steps as well as the other; viz . two half
Coupees, the Firft of the right Foot, and the Second of the Left; then two Walks on the Toes of
each Foot, one of the Right, and the other of the Left, which is performed within the Compafs
of two Barrs of triple Time, one called the Cadence, and the other the Contre-Cadence. But for
the better Apprehenfion it may be divided into three equal Parts; the Firft for the firft half
Coupee, the Second for the Second, and the Third for the two Walks, which ought to take up no longer
Time than a half Coupee: But in the laft Walk it is to be obferved, that the Heel be fet down to be
able to make a Sink to begin another Step. 

HAVING then the left Foot foremoft, you rest the Body on it, bringing the right Foot up to the
Left, in the firft Pofition, and from thence fink without letting the right Foot reft on the
Ground, and move the right Foot into the fourth Pofition, rifing at the fame Time on the Toes,
and extending both the Legs close together, as reprefented by the fourth Figure Figure of the
half Coupees, called the Equilibrium or Balance; and afterwards fet the right Heel down to
the Ground, that the Body may be the more fteady, and fink at the fame Time on the right, without
refting on the Left, which move forwards the fame as the right Foot, into the fourth Pofition,
and rife upon it: Then make two Walks on the Toes of both Feet, obferving to fet down the Heel of
the Left, that you may begin your Menuet Step again with more Firmnefs. 

ONE ought alfo to take Care in thefe half Coupees, to open the Knees, and turn the Toes out; but
to do them with more Eafe, the beft Way is to continue to make feveral forwards together, with
will bring one into a Habit of making them well. Thefe two Movements ought to succeed one another
in an equal Rife; but after you have rifen on the fecond half Coupee, you must not, to make a Connexion
with the two Walks, fet the Heel down; but in the Last of them, which is that of the left Foot, you
muft fet down the Heel to begin another Menuet Step. 

NEITHER ought a Perfon to attempt to make the Menuet Step either backwards or fideways, till
he is perfect in that forwards. That backwards comes very near that forwards, only that upon
the firft half Coupee of the right Foot, you leave the left Leg extended before you, and in finking
finking on the Right for the Second, the left Heel comes up to the right Foot, where it stops while
you fink to the last Extremity, to ftep back with it to rife on, which makes it the more eafy for
you to do it well; whereas if you was to step with it in your finking, you would never rise so well,
and the Knees would always appear bent: All thefe Remarks are very neceffary to dance a Menuet
to Perfection. 

AS to the fide Menuet Step moving to the Right, and which may be called the open Menuet Step, becaufe
its firft Step is made in the second Pofition; it is made after the Manner of that backwards,
only in a different Part of the Figure: That backwards being made in a ftrait Line falling back,
and this sideways on an horizontal Line to the Right. 

THERE is alfo another Way in turning again on the left Side, which is different in this, that
it is croffed, though made in the fame Line, but in returning from the Right to the Left; the Manner
is this: The Body being on the left Leg, you fink on it, and afterwards make a cross Step before,
with the Right Leg to the fifth Pofition, and rife upon it, the Left following extended by its
Side, both the Heels clofe together, and the Right only fet down; then you fink again on the Right,
ftepping with the Left in the fecond Pofition, and rise on the Toes, the Legs being extended
and the Heel off the Ground; afterwards make two Walks on the Toes, the the right Foot croffing
behind in the fifth Pofition, and the other moving in the Second, with the Heel down, which is
a kind of third Movement when you have got a Habit of performing it well, and what gives more Life
to your Menuet. 

AFTER you have practiced all these different Steps well, you form a regular Figure, which we
call a Menuer, which I fhall explain in the following Chapter. CHAP. CHAP . XXII. Of the Menuet,
and the Manner of dancing it regularly . 

THE Menuet is become the most modish Dance, not only for the eafy Dancing of it, but for the eafy
Figure used at present, and for which we are obliged to Monsieur Pecour , who so much improved
it by changing the Form S , which was the principal Figure, into that of Z, where the Number of
Steps limited keep the Dancers in a Regularity, as will be fhewn in the End of this Chapter. 

AFTER your fecond Honour, you muft make a Menuet Step in returning to the Place where you made
your firft, forming the fourth Part of a Circle, as fhewn by (1), which brings you up to your Lady
again, to whom you prefent your Hand, as reprefented by (2); and each make two Menuer Steps forwards,
the Man's Hand undermost to fupport the Woman's, as in Figure the Firft. 

AFTERWARDS you both make two Menuet Steps forwards, as in the second Plate, keeping Hands.
BY 

BY this third Figure you are fhewn that the Man makes a Menuet Step backwards, to let the Woman
go by him, and then a Menuet Step fideways, at the End of which he lets go her Hand and makes a Menuet
Step forwards, and the Woman makes one also going down, as fhewn by this written Figure, which
directs the Way, and names the Steps; afterwards they both make a fide Step flanting on the Right
backwards, which sets them opposite to each other, by the quarter Turn made at the first step
of the Menuet Step aside, as it is expressed: But in making this Step, the right Shoulders of
both Parties are shaded from each other, and the Head turned a little to the Left, looking at
each other, which ought to be observed throughout the whole Course of the Menuet; but above
all, without Affectation. 

TO purfue the Figure as represented by this Plate, two Steps (2) muft be on the left Side, with
the Body upright; and in making two other Steps forwards at (3), the right Shoulders of both
fhould be fhaded, the Man always to let the Woman pass on the right Side of him, but both looking
at each other: (What I call shading the Shoulder, is drawing it a little backwards, presenting
the Body more full) but nevertheless still to make their Steps forwards, as the Plate shews,
which is the principal Figure of the Menuet: But when you have made five or fix Turns, you must
from one H Corner Corner of the Room or other, looking upon one another, prefent your right Hand
in your Step forwards. 

BUT that you may the better apprehend it, when you are going over, that is at the End of your last
Step returning to the Left, raife your right Arm to the Height of your Breaft, the Hand turned
as reprefented by the two Arms: The Head being turned to the right, looking at each other, you
make a little Movement of the Wrift and Elbow raifed up, with a-flight Inclination in prefenting
the Hand, and ftill looking at one another, make a Turn quite round, as represented and fhewn
by this Figure. 

HAVING let go the right Hand, you go forwards, making a half Turn to prefent your left Hand, observing
the fame Ceremonial as in the Right, as fhewn by this Figure. 

AND when you have let go the left Hand, you muft make a Menuet Step afide to the right obliquely
backwards, as here defcribed (4), which brings you again into the principal Figure, which
you continue for three or four Turns; afterwards you prefent both Hands, raifing your Arms
to the Height of your Breaft, with the Body bent. 

IN prefenting Hands to the Woman, according to my Opinion, which I have endeavoured to exprefs
in these two Figures, 50 Figures, and when you take Hands, you make a Turn or two, and the Man makes
a Menuet Step backwards, bringing his Woman up with him, whofe left Hand only he lets go to pull
off his Hat: When he has compleated his Menuet Step, he fteps with his right Foot afide in the
fecond Position, and then they both make their Honours together, the fame as before they danced.

I don't think it right to make a Menuet too long; for though it has always been my Opinion, that
every one may be left to his own Discretion, yet it is both reafonable and becoming to fet fome
Limits; for though a Perfon dances never so well, the Figure is ftill the fame, therefore the
fhorter it is made the better. 

AND when a Perfon is come to dance well, he may now and then introduce fome Graces, which I fhall
explain in the following Chapter. H 2 CHAP. Chap . XXIII. Of the Graces that may be made in the
Menuet, and the Care that fhould be taken to figure equally . 

THOUGH to dance the Menuet plain is by fome thought the beft, yet I have feen fome Graces that
make it more airy and genteel; and as I find they are very much ufed, it has engaged me to inform
you how to make them, that you may practife them either in taking Hands, or other Parts; and fhall
being with that forwards. 

HAVING finifhed your Menuet Step forwards, and the Body on the left Foot, bring up the right;
afterwards fink and rife at the fame Time; then flide the right Foot forwards to the fourth Pofition,
and rife upon it, making an eafy Bound on the left Foot, and re-affume your Menuet Step: But to
ufe your felf to do them eafily, is to practife them often in your Menuet, and when you have got
the Manner of doing them eafily, to ufe them in proper Places, where they will appear most moft
graceful: For example; in prefenting Hands, in going to your Woman after you have finifhed
your Menuet Step, Step; returning to the Left raife your right Hand, as I have already told you,
to prefent Hands; but at that Time, inftead of a Menuet Step forwards, make the aforefaid Step,
and in the Performance, inclining the Body and Head a little to recover your former Pofition
in making an eafy Bound, and then re-affume your Menuet Step, purfuing the Figure. 

I call it an eafy Bound, becaufe when you have made this firft flow Steps, and have rifen on the
right Foot, with both Legs extended, the right Knee immediately bends, which by its Motion
throws the Body again on the left Leg, which moves eafily forwards, falling on its Foot; therefore
it cannot be called otherways, fince it is but a Bound half made. 

IT may be ufed alfo on another Occafion, viz . when you pafs by one another, with the Menuet Step
forwards; and alfo when you dance with a Perfon that makes three Menuet Steps forwards, when
you have made but two; fo that it will fall out, that you will be making you Menuet Step afide to
the Right, while your Partner is dancing forwards; therefore to be alike in the Figure, make
this Step going to the Right, by finking on both Legs; and in rifing on the Left, the right flides
afide to the second Pofition, and you reft the Body on it, rifing at the fame Time on the Toes;
but by the Pofition of the Body, and that Elevation, the left left Leg follows, letting the right
Heel come to the Ground, and the Knee bending by this Motion, obliges the left Leg to crofs before
the Right, to make this eafy Bound: Afterwards you make your Menuet Step going to the Right,
which brings you both regular in the Figure. 

THERE are fome Perfions that ufe it paffing each other, but it muft not be too often repeated,
becaufe that would look affected. 

AFTER having examined all the Methods and Inftructions neceffary to dance a Menuet well, there
ftill remains two effential Parts, the Ear and the Arms: For the Firft, if a Scholar has not that
ready Difpofition to underftand the Cadence, he muft apply himfelf to beating of Time, when
his Mafter teaches him, and be inftructed in, and better apprehend that Cadence, which, if
I may be allowed the Expreffion, is the very Soul of Dancing, and which often depends on a little
Application. 

I have already faid that the Menuet Step is performed in two Barrs of triple Time; therefore
there is a true and a falfe Cadence. The true is the First, and the falfe Cadence is the Second:
But as in a Menuet Strain there are eight or twelve Barrs; every firft Barr is the true Cadence,
and the Laft the falfe. This Cadence is known by ftriking ftriking the right Hand in the Left,
and the falfe by the lifting up of the Hand again, which is an equal Continuation of Time. 

BUT the Feet act quite contrary to the Hands, fince at the Time that you rife on the Toes of the
right Foot, you beat with your Hand; therefore one ought to fink at the End of the laft Barr, to
be able to rife when you beat. The Tune or Cadence is expreffed two Ways in Dancing; that is to
fay, the Steps which are finking and rifing, are raifed in the Cadence; but thofe of jumping
fall in it: Therefore the Movement ought to be taken before; that is to fay, to fink at the laft
Barr, to rife when it directs. CHAP. Chap . XXIV. Of the Manner of moving the Arms in a Menuet .

THE Manner of moving the Arms gracefully in a Menuet, is as neceffary as that of the Feet; becaufe
they move with the Body, and are its greateft Ornament. 

THEREFORE the Arms ought to hang by the Side of the Body, as this firft Figure reprefents; the
Hands neither open nor fhut: For if the Thumb was to prefs one of the Fingers, that would fhew
a determined Motion, which would caufe the upper Joints to look ftiff, and prevent that eafy
Motion which the Arms ought to have. 

THE Arms being thus difpofed, you let them fall almoft to the Bottom of the Coat-Pocket, making
your firft Step of the Menuet, (which is a half Coupee) with the right Foot, the Hands turned
in, as this Second Figure reprefents. 

BUT in taking the fecond Movement at the fame Time from the left Foot, the Elbow bends a little,
raifing the Hands imperceptibly, as this third Figure fhews; and afterwards wards you open
them very eafily, extending them with a Grace to the End of the Menuet Step, and fo on during the
Course of your Menuet, in every Step you take, whether it be backwards, forward, or fideways.

IT is to be obferved, that though I have drawn three different Figures for the Explanation of
the different Situations, that they may all be diftinctly underflood, the Motions following
one another make but one in the Extent of the Menuet Step. 

I have feen many Perfons make Balances in dancing a Menuet, in which the Arms move contrary to
the Legs: For Example; the Arms fhould be raifed to the Height of the Hips; and in making the first
Balance with the right Leg, the opposite Arm is brought a little forwards, as well as the Shoulder,
the right Arm and Shoulder drawn back, and the Head also at the same Time inclines a little: But
at the Second, both Head and Arms regain their former Situation. 

FOR Women, who are not to ufe their Arms in a Menuet but when they prefent their Hands, it is fufficient
that at the firft Balance they fhade the right Shoulder, which brings the Left forwards in a
kind of Opposition to the Foot, and make also a small Inclination of the Head, which gives great
Grace to this Step; but take care of Affectation. I IT 

IT is enough for the Woman, during the whole Course of the Menuet, to hold her Head upright, and
in a good Situation, her Shoulders back, which inlarges the Breaft, and gives a better Grace
to the Body; the Arms extended by its Side, fo that the Elbows almost touch the Hips; but all naturally.

TO give a better Idea of it, observe this Figure, which I have given all the Air and Life that a
Woman ought to have in Dancing. She holds her Petticoats with her Thumb and Fore-finger, the
Arms extended by the Side of the Body, the Hands turned outwards, without fpreading the Petticoats
out, or letting them fall in. And as to their Manner of figuring, it is the same as that of Men,
as well for fhading the Shoulder in the fide Menuet Steps, as those forwards: As for presenting
of Hands, and the Graces, they are equally the same in one Sex as the other. CHAP. CHAP . XXV. Of
the Contretems, or Compofed Hops of the Menuet, and the Manner of making them . 

THE Contretems are made instead of a Menuet Step; but of late they have not been commonly ufed
fince Pafspieds and figured Menuets have been in Fashion: Indeed these Dances are very graceful
by the Variety of their Figures, and the different Steps they contain; and as the Contretems
are a Part of their Composition, I shall describe the Manner of making them according to the
Rules of Art. 

BUT to make them well, you must firft Comprehend how they are formed. They confift of three different
Manners of Rifing: One before the Step, the Second after the Step, and Third in making the Step.

THE firft Manner is when you have finifhed your Menuet Step; and as you make an End of it with the
left Foot, the Body muft be refted intirely upon it, and the right Foot brought up clofe to it,
in the firft Pofition; then fink upon the I 2 the the Left, and rife upon it with a Hop, which is
what we commonly call a Hop on one Leg; and this is the firft Rifing. 

THE Second is, having the Body on the left Foot, you sink a second Time upon it; and while the Knee
is bent, you flide the right Foot before you in the fourth Pofition, and rife upon it with a Hop;
which is the fecond Rifing. 

THE Third is, as you have the Body refted on the right Foot you fink upon it, bringing the Left
clofe up; then in rifing you move it eafily forwards, and fall upon it with a Bound, which is the
laft Rifing. But when you rightly comprehend all these different Rifings, put them together,
which compleats your Contretems or Menuet Hops. 

AND the Way to ufe your felf to make them with Eafe, is to practife them alternately after a Menuet
Step, making feveral together; which will nor only render them more familiar, but will give
you a Lightnefs and Activity, that when you become Mafter of them, you may foften them in the
Performance. 

AS to Women, their Manner is the fame, only that they fhould moderate the Hop as much as poffible:
Therefore when you dance a Pafspied or figured Menuet with a Woman, you should make your Contretems
as easy as poffible, poffible, to be the more conformable to her, in which the Beauty of Dancing
confifts. 

BESIDES, thefe lofty Contretems are only fit for young Perfons, or thofe of low Stature; for
thofe who are taller fhould only make a Courant Step, and a half Bound' as I have already obferved
in the Manner of taking Hands; becaufe it is not agreeable for tall Perfons to jump and skip in
Dances where they figure, in which only the moft, eafy and graceful Movements fhould be ufed,
which are fo much efteemed by our Nation, though not fo much practifed in the many Country Dances
of late introduced in France , and which are not fo well relifhed by the Admirers of fine Dancing.

INDEED there are a great many without any Defign or Tafte, the Figure being always the fame,
without any certain Steps appointed for them: All the Perfection of these Country Dances being
a diftorting the Body in turning about, and ftamping with their Feet as if they had wooden Shoes
on, and putting themfelves in feveral ridiculous Poftures. They tell me this diverts a whole
Company, becaufe a great many Perfons may dance at once. Is it not poffible to make Dances for
feveral Perfons to dance together in regulated Steps, after the Manner of the German Dances
I have seen danced in Germany ? For though they change their Movements, ments, they obferve
a certain Rule, which prevents confufion, efpecially among Perfons of Diftinction. 

FOR Dances may be compofed for feveral Perfons to dance together, and may have different Movements
to common or triple Time: But I could wifh that the Mafters who compofe them, would put them into
Characters that they might be danced regularly, as in Brawls, where every one leads up in his
Turn, without Confufion or Diforder. CHAP. CHAP . XXVI. A Difcourfe on the Courant in general
. 

THE Courant was formerly very much in Fafhion, and as it is a very folemn Dance, and gives a more
grand and noble Air than other Dance, which have one more brisk and lively, and are much more
diverfified in their Figures, Lewis the Fourteeth was pleased to prefer it; for after the Brawls,
which then were and are ftill danced in the Court Balls, he always danced a Courant: Indeed he
danced it better than any of his Court, and with an extraordinary Grace. But what gives a greater
Proof of his Attachment and Delight in this Dance, is, that notwithftanding the weighty Affairs
he had upon his Hands, he fet apart some Hours for this Diverfion for upwards of two and twenty
Years that Monfieur Beauchamp had the Honour to inftruct him in this noble Exercife. 

IN fhort, this Dance, by the Confeffion of the moft able Mafters, has always been look'd upon
as a very neceffary one to learn to dance, which has engaged me to give a flight Defcription of
it; all its Movements being so effential, that that they make it eafy to dance other Dances well,
which will be proved by the Manner in which it is danced. 

AFTER the Honours, which are ufually made before Dancing, fuch as I have represented before,
in rifing from your fecond Honour, you leave the Weight of the Body on the right Foot, and bring
the Left into the fourth Pofition, and reft the Body, prefenting your Hand to your Woman, and
making a March: Afterwards you begin the Step with a half Bound of the left Foot, and then a Coupec
of the Right, which finifhes the Courant Step and fhews the Diftinction, and you begin another
with the right Foot, with making a half Bound with that Foot, and a Coupee of the Left: But as all
thefe different Steps lead you into a regular Figure, which forms a kind of long Oval, at this
last Coupee, you begin again to make a Step with the left Foot, and a Courant Step or March with
the Right, and pursue again the half Bounds and Coupees, which are to be repeated during the
whole Dance: But as I don't undertake to defcribe the Figures of Dances, I fhall leave them to
Mafters to teach them their Scholars; though this Dance is no more in Vogue than the Dauphine
, the Dutchefs , and the Bocanne , which were all very fine Dances. Thofe who are curious, and
want to know them, may have recourfe to the Characters. 

AS for the Dances now danced, their Figures and Steps are fo diversified, that they deferve
some Application, which has engaged me to lay down the moft eafy Methods to perform every one
of thefe different Steps in particular, that the Mafters may have the Pleafure, and that young
People may be more able to improve by their Leffons; which is one of the greateft Pleafures we
have, and is all I propofed in this Treatife, and dare flatter my felf with Succefs. K CHAP. CHAP.
XXVII. Of the Courant Step or March . 

As they formerly began to teach to dance by the Courant, and as I have promifed to go Step by Step,
to be regular I fhall begin with the Courant Step or March, being one of the firft Steps, and the
moft graceful. 

YOU muft note, that this Step confifts but of one fingle Step and Movement, and is of the moft
Confequence, becaufe made ufe of to form another Step compofed of many Movements and Steps,
as a Courant or Boree Step: Now this is the Diftinction I make of a Courant Step; this Step is not
only ufed in the Courant, but in other Dances where it produces a good Effect, and gives a Gracefulnefs
to the Body, by the free and eafy Movement which fhould be obferved to do it well. 

SUPPOSING it then to be made with the right Foot; having therefore the left Leg foremoft, and
the Body upon it, with the right Foot in the fourth Pofition, the Heel up ready to move; from thence
you fink, opening the right Foot; and when you rife again with the Knees extended, you you flide
the right Foot forwards to the fourth Pofition, and the Body goes intirely on it: But as the right
Foot flides forwards, the left Knee gives way and its Heel rises, which throws the Body eafily
on the right Foot, and at the fame Time you rise on the Toes: Afterwards you fet down the Heel,
which finifhes the March, the Body refting easily by the whole Foot's being on the Ground; from
thence you may make another with the left Foot, taking the same Precautions; and to ufe your
self to them, practife often with both Feet. 

I have seen many Perfons take them from the firft Pofition and make them very well; but they feemed
to me more difficult, because when the Body refts on one Foot the hinder Leg follows, and comes
up to the other in the firft Pofition, and from thence you fink and rise at the same Time, without
moving the Foot till the Legs are well extended: Then you set down the Heel of the Foot on which
you rose, and its Knee gives way, as you slide the Foot that was off the Ground to the fourth Position,
which is the Extent or Proportion of your Step; for as you set the Foot down full, the Heel on the
Ground, the Body rests eafily on it; for you rise on the Toes, and afterwards let the Foot rest
on the Ground, which makes an End of this Step, which is also made fideways; but then it is begun
in a different Pofition, K 2 becaufe becaufe it is commonly made after a Boree Step before and
behind, which finifhes its laft Step in the third Pofition. 

THEREFORE 'tis from this Pofition that you move in sinking on both Legs, without changing your
Situation till you have risen again, when you slide with the foremost Foot: For Example, when
you make a Boree Step before and behind, with the left Foot going to the Right, the right Foot
becomes foremoft; from thence you fink on both Legs equally, and rifing from thence with both
Legs well extended, flide the right Foot afide in the fecond Pofition, which is the End of your
Step; but if you would make this Step with the other Foot, you muft reft the Body on the Left, and
after the Boree, fink equally on both Legs, and rife on the Right, fliding the Left Foot aside
in the fecond Pofition. The Body being thus left erect in its perpendicular Situation, you
may make what Steps you pleafe with either Leg. 

THERE are Steps which we call Pointings, but which ought not to be confounded with thefe, though
their first Movements are taken in the fame Manner, but they do not end as thefe others; becaufe
this Step is a Sink and a Rife, and a Motion of the Foot sideways without a Slide, which is the Difference
between them: You will meet with many of them in the Louvre , and I will endeavour to give a clear
Demonftration of them. 

FOR Example; having the Body on the left Foot in the fourth Pofition, you fink and rife upon it,
carrying the right Foot fideways in the fecond Pofition, fetting the Toes only down and refting
a Barr, which makes it a becoming Grace: For this Step being taken properly and the Body in an
eafy and advantageous Situation is very graceful, after another Step more lively, by oppofing
a flow one to another of a quicker Motion, which is the Beauty of Dancing. CHAP. CHAP . XXVIII.
Of the Boree Step and Fleuret . 

THE Boree is composed of two Movements, viz. a half Coupee, a Walk on the Toes, and a half Bound,
which makes the second Movement and is the Extent of the Step. I call it a half Bound, because
it is but half made; and as it is not a sliding Step, for this Reason its last Step should not be
shewn so strong: And as it requires a great deal of Motion in the Inftep to make this Step easily,
especially for Women, upon that Account the Use of it has been moderated by making a Fleuret,
which comes very near the fame Step, containing three Steps and but one Movement, which makes
it an easy Step and soon learnt: It consists of a half Coupee, and two Walks on the Toes. 

THOUGH I have already laid down the Manner of making half Coupees in the Composition of the Menuet
Step, yet to make you understand them better, when you would make a Fleuret, being in the fourth
Position the left Leg foremost, you must leave the Weight of the Body intirely on it, bringing
the right Foot up in the first Position without touching the Ground; then sink equally on both
Legs, but take take care not to move the right Leg before you to the fourth Pofition till you have
funk, and at the fame Time that is moved rife on the Toes; then make two Walks on the Toes of each
Foot, fetting down the Heel of the Laft, that the Body may be more firm either to begin another,
or make any other Step that your Dance requires, and practife often to make them with both Feet.

THIS Step is made the fame backwards and fideways, only that the Pofitions are different according
to the Figure of the Dances, whether it be in turning or going afide. 

FOR Example; if you would make a Boree or Fleuret before and behind in returning from the Left,
the right Leg being in the firft Pofition, you fink on the left Foot opening the Knees, and in
the Sink crofs the right Foot before in the fifth Pofition and rife upon it; afterwards you fet
the left Foot fideways in the fecond Pofition, and the Right croffes behind in the Fifth, which
concludes the Step. 

THERE are fome made behind and before, which is the fame Thing, only that the half Coupee is croffed
behind, and the third Step is croffed before, which is all the Difference. 

THERE are others made fideways fhading the Shoulder, which are performed in the following
Manner; viz . the Body being upon the left Foot, fink upon it having the Right off the the Ground
clofe to the Left, which you fet afide rifing on the Toes, drawing the right Shoulder back, the
left Leg immediately following the Right, with which ftep behind in the third Pofition the
Knees extended and on the Toes; and for the third Step, flide the right Foot forwards in the fourth
Pofition and fet down the Heel, which compleats the Boree: The Body refting thus on the Right,
you may fink on that and make another Boree with the left Foot, obferving the fame Rules. Thefe
Borees are ufed at the End of the Bretagne and other genteel Dances, and when well made are very
graceful. 

THIS Step is alfo made after another Manner, which is called the open Boree and is thus performed:
Being in the firft Pofition with the right Foot off the Ground, fink on the Left and ftep with
the Right in the fecond Pofition, and rife upon it: In rifing on the Right, the Left follows in
the firft Pofition while the right Foot refts intirely on the Ground; then ftep with the left
Foot in the fecond Pofition fetting the Heel firft down, and when the Body refts on this Foot,
rife on the Toes, which brings up the Right, which flides behind the Left in the third Pofition
and makes an End of the Step: But when you make another with the left Foot, you muft fet down the
right Heel and fink upon it, and ftep afide with the left Foot after the fame Manner, and practife
it with one Foot as well as the other. THIS 

THIS Step is alfo made another Way, the Difference confifting in a Beat made by the Inftep in
the half Coupee, thus: The Body refting on the left Leg you fink upon it, and in the Movement the
right Leg which is off the Ground makes a Beat on the Inftep, and at the fame Time fleps afide in
the fecond Pofition rifing upon it, and fo you purfue the Boree as before. 

BESIDES there is ftill another which is called the clofe Boree, in which a Reft is made at the
fecond Step, which I will explain. The half Coupee muft be made backwards in the fourth Pofition,
the fecond Step quickly follows in the Third, and you remain a little in this Pofition on the
Toes of both Foot flide to the fourth Pofition, which Movement is made by letting the Knee of
the Hinder give way, which by its Flexion throws the Body on the foremoft Foot, and is the Extent
of this Step. 

THIS Step is ufed in all forts of Time and all Figures becaufe it is eafy and fluent, and is made
after the fame Manner in turning about as otherwife: But it is the Mafters Bufinefs to inftruct
their Scholars in the Regularity of the Dances they teach them, fince I fhall only explain the
Method of making all thefe different Steps. L THERE 

THERE is another Step of the fame Kind, which has the Name given it of the quick Boree or the Boree
of four Steps; but as I have confulted very able Mafters not only on the Manner of forming the
Steps, but alfo on the proper Names to be given them, and as I have found them divided in their
Opinions, I will not take upon me to make any Decision, but leave them at their Liberty of calling
them by what Names they think proper: But shall only say, that the true Boree is what I defcribed
firft, and the Second is a Fleuret; therefore as the true Boree has two Movements, and the Fleuret
but one, in my Opinion I may give this the Name of the Double Boree, fince it begins by a half Coupee,
then two Walks upon the Toes, and a half Bound, which ends this Step; therefore one may say that
it is compofed of a Fleuret and a half Bound. 

BUT as I only proposed to fhew the Manner of making all thefe different Steps, I fhall not infift
on the Etymology of their Names, becaufe moft of thefe Steps are taken from feveral Dances in
vogue in our Provinces, and which have all the Propriety of Names beftowed on them that the Art
will permit. 

FOR Example; the Rigaudon Step is taken from the Rigoudon , a Dance very much ufed in Provence
, and which the the Natives dance naturally, and every Diftrict different from another, which
I obferved while I was in that Country. 

THE Gavotte comes originally from the Lyonnois and Dauphiny , and 'tis from thence we borrowed
that Number of Contretems we have in Dancing, introduced by the Pains and Care of the many great
Mafters we have had, to whom we are obliged for having embellifhed thefe Steps with all the Graces
they appear at this Time. 

THE Boree comes from Auvergne , the Menuet from Poitou and Anjou , the Pafspied , which is the
moft light and active, is moft in fafhion in Bretagne , though feveral Hiftorians mention it
as a very old Dance: Befides, there are many more, the Original of which I don't pretend to give.

THERE is another Step called more diftinctly a Fleuret, and is made two Ways; but as I have not
met with it in any Ball Dance, I fhall take no Notice of it, having mentioned it only so far as it
relates to a Boree of one Movement, and is called a Fleuret: Therefore I fhall leave the Explanation
of it to another Volume, which will treat of the Manner of making all the feveral Steps in Theatrical
Performances. L 2 CHAP. CHAP . XXIX. Of Coupees of different Manners . 

THE common Coupee is compofed of two Steps, a half Coupee and a Slide: But for fear the Term Slide
fhould not be underftood by all that learn to dance, especially those young People whose over
Sprightlinefs makes them forget the Leffons taught them by their Mafters, I fhall make the
following Obfervation: A Slide is the Movement of the Foot before a Perfon, touching the Floor
very lightly; by which it is to be underftood that this Step is moved more flow than if it did not
touch the Ground at all; therefore a Slide fignifies a very flow Step, which in fome meafure
is the Perfection of the Coupee: The Sink ought to be made properly, the Rife in Cadence and fupported
with a Grace. When I fay that the Sink muft be made properly, I mean that a Perfon fhould fink at
the End of the Time, to rise again as the Time is beat, which in Terms of Dancing is called Cadence
. 

THEREFORE to begin this Step with the right Foot, the Body muft reft on the Left, and the Right
be brought in the firft Pofition; then bend both the Knees equally, and being being bent, move
the right Foot forwards in the fourth Pofition and rife on the Toes, extending the Knees; at
the fame Time the right Heel is fet down, and the Knee bends, and the left Leg flides forward in
the fourth Pofition, with the Weight of the Body refting on it, which finifhes the Coupee. 

OTHERS take it differently, that is after the half Coupee, being rifen on the Toes, they flide
the Foot into the fourth Pofition as they rife, the Toes pointing to the Ground, and the Leg well
extended, and as the Leg moves forwards the other Knee gives way, and by this Movement carries
the Body on the left Foot, which compleats this Step. Thefe two Manners are both good, but I think
the Firft the moft eafy, becaufe the Body is more firm by refting on the right Heel: It is made
backwards and fideways in the moft agreeable Pofitions, according to the Figure that is to
be followed. 

AS it is made feveral Ways, and the only Alteration confifts in the fecond Step, fince the Firft
is always a half Coupee, and having often explained the Manner of making thefe half Coupees,
I fhall repeat it no more in the following Steps, but only fay, a half Coupee with fuch a Foot.
There are alfo Coupees with a Beat often ufed in Ball Dancing: For Example; you make your half
Coupee forwards with the right right Leg, and the Left comes up ftriking the Calf of the Right
and retires back to the fourth Pofition. This Beat makes the Equivalent of Time which fhould
be referved for moving forwards. 

THERE are others where the half Coupee is made forwards: For Example; if you make the half Coupee
with the right Foot forwards, at that very time when you have rifen upon it the left Leg makes
a Beat behind and before, and moves afide or remains off the Ground, according to the Connexion
of the Step. 

AND others which end by the Opening of the Leg, or a Turn of the Leg, with the Foot off the Ground
to make another Step according as the Dance requires. 

THEN there is another fort of Coupee called a Slip, ufed only to move fideways on a Line either
to the Right or Left: For Fxample; if you would make thefe Slips to the Right, fink on the left
Leg to make your half Coupee with the Right ftepping afide in the fecond Position; and in rising
you draw the Left behind in the third Position, leaving the Weight of the Body on it to make another
with the Right; becaufe there are commonly three made together, though but two in a Barr, for
which Reason they ought to be made together, that by that Connexion the Movements fhould follow
one another. TAEY 

THEY are alfo made after another Manner, though they purfue the fame Course; where a half Bound
is made inftead of a half Coupee, and the hinder Foot is brought into the third Pofition: But
as three are made together as in the former, at the Firft the Foot is drawn behind, at the Second
brought before, and at the Third it ends fometimes before, or the Heels clofe together in the
first Position, and fometimes before in the fourth Pofition according to the Steps that follow.
Thefe laft are the moft lively, for their firft Motion is a half Bound; but a Scholar muft learn
to do the firft well, and the others will follow of themfelves. CHAP. CHAP . XXX. Of Coupees of
Motion . 

THIS Step is one of the moft graceful and gay of all the different Steps that have been invented,
for the Variety of its Movements, which are eafy and give a great Grace when underftood. 

FOR this Reafon I will lay down the Manner of performing it with all the Propriety that attends
it; therefore when you take your half Coupee, if forwards, you fink very eafily and rife on the
Foot you move forwards, the Legs well extended; the Body refting on the foremoft Foot draws
to it the Hinder, which is equally extended; but at the fame Inftant the Heel of the foremoft
Foot is fet down, and its Knee bends and the other Leg which is off the Ground opens a little afide,
and the Knee which is bent extending it felf throws that Leg forwards, letting the Perfon fall
upon it with a half Bound, which makes an End of this Step. 

I fay it is diverfified by thefe Movements, becaufe it is compofed but of two Steps, and thofe
two Steps contain two different Movements. The Firft is finking on one Foot, and making making
a Step with the other and rifing on it, which obliges you to do it gracefully. The Second is finking
on that Foot, and rifing with more Life to fall on the other with a half Bound, which makes this
Step gay and airy. 

FOR thofe that make it going fideways 'tis the fame Thing, only that they carry the Foot in the
fifth Pofition in the half Coupee, and in the Second for the half Bound: And others who take it
from the firft, they move the Foot afide in the fecond Pofition, rising upon it, and at the fame
Time fet the Heel to the Ground to fink upon it; then the half Bound is made a crofs to the fifth
Pofition, which finifhes the Srep. There are Examples of this Kind in the Louvre , which is one
of the fineft Ball Dances, wherein different Manners are fo properly introduced, that the
Legs feem to exprefs the Notes; which proves that Harmony, or rather that Imitation of Mufick
with Dancing, fince the Sweetnefs of its Sounds ought to be imitated by the moft easy and becoming
Steps: And as this is one of the most agreeable, there is a Manner of moving the Arms gracefully
with it, that fhall be explained in the tenth Chapter, Part the Second. M CHAP. CHAP . XXXI. Of
the falling Step and Gaillard . 

THIS Step is very fingular in the Manner of making it, and I believe has its Name only from its
Formation, whereas for the moft Part all others are compofed of other Steps but this is different
from its firft Movement; for you muft firft rife on the Toes and fink after the Step, as will appear
by this Defcription of it: For Example; to make the falling Step with the right Foot, having
the Body refted on the Left, and the Legs afunder in the fecond Pofition, in rifing on the left
Foot the right Leg follows; for the Body inclining to the Left, draws the right Leg, which falls
behind in the fifth Pofition, refting intirely on the Ground, and its Knee bends which raifes
the left Foot, and the right Knee extending again obliges you to fall on the left Foot in the fecond
Pofition, which is a half Bound. This Step is not difficult to perform when a Perfon knows how
to take the proper Movements; for 'tis the Strength of the Inftep and Inclination of the Body
that draws the Legs, and the Knees bend as if their Strength failed them, which forces the Heel
of the right Foot drawn behind to rest on the Ground, and its Knee bending by the Weight of the
Body upon upon it, like a Spring prefs'd ftrives to extend it felf; therefore the Knee by its
Extenfion throws the Body on the left Foot, which compleats the Step. 

THE Defcription I have given of this Step is only to fhew the Singularity of it, and to give a clearer
Idea of it to be the better able to perform it, becaufe another Step goes before this and by their
Union obliges it to change its Name. 

FOR Example; it may be preceded by a Coupee or March, and very often by a joined Step which makes
it change its Name to that of the Gaillard Step; for the Gaillard is compofed of a joined Step,
a Walk, or a falling Step, which is all the Compofition and is often repeated in a Dance which
bears its Name, which makes me believe that to be the Reafon of its acquiring the Name of the Gaillard
Step. 

HOWEVER it may be, this Step is very graceful and juftly preferved in Ufe, and is introduced
in feveral Ball Dances: It is made both before and afide bringing up the Feet in the fame Manner.

I fhall begin firft with that made forwards: Having then the left Foot before in the fourth Pofition
and the Body on it, the Heel of the right Foot off the Ground ready to move, M 2 from from thence
you fink on the left Foot, and at the fame Inftant the right Leg rifes; and in rifing to make a Bound
the right croffes before in the third Pofition; falling from this Rife on both Feet with the
Knees extended, and the right Leg which had croffed before, fteps forwards in the fourth Pofition
with the Weight of the Body upon it, and rifes at the fame Time, which brings the left Leg behind
up to the Right; but it no fooner touches it than the Foot is fet down to the Ground, and the Body
refting upon it makes the left Knee bend by its Weight, which obliges the right Leg to rife; but
at that very Moment the left Knee that is bent endeavouring to extend its felf, throws the Body
on the right Leg which refts on the Ground in making a Bound, called Fette chaffe ; but in falling
on the right Leg the Left rifes and the Body being in its Equilibrium or Balance, intirely refted
on the right Foot: You may from that Situation do as much with the left Foot: I think this Step
very graceful when well executed, and deferves Attention: It is alfo made fideways on a Line
but different from that forwards. 

FOR Example; having the Body refted on the left Foot, you fink and rife with a Bound, and bringing
the right Foot up to the Left in the firft Pofition falling on the Toes of both Feet; but the Body
refts on the Left, becaufe at the fame Time Time you move the Right afide in the fecond Pofition,
rifing upon it to make your falling Step, which is the fecond Part of the Compofition of the Gaillard
Step: But as I have given already a Defcription large enough of the falling Step, it feems ufelefs
to repeat it a fecond Time, this Step being always preceded by a Coupee and produces a good Effect
by the referved Time that ought to be obferved in the Performance. CHAP. CHAP . XXXII. Of Pirouetts
. 

THE Pirouett is a Step which is made in one Place, that is to fay, it neither moves backwards or
forwards, but its Propriety confifts in the Body's turning about either on one Foot or both
as on a Pivot, either in a quarter or half Turn, according as the Foot is croffed or the Figure
of the Dance requires. 

SUPPOSING it then to be made with the right Foot in a quarter Turn to the Right, fink on the left
Foot the Right being off the and as the left Knee bends the right Foot that is off the Ground forms
a half Circle; then fetting down its Toe behind the left Leg in the third Pofition to rife on the
Toes, you make a quarter Turn; whereas if you would make a half One, you muft fet down the Toes
of the croffing Foot even in the fifth Pofition which in your rifing will make it a half Turn.

IT is alfo to be obferved that when you rife, the Foot which made the half Circle, and was fet down
behind in the third or fifth Pofition, by the Body's turning, changes its Situation Situation
though not its Pofition the Foot behind becoming foremoft But when you have rifen and made the
quarter or half Turn, the Heel of the Foot on which the Body refted muft be fet down to be the more
firm to take another. 

THIS Step is very agreeable when made carefully, and ought to be attended with a Movement of
the Arms, and a graceful Inclination of the Head to make it perfest; which fhall be explained
more at large in the fecond Part, this treating only of the Formation of the Steps, and the other
of the Movement of the Arms, according to the Rules of Art. 

BUT as this Step is very becoming and requires fome Thought to make it well, it has engaged me
to make the following Remarks for the better Inftruction to perform it is all its Proprieties.

FIRST in the Pirouett, in which the Body refts only on one Leg, the Sink ought to be taken very
eafily, the Body refting intirely on the Leg that bends, becaufe the other that forms the Circle
has nothing but the Toes on the Ground, and is only ufed as a Guide for the Body, if I may be allowed
to fay fo, to turn fo far as it points; and when you rife again it fhould be with the fame Ease that
you funk, for eafy Movements are always the moft graceful and agreeable. IT 

IT is made after another Manner, which is finking on both Legs, and is a very eafy Step, it being
nothing more than finking equally on both Knees, and rifing again: For Example; the right Foot
being before in the fourth Pofition, the Body refted on both Legs, you fink on both Knees and
rife again, turning the Body a quarter Turn to the Left, and the contrary Way when the left Foot
is foremoft. 

THERE is alfo another in a different Kind from the former, after this manner: Being in the fecond
or fourth Pofition, for it is taken equally from either, and the Body on one Foot, the Toes of
the other on the Ground, you fink with both Knees and rife with a Hop on the Foot whereon the Body
refted; but in making the Hop, the Leg of that Foot which was but pointed on the Ground, extends,
following the Body in the Turn it makes either to the Right or Left. If you are to turn to the Right
you fink and hop on the left Foot, and the right Leg and Arm are extended and the fame with the other
Leg and Arm if you turn to the Left. CHAP. CHAP . XXXIII. Of Ballances . 

A BALLANCE is a Step made on the Spot, as a Pirouett, but is commonly made to the Prefence, though
it may be made turning; but as it is only the Body that turns, and no different Motion is made in
the Step, for this Reafon I will defcribe the Manner of making it to the Prefence: Firft I fhall
tell you that it is compofed of two half Coupees, the one made before, and the other behind; viz
. you fink from the firft Pofition, and make a Step in the Fourth, rifing upon the Toes; then you
fet the Heel on the Ground, and the other Leg that is off comes up to that before which you rofe
upon, then you fink on that Foot with which you made the firft Step, and the other being bent,
fteps again backwards in the fourth Pofition and you rife upon it, which finifhes the Step:
But at the firft half Coupee the Shoulder is fhaded and the Head makes a fmall Motion, which gives
a Grace to this Step, and which I fhall explain with the Manner of moving the Arms in the fecond
Part. 

I have feen many make them fideways in the fecund Pofition, but they do not appear to me fo graceful,
becaufe the N Body Body feems to waver; befides, the Motions of the Head and Arms are not fo advantageous:
For thofe that are made in turning, they all depend on the Sink and Rife, and the Prefervation
of the Proportion of the Step, and the Pofition of the Feet that the Body may keep its Poize, fince
all Steps made in turning are more difficult in their Execution than thofe made forwards. 

THE Ballance is a very becoming Step, and is ufed in all forts of Time; though the two Steps of
which it is compofed are raifed equally with one another, and for this Reafon it is that it is
fo agreeable to all forts of Time, becaufe it is the Ear that is the Guide, and quickens or flackens
the Movement. 

IT is very much ufed in figured and common Menuets, as well as the Paffpied: It is made inftead
of a Menuet Step, and therefore ought to be more flow, fince the two Steps are to take up the Time
of four. CHAP. CHAP . XXXIV. Of the Siffonne Step . 

HAVING taught the Manner of performing all the different Steps confifting in only finking
and rifing, I now come to thofe the Movements of which require more Strength, which are the fpringing
or hopping Steps; and as the Siffonne Step feemed to me to be the moft eafy, I fhall begin with
it to teach the Manner of making them. 

THE Compofition of this Step confifts of two Manners of fpringing or hopping different from
one another; viz. to fink to rife and to fall again to fink, and the other being funk is to rife
again with a Hop: Therefore if you would make this Step with the right Foot, having the Body refted
on the Left you muft fink upon it, and the right Leg which is free from the Floor, opens at the fame
Time afide; but when you rife again with a Spring or Hop, it croffes before the Left in the third
Pofition, falling on both Feet, and remains bent to rife again with a Hop at the fame Time on the
right Foot, which finifhes the Step. 

IT is made after the fame Manner backward, except that inftead of taking the Movement from behind
to make it N2 forwards, forwards, it fhould be taken from the Leg before to make it behind, falling
on both Feet in rifing on the Leg that moved backwards. 

THERE are others that are made on the Spot, but at the fecund Hop you rife on the hinder Foot, that
is, you fink on the left Foot in hopping, and in falling on both Feet, and at the fecund Hop you
rife on the left Foot, and the right is off the Floor ready to make another Step. 

THEY are made alfo turning, the Manner is the fame of falling on the Feet and rising on one Foot;
there is only the Turn of the Body that makes the Difference, becaufe the Legs being to fupport
the Body, they follow it in all its Motions: Besides, the Master in leading his Scholar by the
Hand will confirm him in what this Difcourfe has hinted. 

STEPS in turning are more difficult than thofe made forwards: There are others befides that
are almoft the fame as before-mentioned, except that the firft Hop you fall on both Feet, without
bending the Knees; but then you fink afterwards to make the fecond Hop, which may be called the
Siffonne Coupee, becaufe there is a Reft made to fink at the fecond Hop. This Step is placed in
different Strains in the Dance called the Louvre ; and as it is a Meafure of flow triple Time,
this Step ought to be made in that Manner, becaufe it compleats the Time and expreffes the Cadence
better. CHAP. CHAP . XXXV. Of the Rigaudon Step . 

THIS Step is very fingular in its Compofition, and is made in the fame Place without advancing
or retiring back, or going fideways; and if the Legs make feveral different Motions it is very
lively in its Manner, therefore it is fet to a light double Time, as Borees, Rigaudons, &c. 

IT begins from the firft Pofition, you fink equally on both Knees and rife with a Spring or Hop;
and in rifing the right Leg opens at the fame Time fideways, and the Knee extends and returns
at the fame Time to the firft Pofition but it is no fooner fet down than the Left rifes opening
afide without any Motion of the Knee, the Movement being taken only from the Hip, and falls down
at once; both the Feet being upon the Ground you fink and rife with a Hop, Bound, or Spring, falling
on both Feet, which makes an End of this Step. Afterwards you make another Step either forwards
or fideways, according to the Step you defign to make, but independant of the Rigaudon Step,
only to unite that Step with another, and to render the Movement of the following Step more eafy
ALL 

ALL thefe different Movements fhould be made together, forming but one Step to a Barr of double
Time, as I have already faid; therefore all the Care that is to be taken in making this Step is
to extend the Knees well when you rife, and when you make a Bound or Spring to fall on the Toes with
strait Knees, which makes you appear more light and active. 

AS this Step is very much ufed in Provence , I have feen it made fomewhat different in that Country,
where inftead of opening their Legs fideways they crofs them a little forwards: But the Step
has not the fame Grace; and befides when you make them with one Leg before another, it looks as
if you were going to kick the Perfon with whom you dance. CHAP. CHAP . XXXVI. Of Bounds or half
Capers . 

As thefe Bounds have been mentioned in feveral Places without any Inftruction given how to
make them, they fhall the Subject of this Chapter, to purfue the Order of Steps, that is to proceed
from the moft eafy to the moft difficult. 

THIS Step makes but part of another Step, as has been already obferved; therefore a fingle Bound
cannot compleat a Barr of Time in Musick, but two muft be made together to be equal with another
Step; but it is eafily joined in the forming of other Steps, as we fee at the End of the Menuet Hop
in the Coupees of Motion, the falling Step, the quick Boree, &c, which gives them more Life..

AS Rifing confifts in the greater or lefs Strength of the Inftep, fo this Step depends on it to
be performed with Activity. To make one forwards, I fuppofe the left Leg before and the Body
upon it, the Right clofe to it and ready to move the Moment you fink on the left Leg; and when you
rife, which is by the Force of Extension of the left Leg, you fall fall on the Toes of the Right,
which had compleated its Motion forwards in the Sink, and fet down the Heel afterwards, which
is all the Step: Therefore you may make feveral together with one Foot as well as the other, obferving
this Rule. 

THEY are alfo made backwards and fideways, by finking on one Leg and falling on the Toes of the
other. 

THEY are yet made after another Manner which requires more Strength in the Spring, Quicknefs
in the Rife, and Extenfion of the Legs, ftriking them one againft the other, falling on the contrary
Foot to that funk upon, and then change their Names and are called half Capers: But as thefe are
Steps for the Stage, and in this Treatife I undertook to teach the Manner of making Steps ufed
in Ball Dancing, I fhall not trouble my Reader with thefe latter, which are only for thofe whofe
Form is exquigitely nice, and who make Dancing their Bufinefs. 

AS for Women they ought not to fpring fo much, it is fufficient that they keep time in finking
and rifing eafy on the other Foot; therefore in a Dance with a Woman, wherein there are Bounds
and other fpringing Steps, a Man fhould moderate them to preferve that Harmony between the
Sexes so effential in Dancing. CHAP. CHAP . XXXVII. Of The Contretems of the Gavotte, or Contretems
forwards . 

THE Contretems are thofe fpringing Steps which give a Life to Dancing by the different Manners
of their Performance; for this Reafon I fhall fhew how to make them forwards as the eafieft Way.

TO make one with the right Foot, the Body muft be on the Left in the fourth Pofition, the Heel of
the right behind up; then fink upon the Left, and rife upon it with a Spring; but at the fame Time
the right Leg, which was ready to go, moves forwards in the fourth Pofition and on the Toes, both
Legs well extended; afterwards make another Step forwards in the fourth Pofition with the
left Foot, which makes the Contretems compleat. 

AFTER the fame Manner it is made behind: For Example; the left Foot being behind in the fourth
Pofition with the Body upon it, fink on that Foot and at the fame Time let the O right right Leg
rife extended, and fall behind in the fourth Pofition; afterwards make another Step behind
with the left Foot and on the Toes; but at this laft Step the Heel muft be fet down, which makes
the Body reft eafy and finifhes the Step. This Step is made in a Barr of quick, common, or triple
Time, and in the Time of a common Boree. CHAP. CHAP . XXXVIII. Of feveral forts of Contretems
fideways . 

THE Contretems fideways is made different from that forwards, efpecially that with the Legs
croffed; the Difference is, that in that forwards you fink but upon one Foot, and in this on both:
For Example; if you are to make a Contretems coming from the Left, it muft be with the right Foot
having both Feet in the fecond Pofition and the Body perpendicularly upright; then fink as
this Figure reprefents, and rife with a Spring. 

BUT as the Movement of fpringing requires more Strength than that of rifing upon a half Coupee,
in rifing again the right Leg throws the Body on the left Foot, and remains off the Ground extended
by it, as reprefented by this fecond Figure; afterwards you make a Step with this fame Leg croffing
before in the fifth Pofition, refting the Body on it, and then make another Step with the left
Foot afide in the fecond Pofition, which makes an End of this Step. O 2 MANY 

MANY People make this the fame Way as that forwards, that is to fay, the Body being on the left
Leg they fink upon it, the right off the Ground, but to me the Body does not feem so firm, and the
Leg moves too quick; befides, it has not so good a Grace, which I have often obferved, and for
this Reafon I have given this Attitude that it may be the better apprehended. 

THESE Contretems are alfo made in turning, and are taken after the fame Manner; therefore in
making this Step, you may make a half or three quarter Turn according to the Compofition of the
Dance. 

IT is made alfo after another Manner, which is called the Chaconne or open Contretems, and which
is different, yet is made by bringing up the contrary Leg as well as that forwards, viz , the left
Leg being before and the Body upon it, the right Leg comes up behind, and you fink and rife on the
left Leg with a Hop, and the right Leg which is off the Floor moves afide in the fecond Pofition,
and the Left behind or before in the fifth Pofition, which is the Extent of this Step, which is
generally made ufe of to go fideways, and is compofed of one Movement with a Spring and two Walks
on the Toes; but at the Laft the Heel muft be fet down to make the Body firm to be able to take another
Step. But this Way of of making this Step is to go to the Right, whereas the Hop or Spring contrariwife
muft be made on the right Foot to return to the Left. 

IT is alfo to be obferved after a Sink and Spring, or Hop, to fall again on the same Spot, efpecially
in genteel Dances, in which the Steps ought to be performed with all Regularity and Proportion.

THERE is yet another fort of Contretems called the Contretems or Compofed Hop of two Movements,
which Manner is the most becoming and gay, efpecially for thofe that are light and active, and
alfo makes thofe fo who are not fo naturally, would they but make a clofe Application; but for
the better Apprehenfion I will explain it in all its Circumftances. 

THIS Step is made forwards, backwards, or fideways, as well one way as another; but I fhall begin
with that made forwards: To make one with the right Foot, the Left muft be before in the fourth
Pofition with the Body upon it, then fink and rife with a Hop on the fame Foot, the right Leg behind
moving forwards at the Time of the Sink, and remaining extended off the Floor during this firft
Movement; afterwards another Movement is made by a Sink on the left Foot, which throws the Body
on the right forming a Bound; therefore this Step is compofed of two different Movements, Movements,
to wit, to fink and hop on one Foot, and then to fink on the fame Foot and throw the Body on the other.

I have already faid that all these different Steps are equally the fame for Women as well as Men,
only that they fhould not fpring so high: But as to the Sinks they fhould always be made full,
efpecially at firft learning, becaufe they render a Dance more agreeable; whereas when they
are not, the Steps are hardly to be diftinguifhed, and the Dance feems ftiff and dry. 

I have told you that thefe Steps are the fame back wards, obferving the fame Circumftances;
that is to fink and hop on the Foot placed behind, while at the fame Movement the Foot before rifes,
remaining off the Ground and is fet down behind when the fecond Movement is made, which is a half
Bound, and ends this Step. 

THOSE fideways are commonly taken after a Boree Step before and behind; therefore you fink
and hop on the Foot that makes an End of the Boree, and that which is before rifes; and at the fecond
Movement you fall on that Foot, placing it in the fecond Pofition. CHAP. CHAP . XXXIX. Of Chasses
of different Manners . 

As there are feveral Chaffes different from one another I fhall begin with the moft eafy, or
thofe moft ufed in Ball Dances, fuch as l' Mariee, l' Allemande, la Babet , and feveral others.

THIS Step is commonly preceded by a Coupee, or other Step that leads to the fecond Pofition,
becaufe this Step is taken from that Pofition, and is made fideways either to the Right or the
Left; but to explain it more clearly I fhall fix the Side: For Example; if to the Left you fink
on both Legs and rife with a half Spring or Hop, that is to fay, flipping on the Ground; and in taking
this Movement on both Feet, the right Leg approaches the Left to fall in its Place; therefore
by confequence the Chaffee drives it farther off in the fecond Pofition, which ought to be performed
very quick; becaufe you fall again on the Right firft, and the left Leg is placed quickly in the
fecond Pofition, which makes it appear as if a Perfon lighted on both Feet, as two are commonly
made together; for this Reafon at the firft Spring you fall again, fink, and at the fame Time
fpring a a fecond Time, carrying the Body either on the right or left Leg, according as the next
Step requires: But when you have made feveral together, as in the Allemande , you make your Springs
or Hops together without rifing on one fingle Foot, and without rifing as practifed when there
are but two, as I have already faid. 

THIS Step is fluent, becaufe in fpringing you gain Ground to perform the Figure which the Dance
requires; it is gay when feveral are made together, for one appears to be always off the Ground,
and yet with only a half Spring. 

IT is made the fame backwards, changing only the Pofitions, viz . being in the fourth Pofition,
the right Leg before, you fink and rife with a Spring returning back, and the right Leg in falling
comes into the Left's Place, which drives the hinder back in the fourth Pofition; but as you
fall with a bent Knee after the firft Spring, fo after the Second you rife with a ftrait one, either
on the right or left Leg, according to the Step that follows; observing always that at the firft
Spring that it is the foremoft Leg that drives the other, and is always set down firft, as I have
said of thofe fideways. THERE 

THERE is also another Sort which properly may be called Bounds en Chafez , as will appear by the
Manner of making them, which is thus: The Body being on the left Leg you fink on it, and the Right
which is off the Floor moves forwards extending it self, and when you have rifen it crosses with
a Bound in the third Pofition, which forms this Bound Chaffee ; this right Foot falling before
the Left takes its Place, and by confequence obliges it to rife behind and the right Knee to bend
afterwards; but in rifing you throw your felf on the Left, which falls behind in the third Pofition
driving the Right and making it rife; then you fink on the left Leg and throw your felf again on
the Right, as at the firft. These three Movements ought to follow one another without any Interruption,
as well as the Ballance of a Pendulum: For the Moment that you fink on one Leg, its Movement raifes
the other, and in rifing you throw the Body on the right Foot before, and at the fecond Movement
you fall again on the Left; by which you see the Equilibrium or Balance to be obferved in this
Step, and which is the Beauty of it. 

THERE is alfo another, which comes up very near to this laft, but is different in this, that it
hath two Steps in its Compofition; the Firft is a Bound, and the Second a Walk after this Manner:
For Example; if you return to the Left, having the Body on the left Foot, and the Right off the
Floor as this firft Figure reprefents, from that Situation you P fink fink easily, and in rising
the right Leg which is off the Ground is brought up to the Left, making a Bound en Chaffez , letting
the right Foot fall behind the Left in the third or fifth Position; this bounded Movement, by
the Weight of the Body, which falls with the Foot, raises the left Leg, which afterwards moves
fideways making a Walk on the Toes; but it is no fooner set down than the Body comes upon it, which
raifes the right Foot, and the left Heel is fet down to be the more firm to make another, becaufe
these Steps are made very light, being no more than half Movements of the Inftep, Knee, and Hip.
This Step has two different Times, the right Leg rises at the Beginning, as demonftrated by
the firft Figure, and in falling on the right Foot the left Leg rises extended, as you see by this
second Figure; and from thence you move into the second Pofition, which ends this Step. They
fhould be made together, and very quick, becaufe they fall between two Barrs of quick common
Time, and are very gay and lively. There are other Sorts, but not ufed in Ball Dancing, therefore,
I pafs them by. C H A P. CHAP . XL. Of Sallies or Starting Steps of the Feet . 

This Step having appeared fingular to me in its kind, and as it is introduced in a Dance called
the Babette , I think my felf indifpenfably obliged to give a Defcription of it. 

IN its Manner it feems to me to partake of the falling Step, for a Perfon muft be raifed on his Toes
to begin it. 

BEING raifed on the Toes, as I have faid, the Feet in the fourth Pofition, and the Weight of the
Body equally on both, fuppofing the right Foot foremoft, you from thence let your two Legs ftart
start or flip, as if your Strength failed you, letting the right Foot flip behind and the Left
come forwards, feparating both at the fame Time, and in falling the Knees bend and at the fame
Inftant you rife again, re-placing the right Foot before and the Left behind, which brings
you to the fame Pofition from whence you began: But ftill you, Kness are bent, and you rife at
the fame Time throwing the Body on the left Foot, and bringing by this fpringing Movement the
right Foot up to the Left, refting the Body in the P2 firft firft Pofition you then make a Step
with the left Foot, which is called difengaging disengaging the Foot, and give your felf Liberty
to purfue other Steps; but this Connexion of Steps is made in the Extent of two Barrs of quick
common Time, and I have endeavoured to defcribe the Particulars as full as poffible for the
more cafy Performance of it. 

THIS Step is alfo made in turning; and there are befides ftarting Steps after this Manner, viz
. having both Feet in the firft Position and raifed on the Toes, you let them ftart afunder the
Diftance of the fecond Pofition, the Kness bent in falling, and in rifing you bring both the
Feet clofe together again in the firft Pofition, and afterwards difengage one or the other
to make what other Step you defign. 

BUT that you may underftand this Step better in all its Movements, I have put thefe three Figures
together to fhew the different Actions, viz . The Firft is when you are raifed on your Toes the
right Foot before and you let both Feet ftart afunder, the right Foot which was before falling
behind with the Knees bent as this firft Figure reprefents; the Second fhews the Change at the
fecond Movement, when the right Foot comes again before, the Knees bent as before; and the Third
reprefents the laft Movement, which ends in a clofed Step and compleats the Whole. CHAP. CHAP
. XLI. Of the Opening of the Leg . 

THE Opening of the Leg is an Action which the Leg performs to fhew the Agility requifite to keep
the Body in its Equilibrium or Poize while one ftands on the other Leg, and alfo to make it appear
that one knows how to move with Grace and Eafe without difordering the Body, which is one of the
Perfections of Dancing, to know how to move the Legs in different Steps and keep the Body upright
and in an agreeable Situation: Befides, this Step or Action being made very flow after another
Step which has been performed quick, affords a Variety that denotes a good Tafte of Dancing,
by preferving a Gravity in the flow Steps and Activity in the quick. 

THEREFORE if you are to make an Opening of the Leg with the left Foot, the Body muft reft on the
Right in the fourth Pofition, that the hinder Leg may rife from its Pofition and move flowly
by the Right, croffing before in a half Circle which ends fideways, the Leg remaining ftill
off the Floor to make any other Step the Dance requires: But to give a fuller Demonftration,
when the left Leg moves forwards to the Right its Knee is extended, and when it croffes it bends
extending again in finifhing the half Circle, as expreffed by this Figure, where the Words
are thus written; The half Circle made by the Leg . CHAP. CHAP . XLII. Of Beats after different
Manners . 

BEATS are alfo Movements off the Floor, made by one Leg while the Body refts upon the other, and
embellifh Dancing, especially when made free and eafy: And as they are made feveral Ways and
are often intermixed in Ball Dancing, I fhall fhew how to perform them. 

FIRST it muft be underftood that the Hip and Knee form and difpofe this Movement, the Hip guiding
the Thigh in opening or clofing, and the Knee by its Flexion making the Beat by croffing the other
Leg either before or behind. 

SUPPOSING then the Body on the left Foot, and the Right off the Ground well extended, you muft
crofs it before the Left, bringing the Thigh clofe and bending the Knee, and extend it opening
fideways, the Knee bending again in croffing behind; then extend it again and make feveral
together, as well with one Leg as the other, till by practice you'll come to make them quick,
obferving at each Beat to extend the Knee after you have bent it. THEY 

THEY are taken fometimes hopping, and begin with a fort of Contretems in hopping on one Leg,
afterwards the Leg which is off the Ground makes two Beats, one before and the other behind,
and falls in the fourth Pofition behind with the Weight of the Body upon it, to be able to do as
much with the other Leg. 

THE Body upon making thefe Beats ought to be fhaded on the fame Side; that is to fay, if the Beat
is made with the right Leg the right Shoulder ought to be drawn back. 

IT fometimes happens that fingle Beats are intermixed with other Steps: For Example; you make
a Coupee forwards with the left Foot, and the right Leg which is behind makes a Beat, ftriking
againft the Left, and falling back in the fourth Pofition; but this beat is made with the Legs
ftraigt, becaufe upon the half Coupees made forwards, one fhould be raifed on the Toes and the
Legs extended, and this is the Time in which you make this Beat, the right Leg falling back, the
left Heel is fet down to the Ground, which makes it very cafy for the right Foot to fall in the fourth
Pofition, as I have already faid in the Chapter of Coupees. 

THERE are alfo other Beats differently made, wherein the Hips are only employed, as in Capers
and other Steps made made ufe of in Stage Dancing, which would engage me in oo long a Defcription;
therefore I fhall make an End of this firft Part to come to the Second, which teaches the Manner
of moving the Arms agreeable to every different Step. 

The End of the Firft Part. THE THE Dancing-Mafter. PART the Second CHAP . I. A Difcourfe on the
Arms, and of the Ufe of knowing how to move them gracefully . 

NOTHING is more advantageous to thofe who have an Inclination for Dancing, and a Difpofition
to perform well, than to take care to move their Arms with a Grace: For this Reafon they fhould
be attentive to the Rules I am going to prefcribe, that they may the more eafily take their Leffons
of their Mafters, and improve. Q INDEED 

INDEED a good Mafter knows how to difpofe them properly according to the Make of his Scholar,
to raife them higher if of low Stature, and if Tall to bring them down to an Equality with the Hips;
but if the Subject is of a juft Proportion, he fhould keep them out even with the Pit of his Stomach:
A Remark I have known to be made by the moft able Mafters of this Age. 

AND befides, every Body knows that Monfieur Beauchamp was one of the firft that introduced
them, and laid down Rules, and from thence the Defires of fo many Perfons of both Sexes have arofe
to practife them to add to all the other Graces, for which they are obliged to him and fome other
extraordinary Mafters. 

FOR my own part I fhall only fay that I look upon the Arms in Dancing as a Frame made for a Picture;
for if it is not made to fit, how beautiful foever the Picture may be, it will want an Ornament:
Therefore how well foever a Dancer may perform with his Feet, if his Arms are not eafy and graceful,
his Dancing will appear heavy and dull, and by confequence will have the fame Effect as a Picture
without its Frame. Some may argue that it is a particular Gift, I own it; but neverthelefs I hope
to be able to lay down Rules to acquire them by a full and plain Demonftration, which may contribute
to the Improvement of Youth, as well as the Eafe of their Mafters, which is all that I propofe
in my Book. CHAP. CHAP . II. Of the Pofition of the Arms and their proper Elevation . 

AS the Grace of the Body, as I have already faid, depends on the moving the Arms well, one cannot
take too much Precaution to underftand how to difpofe them firft, that they may move with all
neceffary Freedom; therefore I fuppofe in the Elevation which I reprefent by this Figure,
that a Perfon fhould be well proportioned, and of a middle Stature, fo that in my Opinion, and
according to the Rules, the Arms fhould be raifed to the Height of the Pit of the Stomach, as demonftrated
by this Figure. 

IT is drawn in a front Profpect to diftinguifh all the Parts in a juft Proportion, the Head is
upright, and the Body refted on both Legs, with the Feet in the fecond Pofition, which is relative
to the Arms, in that the Legs being open and the Feet on the fame Line, the Arms ought to be opened
and raifed equally; for if they were higher they would look like a Crofs, and befides would be
more ftiff, and want that Softnefs; yet as there is no general Rule without an Exception, Q2
and and as we are obliged to help or hide the Defects of Nature, it is the Bufinefs of the Mafter
to make a proper Difpofition for the Scholar: For Example; if a Perfon's Shape be too short,
he fhould neceffarily make him raife his Arms a little higher to make his Shape more eafy, which
by confequence will add a Grace: Whereas on the other hand, if the Wafte be too long, the Arms
should be levelled to the Height of the Hips, which diminifhes in fome meafure that Difproportion,
and gives all that Air which would have been wanting without this Care. I have alfo reprefented
the Hands neither open nor shut, that the Movements of the Wrift and Elbow may be performed with
all Eafe and Freedom; whereas if the Thumb was to touch one of the Fingers, it would make the Motion
more ftiff. 

I am not fo over fond of the Attitudes of my Figures for the Elevation of the Arms, but have advifed
with People of great Abilities, not only in Dancing but alfo in Drawing, whofe Approbation
was that they were drawn according to Rule, and to move with Eafe in the different Steps where
Contraft, which fets off Dancing, is to be obferved. CHAP. CHAP . III. Of the different Movements
of the Arms . 

WE reckon three Movements of the Arms as well as the Legs, the which are relative one to the other;
viz . that of the Wrifts, that of the Elbows, and that of the Shoulders, which muft agree with
thofe of the Legs in this, that if you make half Coupees in Marches and Openings of the Legs, and
other Steps which are taken more from the Inftep than the Knee, the Wrifts then move; whereas
if they are Steps where the finking is lower, fuch as the Boree Step, Courant Step, the Siffonne,
the Contretems, and other Steps which require Contraft or Oppofition, then 'tis the Elbow
that moves or is moft in fight; becaufe the Elbow ought not to move without being attended in
its Motion by that of the Wrift the fame as the Inftep and Knee, which cannot finifh its Movement
without rifing on the Toes, therefore of Confequence the Inftep compleats it. 

AS to the Movement of the Shoulder it is not apparent but in the falling Step, where it feems by
the Inclination of the Body as if ones Strength failed one; fo the Shoulder by its its Movement
makes as if the Arms fall, which fhall be explained hereafter in the Manner of moving the Arms
in each Step. 

THESE Movements of the Shoulder appear yet more in Oppofition, in that the Arm being extended,
the Shoulder is fhaded behind: For Example; if you go by any one afide, you draw back your Shoulder.
But to underftand it better, I fhall explain the Manner of taking the Movements of the Wrifts,
feparately from thofe of the Elbows, in the following Chapters, to fhew the Difference, that
we may be able to come at that Exactnefs and Gracefulnefs which Dancing requires. CHAP. CHAP
. IV. Of the Manner of moving the Wrift . 

THOUGH the Movements of the Wrifts feem no ways difficult, yet they deferve our Attention in
that they afford Grace when they are moved with Eafe, and according to the Rules which I fhall
lay down; therefore I fhall place Figures in all the neceffary Places for fuller Inftruction,
as appears by this firft Demonftration (I), which reprefents the Hand turned upwards, and
by (2) the Hand downwards, the one oppofite to the other. 

BUT as the Movement of the Wrift is taken two Ways, viz . from above downwards, and from below
upwards, therefore when taken from above downwards the Wrift muft be bent inwards making a
Turn of the Hand, which from this fame Movement returns to its firft Situation, as demonftrated
(3) by thefe Words, The Turn of the Hand , which exprefs the Manner conformable to the firft Reprefentation
of the Arms (1); but Care fhould be taken not to bend the Wrift too much, which would make it look
lame. AS 

AS to the fecond Movement which is taken from below upwards, the Hand being turned downwards
as reprefented by (2), the Wrift muft be bent (4); then let the Hand return upwards, making a
half Turn as traced by thefe Words, The Turn of the Wrift ; and by this Movement the Hands are in
the fame Situation as at (I). CHAP. CHAP . V. Of the Movement of the Elbow and Shoulder . 

THE Elbow as well as the Wrift has its Movement from above downwards, and from below upwards,
with this Difference, that when you bend with the Elbows the Wrifts move with them, which prevents
the Arms from being ftiff and gives them a great Grace; but yet the Wrift muft not be bent too much,
for that would look extravagant, and is the fame with the Legs; for when you bend the Knee it is
the Inftep that compleats the Movement by rifing on the Step, and fo of the Elbow with the Wrift.

BUT as thefe Movements require a clear Underftanding, the demonftrative Figures which I have
made ufe of feem to me as neceffary as the Difcourfe, which obliges me to make ufe again of this
fecond Reprefentation of the Arms, that nothing may be omitted to make all thefe Movements
proper. 

THEREFORE to move from above downwards, the Arms being difpofed as they are reprefented (5),
the Elbow and Wrift muft be bent, as thefe Words, The Turn of the R Elbow , Elbow, The Turn of the
Wrift fhew you; and when the Arms are bent (6), you extend them (7), and the Arms return in the
Situation they were before at (5): So alfo when you make a Movement of the Wrifts, they fhould
bend and extend the fame as if they bent with the Elbows. 

AS to the fecond Movement which is taken from below upwards, the Hands are turned down as fhewn
by (8), the Wrifts and Elbows muft be bent in making only a Circle, as traced by thefe Words, From
below upwards , in both to fhew that they ought to bend equally together, and return in the fame
Attitude (5). 

THIS laft Movement from below upwards is as neceffary as the Firft, becaufe there are Steps
to which they muft be moved from below upwards by Oppofition; for commonly the extended Arm
is turned downwards, and bends in Oppofition to the contrary Foot, which fhall be explained
more at large in the following Chapter. 

AS to the Movement of the Shoulders, as they are no where distinguished but in the falling Step,
when the Arms are extended (9) they muft fall a little lower than the Hips, without bending either
Elbows or Wrifts, as expreffed by thefe Words, The Fall, The Rife , at each Arm; for when they
fall they rife to the Height again from whence they fell, which is folely by the Movement of the
Shoulder. CHAP. CHAP . VI. Of the Oppofition of the Arms to the Legs . 

OF all the Movements in Dancing, Oppofition or the Contraft of the Arm to the Leg is the moft natural
to us, and the leaft regarded: For Example; to fee different Perfons walk, you will find that
when they ftep with the right Foot forwards, the left Arm will naturally oppofe it, which feems
to be a certain Rule: And on this fame Rule able Dancers have moved their Arms, bringing the Arm
in Oppofition to the Leg, that is, when you have the right Leg before you, the left Arm ought to
be in Oppofition during the Extent of the Step. I call it the Extent of the Step, becaufe in the
Courant March, which is but one Step, if 'tis made with the right Foot the left Arm moves oppofite,
as alfo in the Boree Step, or Fleuret forwards, the which though compofed of three Steps does
not oblige to three Changes of the Arms, it being fufficient only to oppofe to the firft Step.
But as this Oppofition requires a fuller Demonftration, I have R 2 drawn drawn this Figure in
proper Attitudes. The Body is upright, the Head is turned afide to the oppofite Arm, which is
the Right and is bent before; the Hand raifed to the Height of the Shoulder and a little forwards,
the left Arm extended and drawn a little back, but raifed to the Pit of the Stomach; the Body refted
on the left Foot, and the right Heel off the Ground ready to make a Step. 

BUT when you would change the Oppofition, take care that your Arms move together and make each
a contrary Motion, in that the Arm which is extended turns downwards (3), and that which is oppofite
(2) makes a half Circle, according to thefe Words, The Turn of the Elbow from above downwards
, which ought to be made at the fame Time one with the other, to be at one and the fame Time both turned
down as fhewn by (4). 

BOTH being then down, the left Arm returned from below upwards (5) as thefe Words, The Turn of
the Elbow from below upwards fhew, and the right only returns the Hand upwards, which is done
by a little Turn of the Wrift from below upwards, and finifhes the Change of Oppofition as fhewn
by (6) and (7). Though I have faid that thefe Movements fhould be made together, I repeat it again
that they fhould be taken with a great deal of Eafe and Freedom: And for the the readier Performance
of them, I would advife you to ftand before a Glafs and move your Arms as I have directed, and if
you have any Tafte you will perceive your Faults, and by confequence mend. 

THESE are the fhorteft and moft eafy Methods I can lay down to move the Arms with Grace and that
Exactness required by Art. CHAP. CHAP . VII. Of the Manner of moving the Arms in the Courant Step
and half Coupees backwards . 

AFTER a Perfon has ufed himfelf to move his Arms with a good Grace, to attain to move them with
the Legs, he cannot make choice of any Steps more eafy than the Courant Step or March, which is
very flow in its Performance, and will ufe him to move his Legs and Arms together; therefore
I have placed four Figures together which exprefs the different Attitudes the Legs and Arms
ought to be in. 

FIRST you fhould remember the Manner of making the Courant Step, which is to fink and rife before
you move the Foot forwards. 

THE Body in this firft Figure is refted on the right Foot in the fourth Pofition (1), the left
Heel off the Floor (3), the Toes only down and by confequence ready to make a Step, the left Arm
(4) oppofite to the right Foot, and the right Arm Arm (5) extended, the Hand outwards (6); and
the Writing forming a half Circle (7) is to fhew the Courfe the Arm is to take. 

TO begin this Step, the left Foot muft be brought up to the Right, in which Approach turn the Elbow
as reprefented by thefe Words, The Turn of the Elbow from above downwards , which forms the half
Circle, and you trace the Turn which the Arm makes from above downwards, as thefe other Words,
The Turn of the Wrift , fhew the Movement of the right Wrift. 

THE fecond Figure fhews how low one ought to fink. The Body refts on the right Foot (2), the left
Foot off the Ground (3), both the Heels clofe together, and the Arms turned downwards (4) of
equal Height. Now to perform all thefe Movements with Eafe, one fhould take particular Notice
of thefe different Figures, and obferve their Situations, which will give a thorough Knowledge
of the Movements of the Legs and Arms. 

THE third Figure fhews how to rife after having funk, (which one may call in Equilibrium) the
Body being refted on the Toes of the right Foot (3), the left Leg extended as as well as the Right
with its Foot off the Ground (4), and the Hands open (5). THE 

THE Fourth is defigned to fhew the Oppofition to the left Foot making a Step forwards, to the
which fliding in the fourth Pofition the right Arm forms its Contraft, the Step and Movement
of the Arms ending together. 

BUT as one cannot be too careful in moving the Arms in Dancing, and as all depends on the Beginning,
I beg Attention to this Figure, in which the right Arm (6) is oppofed to the left Foot (7) which
is placed before; the right Arm (8) extended and drawn back as well as the Shoulder, which makes
the Oppofition just and according to Rule. 

THOUGH I have given fo ample a Demonftration of thefe four different Figures for the better
underftanding of them and their different Movements, yet when you come to put them in Practice,
you muft underftand that the Reprefentation of thefe four Figures is contained in one Step,
and their Actions follow one another in its Extent. But to learn and practife them with one Foot
as well as the other, I would advife you to begin at the Bottom of the Room, and when at the Top to
make them backwards, obferving after you have finifhed your laft Step to reft the Body on the
hinder Foot, and make half Coupees backwards after the following Manner. SUPPOSING 

SUPPOSING then your laft March to be made with the right Foot, the Left remains before, therefore
you fink on your left Foot, (as faid in the Manner of making half Coupees) and as you take your
Sink, the oppofite Arm makes its half Circle from above downwards , and that which was extended
returns from below upwards , which makes the Oppofition. You fhould alfo obferve, that in going
backwards 'tis the fame Arm and Foot that moves and forms the Oppofition: For Example; if the
right Foot makes the half Coupee, the right Arm comes forwards from below upwards . 

THERE are feveral different Steps formed in the Courant Step: You even have Marches made fideways;
but as thefe Steps are open, in that they are taken commonly from the third Pofition to the Second,
which is an open Pofition, and by consequence requires no Oppofition; the Arms being open in
this Step, a flight Movement must be made of both, and alfo of the Wrifts from below upwards :
For Example; the Arms being open, and the Hands turned as reprefented by the firft Figure just
before, in finking they muft be turned downwards, and in rifing and finifhing the Step a little
Motion of the Elbow and Wrift from below upwards , which brings them again into their former
Situation. S CHAP. CHAP . VIII. Of the Manner of moving the Arms with the Boree Step or Fleurets
. 

AFTER having ufed my Endeavours to give you a clear Underftanding of the different Movements
of the Arms, as well for the Wrift and Elbow as the Shoulder, having made you fenfible at the fame
Time of the Oppofition or Contraft of the Leg and Arm, I have nothing more to do than to fhew the
Manner of rendering them agreeable to each Step, by inftructing you only in the Oppofitions
or Contrafts you ought to obferve, without repeating the Method in which they ought to be done,
having in my Opinion faid enough of that: Therefore I fhall begin with the Boree Step forwards.

IF you make your Boree Step forwards with the right Leg, the Change of the Arms fhould be made
after this Manner; the right Arm which is oppofite to the left Foot, fhould be extended at the
Time you take your Sink, and the left Arm turns downwards at the fame Time to come up bent before
you while the right Foot moves forwards for the Body to rife upon upon it, which makes the Oppofition
of the left Arm to the right Foot. As to the two Steps which follow after and form the Boree Step,
you muft not change the Arms in them fince there is but one Oppofition in this Step. 

FOR thofe made backwards the fame Rule is to be obferved as in the half Coupees, that is to fay,
if you make your Boree with the right Foot, in taking your half Coupee backwards the right Arm
ought to bend, in that the Oppofition is only regarded before: Therefore let this be a general
Rule, that when a Step is made backwards with one Foot, the Arm of the fame Side makes the Contraft.

IN regard to the Boree Step before and behind, if you take it with the right Leg going from the
Left, in croffing your right Foot the left Arm comes in Opposition, and the Right is extended:
But at the fecond Step of the Boree, which is with the left Foot, and which you fet fideways in
the fecond Pofition, while the left Arm opens and when you draw the right Foot behind, which
makes the third Step of your Boree, the right Arm bends in Oppofition to the left Foot before,
which produces two Oppofitions in this Step, but fometimes they are not both made becaufe of
the Connexion of another Step that follows, and which alters the Rule; for it may happen that
you may be obliged to bend both Arms to make the following Step, then 'tis the Mafter's Bufinefs
to inftruct you. S 2 WHERE 

WHERE they are made in turning, the fame Rules are to be obferved. 

As to the inclosed Borne there's a Necessity for two Oppofition, viz . one at the Beginning to
make your half Coupee, and the other at the laft Step you make: For Example; you begin your Step
with the right Foot, and you fet it down as faid in the Manner of making it in the fourth Pofition
backwards, which obliges you to bend the right Arm to make the Contraft to the left Foot before;
but you are no fonner raifed on the right Foot than the left Leg fteps behind the Right in the third
Pofition, and you reft a fmall Time on the Toes of both Feet, the Legs extended both together
without changing the Arms; and when you flide the right Foot before, which is the laft Step of
your Boree, the right Arm is extended back fhading the Shoulder, and the left Arm bends before
in Oppofition to the right Foot. 

THERE is another fort of Boree which is made on the Spot, and to the Prefence; but as this Step
is open at the Beginning it is not imitated by the Arms: For Example; you take your half Coupee
with the right Foot fideways in the fecond Pofition, and as both your Arms are open, you bend
both Wrifts, making a whole Turn from above downwards : I call it a whole Tune becaufe the Hands
return above as they were; but at the fecond Step which you make fideways, ways, as faid in the
Manner of making it, in drawing the other Foot behind which makes the third Step, you bend the
Arm of the fame Side of the Foot you draw behind, which makes the Contraft to the Foot before:

THERE is a Manner of moving the Arms in this Step different from the reft, becaufe in the others
you oppofe the Arm to the Foot at the Beginning, but in this at the last Step. 

IT is performed ftill after another Manner fideways fhading the Shoulder, of which fort of
Step there are two in the firft Strain of the Louvre , in the Bretagne , the new Forlanne , and many
others, in which the Oppofition is only made at the End of the Step: For Example; you have the
left Foot before, and the right Arm oppofed, you make your half Coupee finking on the left Foot,
and rife on the Right, which in the Time the Arm is extending gives you the Liberty of fhading
the Body or turning a little fideways, and the left Foot, being fet behind, you reft on the Toes
of both; then you flide the right Foot before in the fourth Pofition, the left Arms bending at
the fame Time, and moving alfo forwards in Oppofition to the right Leg. 

THERE are alfo others called quick Borees, or Borees of two Movements; which Step is made before
and fideways: Af to the Arms there is but one Oppofition, in which if if you move with the right
Foot, 'tis the left Arm that bends before; and when you make the laft Step of this fame Boree,
which is a half Bound, the left Arm is extended, fo that both Arms are open: But when you make it
sideways tis fomewhat different in this, that if you make your half Coupee with the right Foot
croffing it before the Left, the left Arm comes in Oppofition and extends it felf prefently
at the fecond and third Step; and when you draw the right Foot behind, in falling upon the Left
for a fourth Step (which is a kind of falling Step) both Arms which are extended fall and rife
again, which finifhes the Action of the Arms in this Step. CHAP. CHAP . IX. Of the Manner of moving
the Arms with different Sorts of Coupees . 

As the Arms are ufed with feveral forts of Coupees according to the Connexion of the Steps of
which the Dance is compofed, I fhall defcribe them and begin with thofe made forwards. 

SUPPOSING you were to make a Coupee forwards with the right Leg, by confequence you fhould have
the left Leg before, and the right Arm oppofed; then in finking for your half Coupee you extend
that Arm, turning it from below upwards , without bending the Left; but when you flide the left
Foot before, which forms the fecond Part of your Coupees, that right Arm bends before and makes
a juft Contraft of the Arm and Leg. 

THERE are others in which the Foot is moved fideways on the Toes without refting the Body thereon;
for having then extended one Arm to your half Coupee, you leave them both open as reprefented
by the firft Figure, which fhews fhews the Height the Arms ought to be held at; for when you are
in the fecond Pofition there's no Contraft unlefs you have a Step in turning to make afterwards,
which is very rate, fince we ought to turn from the firft or fourth Pofition. 

OTHERS end with an Opening of the Leg, where you ought to obferve the fame Thing in the half Coupee,
which is to extend the Arm of the fame Side with the Leg with which you make the half Coupee; yet
neither are to make any Motion during the Opening of the Leg. 

THERE are others taken before, that is, having extended the Arm in making the half Coupee, you
move it with the fame Foot is you are to make a Turn, becaufe this Arm ought to be a Guide or Balance
for you to turn; therefore 'tis a general Rule, if you are to turn on the right Side, to bend the
right Arm, becaufe it extends afterwards, and by its Motion gives the Body a Liberty of turning;
and the fame when you turn on the left Side. FOR 

THE Coupee backwards is different in that it requires two Opposition; viz . one in sinking for
your half Coupee, fuppofing it to be made with the right Foot, tis the right Arm that oppofes
and replaces itfelf at the fame Time: The other Oppofition is when the left Foot steps backwards,
the left Arm comes forwards, and is in Oppofition to the other Foot before. FOR 

FOR thofe made fideways, if you begin them with the right Foot you may make an Oppofition with
the left Arm in making your half Coupee, and extending it again at the fecond Step which is open.

FOR my Part I think one may make a Movement of the two Wrifts in this Coupee, which feems to me the
most eafy. 

THERE are fome made before and finifhed behind, the Manner of which is fingular in this; if you
make a half Coupee forwards with the right Foot, in rifing the Left is brought up to the Right,
making a Beat behind, and returns to the Place it was in before in the fourth Pofition behind,
which makes the Coupee intire in this Step, by making the half Coupee with the right Foot, where
the left Arm comes in Oppofition to the right Leg; and to diftinguifh it better, the right Shoulder
is fhaded, and its Arm drawn back, which makes the Body free and graceful: For thofe that are
made forwards, and with a Beat at the fecond Step, one ought to make no Movement of the Arms at
the Time of the Beat, becaufe this Step is only to fhew the Freedom of the Legs without difordering
the upper Part of the Body. T CHAP. CHAP . X. Of the Manner of moving the Arms with Coupees of Motion
. 

I HAVE divided thefe Coupees from the others to avoid Confufion, and to fhew all that Grace they
ought to have. This Step is made before and fideways; but as I would follow in this Plan what I
propofed, which was to begin always with the moft cafy, I fhall begin with thofe made forwards.

THEREFORE when you take your firft Step, which is a half Coupee well refted upon, at that Time
you let both Arms turn a little downwards, and make a half Movement with the Wrifts and Elbows,
beginning from below upwards ; which ought to be attended with a fmall Inclination of the Body
and Head imperceptibly and without Affectation; but when you take your fecond Movement which
is a falling Bound, in beginning your Sink your Arms extend and at the fame Instant have a little
Motion from the Shoulder in falling, and in rifing the Body recovers as well as the Head, which
ought ought to be held a little back, which gives a majeftick Air, and makes a perfect Union of
the Movement both of the Legs and Arms as well as the Head and Body. 

AS to thofe made fideways, though the Movements of the Arms are taken a little after the fame
Manner, there are neverthelefs fame little Obfervations to be made that are fomewhat different;
viz . when you take your half Coupee, (let it be with the right Foot) as it crofses before the Left
in the fifth Pofition, it obliges you to ufe your felf to the Rule of Oppofition, to fhade the
right Shoulder a little and to let the Left come a little forwards, which by confequence makes
that fort of Oppofition to the right Foot without interrupting you from making thefe Movements
of the Arms from below upwards ; but lower them a little in taking your fecond Movement and raife
them in finifhing, and alfo make a fmall Inclination of the Body and Head, obferving if you go
from the right the Head fhould be half turned that Way. 

ALL thefe Obfervations have a wonderful Effect in Dancing, and fhew both Life and Judgment.
T2 CHAP. CHAP . XI. Of the Manner of moving the Arms with the falling Step and Gaillard. 

AS I have in the firft Part demonftrated the falling Step and Gaillard, which being compofed
of many other Steps and Movements, give me leave therefore to explain the Manner of moving the
Arms agreeable to thofe different Steps: For Example; if tis only a falling Step, fuch as I have
defcribed in the Manner of making them, you muft begin with rifing on the Toes, and the Arms difpofed
as reprefented by the Figure at the Beginning of this fecond Part; therefore when the Foot is
drawn behind falling, the Arms though extended fall, which is performed by the Motion of the
Shoulders, which extend themfelves letting the Arms fall, and raifing them again inftantly:
By that you fee the Conformity between the Legs and Arms, fince at the Time the Foot is drawn behind
and the Knees bend as if your Strength failed you, (which makes the falling Step) the Arms alfo
fall, and rife again when you have made your fecond fecond Step, which finifhes the falling
Step, and is a half Bound: So that in this Step the Arms fall and rife again only by the Motion of
the Shoulder. 

IN the Gaillard Step they muft be moved differently, in that it begins with a Clofe, therefore
the Arms are turned downwards before you fink, then you bring them together, and the Wrists
are half bent, turning from below upwards : But when you make your fecond Step fideways in the
fecond Pofition, your Arms in returning returning from above downwards , extend to their former
Situation: So when you rife on the Foot with which you ftep fideways to draw the other afterwards
behind, the Arms have the fame Motion as I have mentioned in the falling Step, which is to fall
and rife again. 

THERE is befides another Step made forwards very like a Gaillard, which I have heard called
the Siffonne de Chaconne: In this as it is made forwards you oppofe an Arm to the contrary Foot;
but as I have already told you that this Step begins by a clofed Step, therefore if you make it
with the right Foot before, the left Arm muft be in Contraft before, turning from below upwards
: For Example; in taking the Movement for the clofed Step the right Arm which was before extends
turning downwards, and at the fame Time the Left does the fame, and comes in Oppofition to the
right Leg, j Leg, which is inclofed before the Left; but this Inclofure is no fooner made than
the right Foot flides into the fourth Pofition, and in fliding the Body and Head make a little
Motion, and recover on rifing on this right Foot, and the left Arm extends; then both Arms remain
in that their Situation without making any Movement during the two chaced Bounds which compleats
this Step. CHAP CHAP . XII. Of the Manner of moving the Arms with Pirouetts . 

THOUGH the Pirouett is one of thofe Steps which are made on the Spot, and feems to require no great
Manner, yet there's a Neceffity for as great an Application as to other Steps, and this is what
I think makes Dancing so extenfive, fince a great many Graces arife from thofe Steps which feem
to us the moft eafy. This Step is commonly preceded by another Step which makes a Preparation
for that which is to follow, as a Coupee: For Example; the Pointing the Toes, or an opening of
the Leg, which ends with the Leg off the Ground, prepare for the making a Pirouett, therefore
I will fhew how to move the Arms; and that you may be the more intelligibly informed, I have drawn
this Figure, which expreffes the moft effential Parts, by which you may comprehend more eafily
the Movements the Arms ought to make. 

THIS Figure is refted on the right Foot(I), the left Leg off the Floor (2), the right Arm extended
(3), the left Arm bent (4), and the Head turned to the Left (5). BUT 

BUT when you fink on the right Foot, and the Left croffes at the fame Time (as I have already taught
the Manner) in rifing on the Toes the Arm extends with a Turn of the Elbow and Wrift, as thefe Words
exprefs, The whole Turn of the Arm , which attends the Body in its turning, making an eafy and
intire Turn of the Arm from below upwards , and returning in the fame Attitude as the Figure.

YOU ought alfo to obferve that your Head be very upright to preferve the Body in its Poize or Balance,
becaufe it fhould turn on one Foot as on a Pivot, and is what I have endeavoured to exprefs in my
Figure, by placing it perpendicularly on one Foot looking at the Left to move it with that Juftnefs
and Eafe which the Action requires. 

THERE are fome Pirouetts made with a Spring, in which the Arms move much the fame, expect that
they imitate the Legs a little in their Motion by moving more quick at the Spring and extending
with more Life, which makes it more eafy for the Body to turn on the fame Side that the Arm extends
on. 

HOWEVER though thefe Movements are made with a Spring they ought to be well governed; for this
Step being made in turning, or to fpeak properly, on the Spot, if you fhould fpring too high it
would throw the Body out of its Poize by the efforts you would be obliged to make to rife. Befides,
Ball Dances require only graceful and eafy Movements. CHAP . XIII. Of the Manner of moving the
Arms with Ballances . 

A BALLANCE is one of the most eafy Steps made in Dancing, and to which the most Grace may be given.
It falls in with any time, and always produces a good Effect; but as I have taught it before in
different Ways, I fhall fhew the Manner of moving the Arms with it. 

THEREFORE when you make your firft Step in the fecond Pofition (this Step being made after another
Step, to which you are to have an Arm oppofite) the Arm which is oppofed before extends from above
downwards , and the other Arm which is extended makes a final Motion of the Wrift from above downwards
; for you muft endeavour when you make a Movement with one Arm, to make a fmall Motion with the
other that is extended to bear it Company; for it is from thefe little Things that that Grace
and Delicacy which I have already mentioned arifes. U AS 

AS to the other Ballances which are made before in the fourth Pofition, if you begin with the
right Foot, the right Arm which is before extends taking its Movement from above downwards
, and the left Arm turning down bends and oppofes the right Foot in returning from below upwards
, which is the common Movement: But at the fecond half Coupee the Head turns a little to the Right,
then inclines eafily, and rifes again agreeable to this Step; for at the Time you rife on the
left Foot the Head rifes alfo and fhews a perfect Harmony. CHAP. CHAP . XIV. Of the Manner of moving
the Arms with the Siffonne Step . 

HAVING given the moft eafy Explanation of making this Step, I come now to teach how to move the
Arms with that Grace that fhould attend it as this Step fucceeds another, and every Step hath
its Contraft. 

SUPPOSING the left Foot before, by confequence the right Arm fhould be oppofite: Then in taking
your firft Movement the Right also makes at the fame Time its Movement from above downwards
, and the Left at that Inftant turns down and bends, coming in Oppofition to the right Foot, which
croffes before the Left, and on which you make a fecond Hop without changing the Oppofition
of the left Arm, fince this fecond Hop is made on the right Foot which is before, and the Arm is
in Contraft to the Foot. 

I have told you alfo that it is made after another Manner on the Spot, thus: To fall at the firft
Spring on both Feet; at the Second to rife on the hinder Foot, which makes no Alteration in the
Arms, the right Foot being before, and the Oppofition juft. U 2 FOR 

FOR thofe made in turning, the oppofite Arm ought to be bent in the Turn, as you'll find in feveral
Ball Dances: For Example; in le Maria at the End of the firft Strain, where there are two Contretems
fideways on the right Foot, the left Arm is in Contraft, which in extending fhews by its Movement
the half Turn to the Left; but as the right Foot croffes behind, the right Arm bends in Contraft
to the left Foot before. 

'TIS a general Rule in Steps that turn, that the Arm of the Side on which you turn gives the Liberty;
for by its Motion it obliges the Body to turn on the Side it extends. 

As to thofe made backwards, the fame Rule ferves as in other Steps backwards, viz . the fame Arm
and the fame Leg move. 

I would willingly advife thofe who are defirous of moving their Arms with Freedom, to practife
many of thefe Steps with their Arms; for as the Steps give an Activity to the Body, they alfo give
a Freedom to the Arms. CHAP. CHAP . XV. Of the Manner of moving the Arms with the Rigaudon Step
and Bounds . 

THE Arms in this Step are the leaft troublefome, and the Reafon is eafy to be apprehended, as
I fhall explain in few Words: This Step is made on the Spot, and has no Movements in it that require
a great deal of Strength; for properly fpeaking 'tis but a Play of the Inftep which engages the
other joints to make fome Motion: Therefore in the Arms the Wrifts only move, viz . once from
below upwards , and again from above downwards . 

FIRST when you fink on both Legs to raife the right Foot; in this Movement you turn both Wrifts
from above downwards , and extend them rifing: But when you fink on both Feet to make your laft
Spring, you bend both Wrifts raifing them from below upwards , which makes a Harmony betwixt
the Legs and Arms. 

IN this Step there's this Remark to be made, that there's a ftrict Relation between the Wrifts
and Infteps, fince they are the only Joints that bend. BOUNDS 

BOUNDS are alfo Steps made by the Instep, therefore no other Joints move but the Wrifts: For
Example; you make a Bound with the right Foot and one with the Left, fo that you make two together
to a Barr of double Time: So that beginning with the Right you make only a fmall Motion with the
Wrifts from above below , and the Arms remain extended in the Courfe of the fecond Step; but as
thefe two Steps are made together, and are but flight Movements, the Arms by confequence ought
not to be diforder'd. 

'TIS the fame Thing with the Arms when you make Bounds backwards, obferving only to take the
Movements with Eafe, and not to diforder the upper Part of the Body. CHAP. CHAP . XVI. Of the Manner
of moving the Arms with the Contretems of the Gavotte . 

THIS is one of the principal Steps in Dancing, as well for its Antiquity as the different Manners
after which it is performed; for it is made fometimes before and behind, fometimes fideways
and in turning: In fhort, in whatever Time 'tis ufed 'tis introduced with Eafe, and, enlivens
the Dance by its fpringing Motion and Variation. 

I fhall begin with thofe made forwards as the moft eafy, and fuppofe it to be made with the right
Foot, by confequence the Left muft be foremoft in the fourth Pofition; therefore the right
Arm ought to be oppofite, for then in finking on the left Foot to fpring upon it, the right Arm
at the fame Time extends in turning from above below , and the Wrift of the left Arms bends alfo
from above downwards : But thefe three Movements ought to be taken equally together, that is
to fay, when you fink on the left Foot, the right Arm by consequence makes its Movement that Inftant.
TO 

TO make them backwards the Arms and Legs move the fame: But for thofe fideways they are made different
both with the Legs and Arms; and as I have demonftrated the Steps in the firft Part both by Difcourfe
and Figures, I think my felf obliged to place three Figures here together to fhew the different
Steps, and the Movements of the Arms in the Extent of this Step; viz, when you have both Feet in
the fecond Pofition, and the Body refted on both Legs as reprefented by this firft Figure in
which both Arms are extended, and thefe Words engraved to each, The Courfe of the Arms , to fhew
from what Situation the Arms ought to bend. 

WHEN the Movement of the Contretems is taken, the Head as this fecond Figure reprefents is upright,
the Body refted on both Legs, the Knees bent, and the Wafte fteady; but in rifing with the Hop
you fall on the left Foot, and your Arms extend by the Turn expreffed by thefe Words, The Turn
of the Arms from above downwards , engraved about both, to fhew that the Arms fhould move together.

THIS third Figure is to fhew how the Arms ought to be extended after the Hop, and to remind you
that the right Leg be extended fideways when you hop on the Left, as I have taught in the firft
Part; afterwards you ftep a-crofs with it behind the Left in the fifth Pofition, and ftep again
with the Left Left in the fecond Pofition; but while thefe Steps are making the Arms remain extended
without any Contraft. 

AS to the Head it ought to turn when you rife a little towards that Side on which you are going;
though this is a Rule not always to be obferved, for if you dance with any Body, and make thefe
Contretems in paffing before one another, you muft both look at each other. So when I faid the
Head muft be held very upright, I did not mean that it fhould not move, but that it fhould not be
ftiff and affected. X CHAP. CHAP . XVII. Of the Manner of moving the Arms with the open Contretems
or Chaconne . 

THE Contretems de Chaconne is taken from the third or fourth Position, as explained in the firft
Part, therefore it requires a Contraft; and for this Reason if the left Leg is before, the right
Arm falls in Oppofition; and having the Body in this Attitude refted on the left Leg, you muft
fink upon it and hop, extending the right Arm; then fet the right Foot afide in the fecond Pofition
in going to the Right, and if you ftep with the left Foot behind in the Third, which is your fecond
Step, at the fame Time the left Arm bends from below upwards , which makes the Contraft to the
right Foot before; but when you set the left Foot before the Right in the fifth Pofition, then
the right Arm oppofes; Therefore in this Step there are two different Contrafts, which are
owing no to one Step being made either before or behind, for the Arms at the Beginning muft be
extended and make made no Contraft but at the laft Step, whereas in other Steps they are oppofed
at the Beginning. CHAP. CHAP . XVIII. Of the Manner of moving the Arms with the Contretems Balonnez
. 

THIS Contretems is a Step very gay as well as much ufed in Ball Dancing, and the Manner of moving
the Arms not very troublefome, since there is but one Oppofition required: Indeed there is
but one Step, but that Step contains two Movements, as I have faid before, which render it brifk
and lively. 

IF you take it forwards, and have the Body refted on the left Foot, you sink on it raifing the Right,
and the right Arm at that Inftant turns from above downwards , and the Left comes upwards , which
makes the Contraft to the Limb that moves before; but in falling on the Right for this fecond
Movement, the Arms muft not be changed. You fhould alfo obferve in this Step to keep the Body
back, and turn the Head a little to the Arm in Contraft. 

BUT when you make this Step backwards, you muft follow the fame Rule as in other Steps; that is
to fay, when X 2 you you ftep with the right Leg back, as the left Arm was then in Contraft, you at
the Time of making that Movement turn the left Arm downwards and bring up the Right, which makes
that Change of the Arms that fhould be obferved in this Step. 

AS to that made fideways it is different in that it requires no Contraft: For as its firft Movement
is taken from the third or fifth Pofition, and at the next you fall into the Second, which has
no Contraft, it is enough to make a little Motion with the Wrifts. 

THESE are all the moft agreeable Manners of moving the Arms with thefe different Steps. CHAP
. XIX. Of the different Manners of moving the Arms with all Sorts of Chaffees . 

AFTER having laid down all the most eafy Methods of making of Chaffees in Ball Dancing, it is
alfo neceffary to explain the Method of moving the Arms after feveral Manners. 

I fhall begin with thofe ufed in le Maria , which as being known to all the World, may be faid to
be one of the fineft Dances ever feen. 

THERE are of thefe Chaffees in the Beginning of the third Strain, where they are preceded by
a Coupee; therefore in this Coupee you bend both Arms and extend them at the firft Movement of
the Chaffee: But at the Second which rises on the contrary Foot to the Leg which has drove the
other, the fame Arm of the Side with the Leg which rifes bends, becaufe commonly at the End of
this Step there is a turning Step; and as I have faid before in the Chapter of Pirouetts, the Arm
makes it eafy for the Body to turn on that Side on which it extends; and for this Reafon this Oppofition
Oppofition is made: For if it was as it is in the Allemande , where feveral are made together,
there would be no Contraft. 'Tis true there's no Motion of the Arms in the Chaffees of that Dance,
becaufe it is perfectly characterifed. 

THERE is another Manner of Chaffees in the Louvre , which are only chaced Bounds, of which there
are three made together, and contain in their three Movements the Time of one fingle Step: But
one Contraft is fufficient for this Step, which begins at the firft Movement, and continues
during the two other Steps. 

THEY are alfo made fideways, as I have obferved in the firft Part, of which there are two Figures
which exprefs the Movements. It's enough in this Step to have the Arms extended: For Example;
if you take it returning to the left Side, the right Leg ought to rife to drive the Left, therefore
the right Arm and Shoulder ought to rife more than the left Arm and Shoulder, though both are
extended, becaufe the Arms in this Step ferve for a Ballance; but neverthelefs there fhould
be a little Action of the Wrifts at the firft Movement to prevent a Stiffnefs that would appear
without fome. I have alfo told you that there are other Chaffees, but as there are none of that
fort ufed in Ball Dancing, I fhall not fpeak of the Movement of the Arms. CHAP CHAP . XX. Of the
Manner of moving the Arms with Sallies or Starting Steps . 

THIS sort of Step is particular in its Manner, and partakes, as I may fay, on the falling Step,
in that you rife on the Toes to begin it; but as I have fhewn in my firft Part how to make it, and I
am now to teach the Movement of the Arms, I fhall only fay that when you begin, having the Feet
in the fourth Pofition, and by confequence one Arm in Contraft, that Arm muft then extend turning
downwards , and the other come upwards ; but no Change a muft be made at the fecond Hop: Afterwards
in making the Third which is a clofed Step, let both Arms fall by your Side; then make a little
Inclination with your Head, and raife it at the fame Time with your Arms when you make another
Step, as a Borce, or fuch as the Dance requires; for this little Action, when made properly,
gives a great Grace; but have a Care of Affectation. 

I have not treated of the Motion of the Arms, with the Turns of the Leg and its Openings; for in
thefe Actions the Arms as well as the Body fhould not ftir. THERE 

THERE are alfo other Steps in Dancing, of which I have made no Mention, having undertaken to
treat in this Book only of the Manner of making all the principal Steps in Ball Dancing, and to
lay down the moft eafy Methods of performing them with the Arms, that any Body may learn to dance
with all the Judgment and Delicacy that this Exercise requires; and I flatter my felf with Succefs.

FINIS .