COULON'S HAND-BOOK; CONTAINING ALL THE LAST NEW AND FASHIONABLE DANCES. 

Dedicated to his pupils, BY COULON, EX-MAITRE DE DANSE TO THE ROYAL FAMILY OF HOLLAND, THE DUKE
OF SAXE WEIMER, AND PATRONISED BY THE ENGLISH NOBILITY. 

THIRD EDITION 

LONDON: PUBLISHED BY JULLIEN & CO., 214, REGENT STREET. 

Sold also by the Author, 22, Great Marlborough Street . 

PRICE ONE SHILLING. 

W. OSTELL, PRINTER, HART STREET, BLOOMSBURY SQUARE. CONTENTS. 

PART I. 

PAGE 

Preface vii 

The Polka 1 

Rules of the Polka 2 

Steps of the Polka 2 

Remarks on the New Cotillon 5 

Roules of the Cotillon 6 

Figures of the Cotillon: 

The First Figure 8 

The Pyramid 9 

The Two Flowers 10 

The Great Round and Pass Under 11 

The Cushion 13 

The Round 14 

The Basket, Ring, and Flower 15 

The Two Lines of Six 16 

The Coquette 17 

La Gracieuse 18 

The Mirror 20 

The Round and Grand Chain 21 

The Handkerchief 22 

The Star 23 

The Cards 25 

The Double Moulinet 25 

The Deceived Lady 26 

The Quadrille 27 

The Two Chairs 29 

The Rounds Multiplied 30 

The Lancers 33 

The Three Chairs 34 

Remarks on the Mazourka Quadrille 36 

Description of the Five Figures of the Mazourka 37 

Remarks on the Redowa 41 

Explanation of the Redowa 41 

The Polka Mazourka 42 

The Tarentella 43 

The Schottische 45 

La Cellarius 46 

La Gorlitza 47 

Coulon's Quadrille 48 

PART II. 

La Polonaise 52 

Quadrille Francais, or First Set 54 

Choregraphy of the Quadrille Francais 57 

Position of the Waltz 68 

Description of the Common Waltz 69 

La Sauteuse (the Hop Waltz) 70 

The Lancers 71 

La Tempete 72 

Sir Roger de Coverley 76 

Gallopade 77 

Spanish Dance 79 

Remarks on the Valse a Deux Tenps 80 

Description of the Valse a Deux Temps 81 

Scotch Reel 82 

La Boulangere 84 

La Carillon de Dunkerque 85 

La Madrilaine 86 

"Pop goes the Weasel" 87 

La Varsoviana 89 

Long Live the Queen 90 

Remarks on the Introductions in Private and Public Ball Rooms 91 

Description and Choregraphy of the Menuet de la Cour 93 

A List of Professors of Dancing 98 

A List of Towns from whence Professors of Dancing have applied to M. Coulon for instruction
93 PREFACE. 

A few particulars respecting the distinguished artist to whom we are indebted for this little
book, will be perhaps not without interest to many of our readers. His father, Jean Francois
Coulon, was the greatest, the most celebrated professor of dancing known in France. His academy
for the stage was the Pepiniere (the nursery) for the most eminent artists throughout Europe,
and we require only to associate his name with that of Dupor, Gosselin, and the family of Taglioni
(as their master), to prove the superiority of his instruction. His academy for the drawing-room
was also held in high reputation. It was the resort no less of strangers of distinction than
of professors visiting Paris for the purpose of benefitting by the talent of this great master.

Jean Francois, the father, died in the year 1836, leaving two sons. The elder of these, Antoine
Louis, fell a victim to the cholera in Paris, September 3, 1849. He was one of the first opera
dancers both in France and England, and for many years prior to his decease he filled, conjointly
with Messrs. Laporte and Lumley, the important office of manager of the dancing at her Majesty's
Theatre. 

The second son, Eugene, (the author of the subjoined work,) was born in Paris, April 7, 1808,
and is well known in England by his introduction of the Polka in April, 1844; of the Mazurka in
December, 1844; and of the Redowa in January, 1846. He was originally intended for the stage,
and studied for it during many years under his father, and subsequently under his brother.
But ill health obliged him, though reluctantly, to relinquish this higher and more interesting
branch of his art, for the loss arduous but perhaps not less useful one, of practical private
teacher. Upon this new career he entered in 1830. Shortly after which, an advantageous opening
was made for him at the Hague as professor to the royal family of the Prince of Orange. Here he
remained for nearly seven years, until the more advanced age of his pupils, the young princes
and princesses, rendering his services as their instructor no longer requisite, he was persuaded
by his brother, who was uniformly through life his best of friends and advisers, and who was
at that time residing in London, to join him here, that he might the more effectually assist
towards establishing him permanantly in a position, which his talents and the superior training
he had received so eminently qualified him to fill. With this assistance, and furnished with
the introductions to some families of the highest rank in England, it was not long before Eugene
Coulon had obtained a firm footing in our great metropolis. His judicious introduction of
the Polka, and the energy with which he brought forward and maintained the Valse a Deux Temps,
have contributed to raise his fame to the elevated point at which it now stands. COULON'S HAND-BOOK.
THE POLKA. 

"What can be said about the Polka that has not already been said?" will be the probable exclamation
of many under whose eyes this little Guide may fall. We reply, very little indeed if it were intended
to retrace the origin and to relate the history down to the present day, of that dance now so generally
practised in different countries of the globe. Whether the Polka be German or Hungarian by
birth, is a question frequently discussed by writers on the subject. It has, in fact, during
the last few years, been so completely remodelled in France that it may almost be said to have
taken its rise there. All the violent gestures that characterized it, on its first appearance
in France and England, have been abolished; the promenade by hand, and changing arms, the heel
and toe, or double step, all these, which are very suitable perhaps for a national dance or to
express the rude mirth of the peasantry, have been substituted by a movement more in accordance
with the rules or good taste, and more congenial to the quiet refinement of a ball-room. What
this movement really is, and what are the rules for acquiring it, form part of the object which
the author of this little volume has in view. RULES FOR THE POLKA. 

The gentleman has to bold his partner as in the Waltz (see the position of the Waltz, page 68).
There is no rule respecting the direction in which the Polka should be performed. This is left
to the option of the individual to decide. It may be danced to the right or to the left in turning,
and backwards or forwards, likewise in turning; or, in cases where there is not sufficient
space to proceed, the Polka step and position may be preserved in making a kind of balance or
set. It is the part of the gentleman to guide the lady, and a good dancer is easily discerned by
the skill which he shews in regulating his step and guiding his partner, so as to avoid other
couples. In a room where four inferior couples would be limited for space, twenty good couples
would dance with great ease. THE POLKA STEP. 

There are only three steps in the Polka, which are all jumped, and occupy one bar of music, the
fourth interval being only a repose to give time to prepare for the next foot. 

To begin, the foot is raised a little behind, the gentleman using his left, the lady her right
foot. The gentleman then, for the first step, springs lightly on the right foot, and almost
simultaneously slides the left foot to the side, finishing on both feet, with the knees bent.
For the second step he makes a jette with the right foot, which brings the left foot extended
to the left, and raised a little from the ground; for the third step he makes jette before with
the left foot, and finishes with the right foot up, a little behind. Then, without stopping,
he bends on the left foot, in order to employ the fourth interval of the bar, and proceeds in the
same manner with the right foot. The lady does the same, only, as I have mentioned, beginning
with her right foot. 

This description of the Polka step may be danced either to the right or to the left. But when it
is desired to go forward or backward as well as in turning, it must be observed that the first
step is taken backward or forward in the direction that is required. 

The musical rhythm of the Polka may he explained thus:- THE NEW COTILLON. * 

The Cotillon is a dance that was known upwards of fifty years ago. It was danced by eight persons,
like the French Quadrille, which, perhaps, owes its derivation to it. The new Cotillon was
introduced in Germany and Russia a few years ago, but it bears no resemblance whatever to the
old or original Cotillon. It is danced in Germany with the Waltz step, and recently in Russia
it has been introduced with the Mazurka step. But since the appearance of the Polka, the Polka
Cotillon has eclipsed all former ones. I do not say in great balls of ceremony, faute de s'entendre
(as I shall explain), but there is not a soirte d'intimes , where it is not adopted in preference
to any other. 

As the Polka Cotillon, therefore, is so much the mode, some remarks will be here given that will
be found both necessary and useful. RULES FOR THE COTILLON. * 

The Cotillon may be danced with the step of either the Waltz, the Polka, the Mazurka, or the Valse
a Deux Temps, by an unlimited number of persons. When possible, chairs should be placed for
the dancers round the room, thus:- 

Each gentleman places his partner on his right hand. There is no rule that any particular figure
shall be danced, nor is it intended that the figures here explained shall be danced in rotation.
The selection is left to the de termination of the leading couple, who commence the figure,
which the other couples repeat in succession. In large parties of twenty-four or thirty couples,
it is customary for two or more couples to perform one figure at the same time, otherwise, the
Cotillon might be tedious by its length. 

To preserve the regularity of the dance, the same seat should be maintained by each individual
throughout. 

It must be well understood that in selecting partners for the figures hereafter explained,
no previous introduction between the parties is requisite. * It is only necessary to present
the hand to the lady or gentleman who is chosen to make up the figure, for them to rise immediately.

One great interest of these figures is, that their constant variety enables each gentleman
to dance with almost every lady. 

The first couple start with the Polka or Valse, and they are immediately followed by all the
other couples. After one round the places are resumed, and what may be called the first figure
is begun. FIRST FIGURE. 

The leader selects two ladies, and his partner selects two gentlemen thus: 

They advance, and each gentleman takes the lady opposite to him, and dances one or two rounds
with her, after which they return to their places. The next couple do after the stone manner,
and if, as I observed before, the Cotillon be a large one, two or more couples begin at the same
time. THE PYRAMID. 

The first three couples begin with the Polka or Waltz round the room. The three ladies choose
three other ladies, and the six ladies place themselves thus: 

The three gentlemen then select three other gentlemen and holding each others hands pass in
zigzag form between the ladies; when on a signal given by the leader, each gentleman takes one
of the ladies standing, and dances the Polka with her. When they have resumed their seats, the
other three couples repeat the same figure, and so on till all the couples have danced it. THE
TWO FLOWERS. 

The leader takes two ladies and asks them each to name a flower. He then presents them to one of
the gentlemen desiring him to say which flower he prefers. When the gentleman has made his choice,
he is presented with the lady, the name of whose flower he guessed, he dances with her, and the
leader dances with the other lady round the room. The other couples perform the same figure
in their turn. THE GREAT ROUND AND PASS UNDER. 

The first three couples dance one or two rounds of the Polka or Waltz, after which each lady selects
a gentleman from among those seated, and each gentleman selects in like manner a lady. The six
couples dance a round or two, after which they form a circle holding hands thus: 

They twice advance and retire, the second time the gentlemen take each other's hands in a circle,
the ladies likewise holding hands below the gentlemen's thus: 

They dance in a circle once round to the left, when the leaner breaks the circle, and falling
backwards, they form a line, still holding hands thus: 

The gentlemen then raise their arms for the ladies to pass under, which they do, and advance
followed by the gentlemen to the end of the room, when the ladies turn half round and dance the
Polka with the gentlemen facing them. When these couples have resumed their places the other
three couples repeat the same figure, and so on for the rest. THE CUSHION. 

The first lady presents a cushion to a gentleman thus: 

On which he is to kneel. If she wishes to dance with him, she allows him to kneel, but if not she
takes it away quickly and presents it to another, and so on, until she selects one with whom she
dances, leaving the cushion meanwhile on the floor for the lady who follows her. THE ROUND.

The first three couples begin with the Polka or Valse. After two or three rounds each gentleman
takes another gentleman, and each lady takes another lady. The ladies place themselves back
to back in a circle, and the gentlemen face them, joining hands to form a larger circle thus:

So placed, they advance anti retire twice, making the round larger and smaller; after which,
each gentleman dances the Polka with the lady on his right hand, and so on for the other couples.
THE BASKET, RING & FLOWER. 

The first couple advance, the gentleman holding in his hand a basket containing a ring and a
flower. After dancing one or two rounds he presents the basket to his partner and returns to
his place. The lady gives the basket to one gentleman, the ring to another, and the flower to
a third. The gentleman who receives the basket must dance alone, holding it in his hand, the
one who has the ring may choose a lady to dance with him, and the one who has the flower is to dance
with the lady who presented it to him, thus: 

When they hate danced several times round the room, they resume their seats, and the next couples
continue. THE TWO LINES OF SIX. 

The first couple lead off with the Polka. The gentleman then chooses five other gentlemen,
and the lady five other ladies, who all place themselves facing and holding hands thus: 

The gentlemen then advance with the Polka during four bars, and retire during four bars, after
which the ladies advance four bars, turn half round and go forward followed by the gentlemen.
They turn half round again, and each lady dances with the gentleman who is behind her. When they
have resumed their places the next couples begin. THE COQUETTE. 

The first couple dance a few rounds of the Polka or Valse, after which the gentleman leads his
lady to a chair placed in the centre of the room thus: 

And presents a gentleman to her to dance with. If she declines him, he has to stand behind her
chair thus: 

And she is presented with another by her partner until she accept one with whom she dances several
rounds. The rejected partners return to their seats. And so on for the next couples. LA GRACIEUSE.

The leader gives his right hand to his partner, who gives her right hand to the lady next to her.
The third lady gives her left hand. to the gentleman on her left, and he gives his left hand to
the gentleman on his left thus: 

They then form two circles at each end of the room and dance round with either the Polka or Valse.
The lady No. 1, and the gentleman No. 3, pass under the arms of the others and meet in the middle
thus: 

And all dance several rounds of the Polka or Valse; so on for the others. THE MIRROR. 

The first gentleman places his partner on a chair in the centre of the room, and gives her a mirror
to hold. Then all the gentlemen pass one after the other behind her chair and show themselves
to her in the mirror, thus: 

Which she wipes with her handkerchief when she does not accept the one she sees. When the favoured
one presents himself, she rises and dances round the room with him; leaving the mirror on the
chair. The same for the rest. THE ROUND & GRAND CHAIN. 

The first two couples dance several rounds of the Mazourka and Petit tour . The first gentleman
then takes another lady and the second lady takes another gentleman, thus: 

They then advance and retire, advance again, and the two gentlemen with the lady pass under
the arms of the two ladies facing them thus: 

And join hands behind the gentleman. The ladies also join hands behind the centre lady thus:

They turn one round to the left and afterwards form a circle holding hands. Then grand chain
until they meet their partners, when they couple off with the Mazourka. The same figure for
the remaining couples. THE HANDKERCHIEF. 

The first couple begin with the Polka or Valse. The lady then remains in the centre of the room,
when the gentleman with him, and forms a circle round the lady. She throws her handkerchief
in the air thus: 

And the gentleman who is near enough to catch it, becomes her partner. The other gentlemen return
to their places. The remaining couples perform the same figure. THE STAR. 

The first three couples commence with the Polka. The ladies select three other gentlemen and
the gentlemen three other ladies. The six ladies place themselves in a moulinet right hands
in the centre, giving the left hands to the gentlemen, and all turn thus: 

Three of the ladies hold their hands a little above those of the other three. 

At a given signal the three ladies who hold their hands above, leave the centre and dance with
their partners in the narrow space between each lady and gentleman. Meanwhile the three other
couples continue to turn slowly one way and the other, still keeping in the centre of the star,
changing from right hands to left thus: 

After repeating this two or three times they finish with a round of the Polka, and return to their
places. The same to be repeated by the rest. THE CARDS. 

The leading couple begin with the Polka. The gentleman selects three knaves from the pack of
cards, which he gives to three gentlemen and the lady selects three queens which she presents
to three ladies. The three gentlemen then find the lady who has the queen of his suit, and dances
with her. The other couples do the same. THE DOUBLE MOULINET. 

Three couples commence with the Polka or Valse. Each lady then selects another gentleman and
each gentleman another lady, (from those seated.) The ladies join right hand in moulinet (or
hands across), giving the left to their partners. They all turn. At a signal the gentlemen pass
their partners before them and take their places in the moulinet , and the ladies turn round
the gentlemen on the other side thus: 

Then when they meet their partners, the gentlemen gives his left hand to the lady, who also gives
her left hand, and they again turn hands across in moulinet , during which the gentlemen take
their places outside. They repeat this each time they meet their partners, after which they
return to their places in dancing either the Polka or Valse. The same for the remaining couples.
THE DECEIVED LADY. 

The first couples commence with the Mazourka. The gentlemen then asks the lady to dance with
him. If when she rises he does not intend to accept her, he turns away and asks another lady, and
so on until he has made choice of one with whom he dances, leaving his own partner to dance with
the partner of the lady he is engaged with. When they have danced several rounds they resume
their seats, and the next couple commence. THE QUADRILLE. 

The first two couples commence with the Polka, then the two ladies select two other gentlemen,
and the two gentlemen two other ladies. They place themselves as for a quadrille and the two
side ladies join the top and bottom couples in giving hands thus: 

They then advance by three and retire, this is repeated; after which the two ladies change places
by passing under the arms of the others thus: 

And join with the other gentlemen thus: 

This is repeated four times, when they finish by dancing the Polka round the room. The same for
the rest. THE TWO CHAIRS. 

The first two couples commence with the Polka or Waltz. One of the gentlemen sits on one of the
two chairs that are placed back to back in the centre of the room, and the lady of the other couple
seats herself in the other chair. Then the gentlemen partner of the seated lady selects two
ladies, and the lady partner of the seated gentlemen selects two gentlemen. These latter are
presented to the lady seated on the chair thus: 

She chooses one with whom she dances, and the one who is left dances with the lady who presented
him. The same is repeated by the gentleman, after which they all dance a few rounds and return
to their seats, and the other couples begin. THE ROUNDS MULTIPLIED. 

Three couples commence with the Polka or Valse. Each lady takes another lady, and each gentleman
takes another gentleman, and place themselves thus: 

The first two gentlemen and ladies then give hands round and turn one round to the left, after
which the two gentlemen pass under the ladies arms thus: 

The same figure is repeated with the next two ladies, and the first two ladies repeat with the
next two gentlemen thus: 

They again repeat this figure and finish in a line thus: 

The ladies advance and turn half round and arrive thus; 

They then advance and turn half round to meet and dance with the gentleman who has been following
them, thus: 

The same for the remaining couples. THE LANCERS. 

Place two chairs at the end of the room. 

The whole party followed by each other dance the Polka or Valse, passing between the two chairs,
at which point the lady and gentleman separate, the one passing before the chair on the left,
the other before the chair on the right, when they dance singly, forming two lines to the other
end of the room, when the partner meet and dance together down again thus: C THE THREE CHAIRS.

The leading couple dance several rounds of the Polka or Valse. The gentleman then seats his
partner on the middle chair of three that are placed in the centre of the room, after which he
selects two gentlemen who occupy the two other chairs thus: 

And he returns to his place. The lady chooses one of the two gentlemen and dances with him, the
other gentlemen remains sitting in the middle of the room. The next couple begin immediately,
while the former one is dancing. It will be understood that only one gentleman will be required
to fill the vacant chair after the first time. If the same gentleman remains sitting for some
length of time, one of the ladies who is not engaged with the figure, may relieve the monotony
and dance with him. 

N B. Here are only 22 figures explained, but many more may be arranged from these. NEW QUADRILLE
MAZURKA. * 

This new Quadrille is quite different from that one introduced in the year 1845 and is far superior
to it in many respects. It may either be danced by two couples, or by as many as the room will contain,
in the same way as the first set, or the ( Quadrille Fraccais ,) which in many points it resembles.
It lasts about ten minutes, and must, of course, be danced with the steps of the Mazurka. One
or two lessons will suffice for those who already have a knowledge of the style of the Mazurka,
to be able to join in this New Quadrille. The steps of the Mazurka are the most important, and
therefore, to those who are unacquainted with them, the following explanation of the figures
will not be sufficient; but a few practical lessons will soon enable them to dance this Quadrille.
DESCRIPTION OF THE FIVE FIGURES. INTRODUCTION. 

Wait eight bars-(place hands round). 

Grand round all to the left and to the right-Sixteen bars. 

Petit tour * forward and backward-Eight bars. FIRST FIGURE. 

Right and left (or chaine Anglaise )-Eight bars. 

Top and bottom couples advance, then the two ladies cross over, whilst the two gentlemen execute
a quick turn, in giving each other the left arms by the elbows, and finishing back to places-Four
bars. 

Petit tour backward, with the opposite lady-Four bars. 

Right and left-Eight bars. 

Advance, the two ladies cross over, whilst the gentlemen execute a quick turn in giving each
other right arms-Four bars. 

Petit tour forward-Four bars. 

Side couples repeat the same figure, (which takes 32 bars). SECOND FIGURE. 

Eight bars rest. 

Top and bottom gentlemen give right hands to their partners, then they advance and retire-Eight
bars. 

Cross over by the left-Four bars. 

Petit tour forward-Four bars. Ditto to places. 

Side couples repeat the same figure (which takes 32 bars.) THIRD FIGURE. 

Eight bars rest. 

Top and bottom ladies cross over-Four bars 

Ladies cross again in giving each other left hand. They stop in the centre of the room. The gentlemen
give them right hands, and place the left round I their waists-Four bars. 

Cross over with partner-Four bars. 

Petit tour backward-Four bars. 

*There is no stop for the Music. 

Hands across (or moulinet ) one round-Six bars. 

Retire Two bars. 

Same figure to places, without the hands across the second time. 

Side couples repeat the same figure-(which takes 40 bars). FOURTH FIGURE. 

Eight bars rest. 

Top gentleman gives his right hand to his partner, then they advance and retire-Eight bars.

Petit tour forward and backward-Eight; bars. 

They advance again, the gentleman turns half round without quitting his partner's hand and
gives his left hand to the opposite lady, the two ladies join hands behind the gentleman-Four
bars. 

Advance and retire by three in this position-Eight bars-(then the gentleman stoops and passes
under the ladies' arms. 

One round to the left, at the end of which the opposite lady remains in her place-Four bars. 

Forward to places, and petit tour forward-Eight bars. 

Same figure for the opposite couple, which takes 40 bars. 

Side couples repeat the same figure (which takes 80 bars). FIFTH FIGURE. 

Eight bars rest. 

Half right and left, and petit tour backward-Eight bars. 

Ditto to places. 

Hands four half round- Petit tour forward-Eight bars. 

Ditto to places. 

Right and left-Eight bars 

Petit tour forward and backward-Eight bars. 

Side couples repeat the same figure (which takes 48 bars.) FINALE. 

Grand round all to the left, and to the right-Sixteen bars. 

Grand chain round-beginning in giving right hand to partner, petit tour to place additional
-Sixteen bars. 

Nota .-If the Quadrille is composed of more than eight couples, the music is to play a few bars
more to the end. THE REDOWA. 

The Redowa is a Waltz. * The simple and charming style of this dance secured a most complete success
for it in Paris, when it was brought out there a few years ago. To those persons who are already
acquainted with the other dances, the step of the Redowa will not be found difficult to acquire.
EXPLANATION. 

The position for the Redowa is the same as for the Waltz (see page 68), and like as in the Polka
the couples may turn either to the right or to the left, or go forward or backward. 

The Redowa step is only a pas de barque The rhythm of this Waltz is two in each bar. 

The music is three time, like the Mazurka; the first of the two movements occupying two intervals
of the bar, and the second movement occupying the third. 

It should be observed to keep the knee bent to wait the first interval, and to mark well the second.
THE POLKA MAZURKA. 

The Polka Mazurka is a Waltz danced by two. It is in great favour in Paris. EXPLANATION. 

The gentleman begins with the left, the lady with her right foot. 

This Waltz is composed of two steps of the Polka with this difference, that the last part of the
first step is a fouette behind (or a jump and pass the foot behind), after which it is the second
step of the Polka, with the same foot as the first step. The first step is taken sideways, and
the second in turning half round. The position is the same as in the Waltz. (See page 68). LA TARENTELLA.

The Tarentella is danced among all classes at Naples, even in the street by the Lazaroni, who,
at the sound of a castagnette, are so carried away by their enthusiasm that, like Scotch or Irishmen
hearing the sound of their pipe, they will dance like madmen, wherever they may be. 

To dance the Tarantella, however, in our circles as they dance it at Naples would be impossible,
and, therefore, when Madame Michau introduced it in London in 1845 she made a selection of about
eight steps or figures, that have had great success among the higher classes here. EXPLANATIONS
OF THE STEPS AND FIGURES. 

I. Three Galop steps to the right, and slide the left foot forward (this to be repeated three
times). 

The gentleman supports his lady on his right arm, without giving the left hand. 

II. Three Galop steps and slide the other foot forward in turning very rapidly, and repeated
three times. (Position of the Waltz, see page 68.) 

III. A jette in turning, fouette, temps leve , and chasse (four times). Position of the Waltz.)

IV. Echappe , and eight Galop steps in crossing the room obliquely, facing his partner and holding
both of her hands, and return in the same way to their places. 

V. Four Galop steps without turning, four jettes in turning and remaining in the same place.
(Position of the Waltz.) 

VI. Eight glissades turning to the right and the same to the left. (Position of the Waltz.) 

VII. Three Galop steps forwards, slide the foot backwards, and at the same time turn short round
rapidly (this three times), and the compass step (four times). 

The music is an animated measure in six-eight time. SCHOTTISCHE. 

The Schottische was introduced in London shortly after the Polka, from which it originated:
it is danced in couples, and the position is the same as for the Waltz. (See page 68.) EXPLANATION
OF THE STEPS. 

The gentleman begins with the left, alta the lady with the right foot. 

Three pas marche (or walking steps) sideways, finishing with one foot up behind, then jump
on the foot that is down. The same with the other foot. 

Four times jette forward, and jump on the foot which is down in turning one round, This to be repeated
four times. 

Lately the Valse a Deux Temps has been introduced instead of the four jettes and jump, and it
is far superior. 

Some begin the Schottische with four steps of the gallopade, and then the four jettes and jump.
LA CELLARIUS. 

The Cellarius is a Waltz composed of three steps of the Mazurka. This dance was composed by Monsieur
Cellarius, in Paris, and introduced by me in London, at the Polish Ball, in the City, in 1844,
having Mrs. Henderson for my partner. Since that time, it has been very much altered both as
regards the time and the steps; so much so, that the original dance can scarcely be recognized.
But I shall give a brief explanation of the steps for those persons who may be desirous to know
what the original Cellarius was. 

The premier pas or step consists of two movements-1st, of a temps leve , which occupies two-thirds
of a bar, and of a sissonne , which should be well marked; the cavalier begins with his left foot
forward, and the lady with her right forward. 

The second pas or step consists of three movements-the 1st, by tapping together the heels,
while off the ground; 2nd, sliding one foot aside; 3rd, a jete de cote , at the same time tapping
the heels together. This step is done two or four times in square of the room. 

The third pas or step consists of four movements -1st, of one temps leve ; 2nd, a sissonne ; 3rd,
a temps leve ; 4th, a jete de cotee , at the same time tapping the heels. 

Note .-The first step may be executed by turning a rebour , and in moving backwards. There is
no fixed rule in dancing the different figures of this valse; the cavalier who knows how to vary
them the oftenest will render the valse the most agreeable and the prettiest. The gentleman
keeps his right arm round the lady's waist, as in the waltz, holding her right hand in his left.
THE GORLITZA. 

The Gorlitza is danced by two like the Waltz. The music is two-four time. This dance may be divided
into four different steps. 

I. One bar of the Polka in turning half round, and the same without turning, finishing on both
feet, the left foot forward for the lady as well as for the gentleman. 

II. Sissonne with the left foot for both lady and gentleman, and two little pas marche behind,
in turning. This to be repeated. 

III. One complete step of the Polka Mazurka (see page 42). 

IV. Temps leve sideways, sissonne and pas de bourre behind and before. 

For those not acquainted with the foreign terms for dancing, a few lessons will be required
to make them understood. COULON'S QUADRILLE. 

This Quadrille is to be danced by four couples only, who place themselves in a square similar
to the First Set. 

The half of the music is to be played-that is, half the number of repetitions are required. 

For those who are not joining in the Coulon's Quadrille, the common First Set may be danced by
forming two lines, without either top or bottom couples. FIGURE I.-(Like le Pantalon). 

The top and bottom couples chaine Anglaise (or right and left) towards the centre, whilst the
two side couples chaine Anglaise round them. 

All set, and turn partners. 

The four ladies, ladies' chain. 

All half promenade. 

The top sad bottom couples chaine Anglaise in the centre, whilst the side couples chaine Anglaise
round them. FIGURE II.-(Like l'Ete.) 

The lady at the top, and the lady on her right, begin with the opposite gentleman. 

Advance and retire twice. 

Cross over (in following each other towards the left). 

Advance and retire. 

Re-cross to places (following each other towards the left). 

During which the partners set, and turn their partners. 

Ditto for the other four. D FIGURE III.-(Like la Poule.) 

The lady at the top and the lady on her right begin with. their opposite partners. 

Cross over in giving the right hand. 

Recross in giving the left hand. (The four remain in the centre, anti give the right hand to their
partners.) 

The eight set. 

Half promenade (the eight). 

Advance and retire twice. 

The eight advance and retire (each lady giving the hand to her partner). 

The top and bottom couples chaine Anglaise towards the centre, while the two side couples chaine
Anglaise round them. * 

Ditto for the other four. FIGURE IV.-(Like la Trenis) 

The ladies at the top and bottom with their partners dance the figure of the Trenis with the couples
on their right, each in a corner of the quadrille. 

Ladies and gentlemen advance and retire. 

Advance again; the gentlemen leave their ladies on the left of the opposite gentleman, and
retire. 

The two ladies (in each corner) cross over, and the gentlemen cross between them. 

Re-cross again to places. 

Set and turn partners. 

Ditto for the side couples, dancing toward the right. FIGURE V.-(Like la St. Simonienne.)

All gallopade round. 

The top and bottom couples gallopade forward, and while returning backward, the side couples
advance; while these side couples are retiring backward, the top and bottom ladies change
partners in crossing the room, after which the ladies at the side cross the room, and change
partners also. * 

The four ladies, ladies' chain (ditto to places). 

Repeat this figure from the beginning. The aide couples commencing the gallopade forward,
&c. &c. 

All gallopade round to conclude. PART II. THE POLONAISE. 

This is the most stately of dances (or it may be called rather, a grand promenade). In all the
aristocratic Courts, and, above all, in those of Northern Europe-from Vienna to St Petersburgh-this
is the prelude to the balls of the highest sphere of society, as it was to Her Majesty's Bal Costume
on the 6th of June, 1844. Whilst every costume is in its freshness, and every plait of dress,
and every lock of hair still retains the form most becoming to the wearer then, and not later,
the Polonaise is danced. From its dignified measure none may abstain-from the King to the Ensign-from
the youngest of belles to the oldest of the ancien regime of beaux . Then is the line formed for
such a review as no field of battle can present -for all parties retire amidst the lustre of silks
and satins and the brilliancy of gems and diamonds. At her Majesty's fete the Polonaise first
appeared in England, but now it will assume its place at all the great re-unions patronized
by the noble leaders of fashion, whence it will travel into the provinces, to preface the race
and the county balls. 

To perform this promenading dance, all those who desire to engage in it, must assemble in the
first drawing-room, and then the Lady Patronesses, or in their absence, the Master of Ceremonies,
assigns to each lady a cavalier-in a Bal Costume , care being had that there be a perfect correspondence
of costume betwixt the parties. Then the inspiring measure is struck up by the orchestra. The
folding doors are thrown open and the assemblage of dancers make their entree into the apartments,
hand in hand, slowly marching, and conversing in an under tone-the ladies playing or coquetting
with their fans or their bouquets. The march at Court is preceded by the Chamberlains-in other
places by the Masters of Ceremonies with their white staffs. Thus marshalled, the promenaders
visit room after room-the beauties of the above are thus displayed, and still more advantageously
those of the promenaders. Those who do not join in the march have their full share of the enjoyment-for
they behold to the best advantage all the marvels of the toilette and the grace and elegance
of those who figure in this distinguished measure. QUADRILLE FRANCAIS; OR, FIRST SET. * PRELIMINARY
REMARKS. 

Le Pantalon is performed twice, first by the top and bottom couples, and afterwards by the side
couples. 

L'Ete and la Poule are each danced four times. There is no axed rule as to which lady begins. 

La Trenis and La Pastourelle are likewise performed four times. Each couple at the top and bottom
begin alternately, La Trenis and La Pastourelle are both No. 4, and only one is usually introduced
in a Quadrille. 

La finale is performed four times. EXPLANATION OF THE FIRST SET. 

I. Le Pantalon -right and left, set and turn partners, ladies chain, half promenade, and half
right and left. 

II. L'Ete -Lady and opposite gentleman advance and retire twice, cross over, advance and retire,
re-cross, whilst partner set, and turn partners. 

III. La Poule -Lady and opposite gentleman cross over, giving right hands, and recross giving
left hands. Four in a line set, half promenade, advance and retire twice, four advance and retire,
half right and left. 

IV. La Trenis -First couple advance and retire, advance again, the gentleman leaving his lady
on the left of the gentleman opposite, and retires; the two ladies then cross over, and the gentleman
crosses between them, the ladies and gentleman recross to their places, set and turn partners.

IV. La Pastourelle -First couple advance and retire, advance again, the gentleman leaving
his partner on the left side of the opposite gentleman and retires, * the three then advance
and retire twice, the first gentleman advance and retire twice, hands four half round, and
half right and left. 

V. La Finale -Join hands all round, advance and retire twice, and l'Ete , or gallopade round,
advance four and retire, cross over, advance and retire, recross, and ladies chain. CHOREGRAPHY
OF THE FIRST SET (OR QUADRILLE FRANCAIS). FIRST FIGURE, OR PANTALON. 

Half right and left: 

Repeat half right and left. 

Set to partner: 

Turn partner: 

Half ladies chain: 

Repeat half ladies chains. 

Half promenade: 

Half right and left. SECOND FIGURE, L'EETE. 

Advance and retire twice: 

Cross over: 

Advance and retire. 

Cross over (whilst the others set): 

Turn partner. THIRD FIGURE, LA POULE. 

Cross over, presenting right hand: 

Recross, giving left hand: 

Set four: 

Half promenade: 

Advance and retire twice. 

Advance and retire by four: 

Half right and left. FOURTH FIGURE, LA TRENISE. 

Advance and retire with partner: 

Advance, the lady cross over, the gentleman retire: 

Cross over, the gentleman cross between the two ladies; 

Recross to places: 

Set to partner. 

Turn partner. FOURTH FIGURE, LA PASTOURELLE. 

First couple advance and retire. 

The gentleman advance and retire, the lady cross over. 

Advance and retire by three, twice: 

The gentleman alone advance and retire twice: 

Hands round by four: 

Half right and left. FOURTH FIGURE, THE NEW PASTOURELLE. 

Advance and retire, with partner. 

The gentleman advance and retire, the lady cross over. 

Advance and retire by three, the ladies facing the gentleman to whom they give hands: 

Three advance as before, the gentleman retires, the two ladies turn half round to give hand
to the other gentleman: 

Advance and retire by three. 

Advance, the ladies turn half round. 

Hands round by four. 

Half right and left to places. FIFTH FIGURE. 

Advance and retire twice, joining hands round: 

The second figure L'Ete. FIFTH FIGURE, WITH THE GALOP. 

Galop round the room: 

Advance and retire by four: 

Cross over: 

Advance and retire by four. 

Cross over. 

Ladies chain to places. THE WALTZ. 

The Waltz, now called the common Waltz to distinguish it from the more modern one called the
Valse a deux Temps , has been known for many years, and is still danced at many balls where the
aristocratic Valse a deux temps has not yet been introduced, and as it is probable that the old
Waltz will retain its original position in the ball-room, a short description of it may prove
useful POSITION OF THE WALTZ. * 

In order to begin the Waltz, the gentleman must hold and guide his partner with his right arm,
well encircling her waist, and her right hand in his left. The gentleman when holding his partner's
hand should keep his arm about the height of the waist gracefully extended. He should face the
lady's right shoulder, having the body slightly bent forward, and the lady should keep her
head opposite to her left hand which should rest on the gentleman's shoulder. DESCRIPTION
OF THE COMMON WALTZ. 

The common Waltz is composed. of three steps haft round, and three steps for the other half round,
which takes two bars. The gentleman begins with the left foot one step to the left and two steps
backward in turning one half roads, he then begins with the right foot, three steps forward
in turning the other half round. The lady has to do exactly the same beginning with the right
foot, which, in the first step she must place between her partners right and left foot. 

The gentleman must also place his right foot between the feet of his partner when beginning
with the right foot, after which they waltz in constantly turning and following the couple
before them. LA SAUTEUSE. (THE HOP WALTZ.) 

La Sauteuze is an old Waltz, but as it has lately been revived in Paris it is therefore likely,
during the season of 1856, to occupy a prominent place among the dances of the higher circles
in this country. 

The step is similar to that of the Common Waltz (see page 69,) with this exception, that the first
step must be jumped, like a jette , and the other two run. 

N.B. The steps of the Sauteuse are not unfrequently confounded with the second step of the Schottische.
Care must be taken not to fall into this error as it would otherwise quite destroy the character
and originality of the dance. THE LANCERS. 

1st. La Rose . The first lady and opposite gentleman advance and retire, turn with both hands
and return to their places. The leading lady and her partner cross over hand in hand, and the
opposite couple do the same separately and passing on the outside; they then all set and turn
at the corners. 

2nd. La Lodowiska . First couple advance and retire, advance again, the lady remains in the
centre, the gentleman retires, chassez to the right and left, turn partners to places, the
side couples joining hands to form two lines, all advance in two lines, all turn partners. 

3rd. La Dorset . First lady advance and stop, opposite gentleman advance and seep, lady retire,
gentleman retire, four ladies right hands across half round, left hand and back to places while
the gentlemen lead round outside to the right half round, and back to places. 

4th. L'Etoile . First couple pay a visit to the couple on the right hand, and how; then to the couple
on the left the same, chassez croisse and set, chassez croisse and back to places, right and
left. 

5th. Les Lanciers . The grand chain, the first couple advance and turn half round facing the
top, then the couple on the right advance behind the top couple, then the couple on the left follow,
and the last couple the same forming two lines, chassez croisse with partners, and back again,
the ladies turn outside the line to the right, the gentlemen the same to the left; the couples
meet up the centre and advance joining hands, the four ladies form a line holding each others
hands, the gentlemen the same opposite, all advance and retire, turn partners to places, finish
with the grand chain. LA TEMPETE. 

La Tempete is danced by an unlimited number, accordingly four new comers can always form an
additional line. 

Fig. 1. Advance and retire twice in holding hands and forming two lines of four: 

2. Cross two by two sideways, each holding partner's hands, crossing two before the other two,
and re-crossing to places. Repeat the same again, with the difference that the couples who
passed before in the first crossing now pass behind the other couple: 

3. The four inside join hands and form a Found; the two on each side join hands also, and all eight
turn once round to the left and once round to the right. 

4. The four inside give right hands across whilst the two couples outside give right hands also;
turn once round to the left, after which all eight change and giving left hands turn once round
to the right, finishing to places. 

5. Advance and retire by four holding hands. 

6. Cross over, the two top couples leading through and face the other line to commence the same
figure with the four who have been waiting; during this, the bottom couples stand still until
their turn comes again to dance the same figures just explained. SIR ROGER DE COVERLEY. 

Sir Roger de Coverley is a very ancient and merry dance for Christmas time, or at the end of a friendly
party. It has lately been revived at her Majesty's bal costume . It is danced like all country
dances, the gentlemen in a line, and the ladies in another opposite to their partners. The first
gentleman at the top and the lady at the bottom of the line have to begin each figure, and then
the other gentleman and lady at the opposite corner have to repeat the figure immediately.

I. First lady and gentleman meet in the centre of the line, give right hands, turn once round,
and retire to their corners, the same for the other two at the top and bottom. 

II. First couple cross again and give left, hands and turn once; back to places. Repeat this.

III. First couple give both hands, the others the same. 

IV. First couple back to back, and retire to places; the other corners the same. 

V. The first couple advance, how to each other, and retire; the same repeated by the other couple.

VI. The top gentleman then turns to the left, and the top lady (his partner) turns to the right;
all the other ladies and gentlemen turn and follow the leaders who run outside of the line, and
meet at the bottom of the room, giving right hands, and raising their arms so as to form a kind
of arch under which all the following couples must pans, joining hands and running forwards
when they have all passed under the arch. The first lady and gentleman remain the last at the
end of the two lines, and the figures of right hands, left hands, both hands, back to back, bow,
and running outside the lines are repeated by all, when the first couple will have arrived at
their original place. THE GALLOPADE. 

The Gallopade has had a long reign of nearly twenty years, and is still in high favour at public
balls in Paris, as well as at Jullien's bal masque in London. There is no dance more exciting,
or easy to learn, it requires only a good ear to mark the time of the music. The chief requisite
in this dance is to keep on one's feet, for there is great danger if once you fall that you will
have those who follow over you, like the Capucins de Cartes . This power once acquired, you have
only to throw yourself in the volcanic tourbillon and fellow the course of the stream, which
with very little attention will be easily understood. 

The Gallopade has recently been re-introduced in private society, where it is not customary
to race as at a masquerade. They merely make a few steps of the galop and pass into the valse a deux
temps . In this way the gallopade becomes a spirited and graceful dance instead of a tremendous
rush. The step of the gallopade is simply a chasse with one foot as long as you continue one way,
and chasse with the other foot when you turn. The step of the gallopade in turning is the same
as the step of the valse a deuz temps . (See page 81.) SPANISH DANCE. 

The couples are placer as for a country dance. To commence the figure, the lady and gentleman
at the top change places, they then set to the second couple, and cross into their places, set
to partners, cross over again to the other places, set to the second couple, and then to partners,
all four join hands, advance, retire. The two gentlemen turn the ladies in the centre and change
places with each other, and finish in a round. Repeat this four times, then the two couples waltz
round each other for four or eight bars, and the first couple repeat the figure with the third
couple, then with the fourth, and so on to the end of the line. When the first couple begin to dance
with the fifth couple, the second one begin with the third. Frequently when there is a long line,
they begin this figure in different places. The figure is ended when the first couple have arrived
at their original place. 

The music for the Spanish dance is the same as that for the common waltz. THE VALSE A DEUX TEMPS.

This valse made its first appearance at the Court of Vienna, and was danced in Paris at the Opera
balls. In the carnival of 1839 it was danced by the corps de ballet , when it met with a very indifferent
reception. Six months after this, at Baden-Baden, it was danced by all the fasionable company
there assembled, and was very favourably received. At the close of the season, when the members
of the assemblies, which consisted of the elite of Europe, returned to their respective capitals,
La Valse a deux temps was introduced at the soirees in Berlin, St. Petersburgh, and London;
but it is only within the last ten years that it has become so popular as to take precedence of
all other waltzes. As it unfortunately happens in fashionable dances there are many individuals
who launch into them without taking the pains to learn even the first step, it is for the benefit
of those too enterprising valsers that the following description is offered. DESCRIPTION
OF THE VALSE A DEUX TEMPS. 

The Valse a deux temps occupies three intervals like the other waltz: only they are otherwise
divided. The first consists of a sliding step, the second is marked by a chasse which always
includes two intervals in one. (A chasse is performed by bringing one foot near the other, which
is then moved forward, backward, right, left, or round.) 

The gentleman begins by sliding to the left with his left foot, then performing a chasse towards
the left with his right foot without turning at all during these two first times. He then slides
his right foot backwards, turning half round; after which he places his left foot behind to
make a little chasse forward turning them round for the second interval. He should finish with
his right foot a little forward, and begin again with his left. 

The lady waltzes after the same manner with this exception, that the first time she slides to
the right with her right foot, and makes the chasse also on the right. She then continues the
same as the gentleman, but a contre pied , that is, she slides with her fight foot backwards,
when the gentleman slides with his left foot to the left; and when the gentleman slides with
his right foot backwards, she slides with her left foot to the left. 

One of the first principles of this waltz is never to jump, but only to slide. The steps must be
made rather wide, and the knees kept slightly bent. 

Many gentlemen, who may be designated les etoiles de la valse , dance the valse a deux temps a
rebours , or contrary way; the effect is very pretty, though, at the same time, its execution
is very difficult The rules for it are the same as already described, but danced a contre pied
, that is to say, the left foot is slid backwards during the first time and the right sideways
during the second time for the gentleman. SCOTCH REEL. 

The Scotch Reel is a true national dance, and is generally performed by the nobility before
Her Majesty at her state balls. This is certainly the most lively and characteristic dance
known. The music is generally played by a piper, as at Her Majesty's balls, and is played very
fast. When a band is provided instead of the piper, one-half play while the other wait their
turn as the Scotch are indefatigable when dancing-the reel; they seem almost intoxicated
with it-they snap their fingers-throw their arms and feet in the air-screech out-and make
such quick and difficult steps that the eyes have trouble to follow them. The figure is danced
by two ladies and two gentlemen forming a hue of four, the ladies in the centre. They begin with
a chain in passing in and out of each other, until the two gentlemen return to their places, the
ladies finish facing the gentlemen; then they set (or balance ) before each other, the gentlemen
exhibiting all their skill, the ladies dancing as quietly as possible; after eight bars or
this set they begin again the chain and set, and this they do as long as they can-in fact they never
seem tired, and seem to acquire fresh strength each time they come to the balance . LA BOULANGERE.

La Boulangere is a French dance of great antiquity; in the present day it usually forms the concluding
dance of a ball in the same way that Sir Roger de Coverley does in this country. 

The gentlemen and their partners place themselves in a circle, and join hands, the gentlemen
facing inwards, and the ladies outwards or the circle. 

They dance one round still keeping hands, and when they come back to their places, the leading
couple begin the figure. 

The gentleman with his right hand takes his partner's right hand, turns once round with her,
and then leaves her. After which, with his left hand he takes the left hand of the lady next in
rotation, turns once round in like manner with her, and then returns to his partner, to whom
he gives his right hand as before, then his left to the lady standing next in the circle, and so
on to the end, always alternately dancing with his partner, who in the meantime when he leaves
her, is to continue to turn by herself inside the circle, and keeping as far as she can from him.
When this couple arrive at their own place again, the whole number join hands as before, turn
one round, and the next couple to the right dance the same figure. 

When the party is very large, two couples may begin at the same time, one at the top and the other
at the bottom of the room. 

After which the ladies dance the same figure. LE CARILLON DE DUNKERQUE. 

Le Carillon de Dunkerque, like the Boulangere, is a French dance of the olden time, and is the
merryest and the noisiest of all country dances. 

The gentlemen select their partners, and place themselves as for the Quadrille. 

It is of no consequence if the number of couples is not equal, the more that dance the merrier
it is. 

The music plays the first eight bars, after which each gentleman takes the place of the gentleman
to his right, the ladies meanwhile retaining their places. 

All set and turn with their new partners, the gentlemen finishing with their faces towards
the ladies, and their backs to the centre of the Quadrille. 

Then all the ladies and gentlemen clap their hands three times, and then stamp on the floor three
times, and finish by turning round with their new partners. This figure is again begun and repeated
until the gentlemen meet with their original partners, after which the ladies perform the
figure in the same manner with the gentlemen. LA MADRILAINE. 

La Madrilaine is a dance for two persons, the cavalier holding his partner's waist in his right
arm, as in the Waltz or Polka. Its style is Spanish, and Castanets are obligato , to accompany
the music, which is to be played rather slowly and well marked The gentleman man begins with
his left foot, the lady with her right. One coupe to the side, point the other fool, and bring
it near to the first, coupe again to the side, two Pas de Basque in turning once round. One coupe
to the side, point the other foot, and bring it near to the afar, one pas de basque , in turning
half round, once more coupe and pas de basque , in turning the other half. This is to be repeated
as often as found agreeable, and for the sake of variety, the gentleman may guide his lady back
with four pas de basque forward, then one coupe to the side, one pas de basque in turning half
round, and once more coupe and pas de basque . "POP GOES THE WEASEL." 

"Pop goes the Weasel" is an old and a very animates English dance that has lately been revived
among the higher classes of society. It is performed in the same manner as the Country dance.
The ladies and gentlemen being placed in lines opposite to each other. 

The couple at the top begin the figure, they run forward within the line and back again, each
occupying four bars of the music, and then outside the line, and back again during the same interval.
After which they form a round of three with one of the couple next to them on the line and turn once
round to the right and once to the left, at the end of which making the one they have chosen pass
quickly under their arms to his place, all singing "Pop goes the Weasel," they then turn quickly
to the other line and repeat the same figure with the partner of the last selected. 

After this they have to run forward and backward inside and outside the line and repeat the figure
with the next couple on the right and left. When they have passed three or four couples, the lady
and gentleman at the top begin, and repeat the same figure, and so on in turn for all those who
remain. 

It is understood that after having passed the third or fourth couple, it is not necessary to
go to the top in order to pass to the outside of the line, this is done by breaking through at that
part where they may happen to be. THE VARSOVIANA. 

This dance, like the Waltz, is performed by two persons, the gentleman holding the lady by the
right arm There are two different steps. 

The first occupies two bars of the music. It is composed of one step of the Polka for the first
bar; and for the second, the foot is slidden to the side, the toe pointed and kept in that position
during the remainder of it. This is to be repealed eight times, each time turning half round.

The second step occupies four box's, the first and second bars of which are employed while the
first step of the Polka Masurka (see page 42) is danced, twice to the side; the third bar, while
one step of the Polka is danced, turning half round: and the fourth bar, while the foot is slidden
to the side, keeping the toe pointed during the remainder of the bar. 

This second step is to be repeated four times. 

N.B. There is also an additional step, which may be danced instead of the second step, or partly
with it,-that is to say-twice of the one eight of the other: but this is left to the option of the
dancers. 

It is danced thus:-One Polka step, which takes one bar, observing to slide the first step instead
of jumping, and turning like the Waltz. This is to be repeated sixteen times, when part of the
second step is not used. LONG LIVE THE QUEEN. 

Long live the Queen is a country dance and like all other dances of the same kind, may be executed
by an unlimited number of persons, the gentlemen forming a line on one side of the room, and the
ladies facing them. 

To the time of "God save the Queen" the two gentlemen anti their partners at the top of the line
begin by giving their right hands across and marching slowly once round, finishing with a low
bow to each other. They then present their left to each other and march to the left finishing
in the same manner with a low how. (It is quite optional during the "God save the Queen" to form
chorus for those who wish to sing.) 

To a quick tune, which then follows, the two couples Galop down the room, and back again, and
Waltz round each other until the slow movement and music begin again. 

N.B. When the column is a long one it is better to begin the figure at different places; leaving
always one or two couples between. REMARKS ON THE INTRODUCTIONS IN PRIVATE AND PUBLIC BALL
ROOMS. 

It is very much to be regretted that the custom of the English Ball Room should limit the enjoyment
of the dance by not allowing the gentleman to offer himself as cavalier to any lady to whom he
has not previously passed through the ceremony of introduction. In Paris and on the Continent
generally where this severe restriction does not exist, it is assumed in private parties (and
very properly so) that the hostess has the tact to assemble those only of her friends together,
who are on an equal footing in society, and therefore in politeness to her , any such introductions
are dispensed with. And in public as well as private balls the ease and agreeableness of the
party would be much enhanced if gentlemen could, without fear of the imputation of rudeness,
exercise their freedom in the choice of partners, and equally so, a lady would and it much more
flattering to be the direct object of a gentleman's preference for the dance, than as is usually
the case, to be presented to him by others. DESCRIPTION AND CHOREGRAPHY OF THE MENUET DE LE COUR.
* 

1. One bar rest for the gentleman to take off his hat. 

2. One bar to prepare, and two bars to perform the bow of the gentleman and the curtsey of the lady.

5. One waltz step in going forward, and in turning half round to face each other-one bar. 

4. One bar while preparing for the bow and curtsey, and two bars while performing them. 

5. Return to places in giving hands with Pas de Bourre forward. Coupe backward, the gentleman
bring the left foot behind, the lady the right foot forward-two bars. (After this the lady and
gentleman always dance with the same foot.) 

6. Pas Grave forward in giving the hand-two bars. 

7. Coupe forwards, coupe backwards in facing each other. Jette to the right. Pas de Bourre behind
and before. Coupe backwards and bring the left foot behind-four bars. 

8. Pas Grave forwards, and Pas de Menuet forwards in turning-four bars. 

9. Two Pas de Menuet to the right in passing before one another-four bars. 

10. One waltz step. Coupe backwards-two bars. The gentleman resumes his hat. 

11. Pas de Bourre forwards and assemble before-two bars. 

12. Coupe backwards, and two battements , repeating it four times in going backwards-four
bars. 

13. Bend and rise twice. Sissonne with the left foot. Coupe backwards and bring the right foot
forwards-four bars. 

14. Pas Grave (to present the right baud). Pas de Bourre forwards. Assemble before and place
the right foot at the right-four bars. 

15. Two waltz steps. Pas de Bourre forwards, Coupe backwards, and place the right fool behind-four
bars. 

16. Pas Grave (to present the left hand). Pas de Bourre forwards, Assemble before, and place
the left foot to the left-four bars. 

17. Two waltz steps. Pas de Bourre forwards, Coupe backwards, and place the left foot behind-four
bars. 

18. Coupe forward, Coupe backward. Pas de Bourre forwards, Assemble soutenu , left fool before-four
bars. 

19. Minuet step to the right-two bars. 

20. Minuet step to the left-two bars. 

21. Pas de Bourre behind and before, one half round. Pas de Bourre behind and before, half a round.
Pas de Bourre behind and before (done quickly). Rise and turn on the toes to bring the left foot
forward, and change the feet-four bars. 

22. Coupe forward, and Assemble before, in bringing alternately one and the other shoulder
forward. Repeat this three times. Slide the left foot to the left Pas de Bourre behind and before,
finishing with the left toe pointed behind-four bars. 

23. Pirouette on both feet finishing on the left foot. Coupe backward, and place the left foot
behind-four bars. 

24. Pas grave (to present both hands). Pas de Bourre forward. Assemble before in facing each
other. Turn half round in keeping the left hand of the lady. Place the left foot to the left for
the gentleman, and the right foot to the right for the lady-two bars. 

25. Coupe forwards, Coupe backwards-two bars. 

26. Give both hands to each other. Pas de Bourre before and behind. Coupe backwards and place
the left foot behind for the gentleman, and the right foot before for the lady-two bars. 

Repeat the figures 1, 2, 3, 4, 5 to conclude. G A List of Professors of Dancing, PUPILS OF MONS.
COULON. 

Misses Barnard , 68, Newman Street, Oxford Street. 

Mr. Cramond , Murray Place, Tain, Rothshire. 

Mrs. H. E. R. Davies , Hill Street, Haverford West. 

Miss Evan , Ludlow, Shropshire. 

Mr. Mathew Dodworth , 99, Fitzwilliam Street, Sheffield. 

Messrs, Harwood & Son , 42, Nelson Street, Great George Street, Liverpool. 

Mr. John Hawkins , 12, Lower Stone Row, Coleraine. 

Miss F. Mantle Flint House, Maidenhead. 

Mr. W. G. Mingay , Nantwich, Crewe. 

Mr. Thos.Reynolds , 9, Dolier Street, Dublin. 

Mr. Edward Willis , Woodhouse Square, Leeds. 

Mons. Coulon's pupils are respectfully informed that their names can be added to the above
list upon their sending their address to the publisher. 

Names of Towns from whence Professors applied to M. Coulon for instruction in some of the new
dances introduced by him, and others. 

( From the Editor .) 

FROM 

Bath 2 

Belfast 1 

Birmingham 4 

Blackheath 1 

Boston 1 

Boulogne 1 

Brighton 2 

Bristol 2 

Broadoak 1 

Bury St Edmunds 1 

Camberwell 1 

Cheltenham 3 

Chipping Norton 1 

Chiswell 1 

Coleraine 1 

Cork 2 

Derby 1 

Doncaster 1 

Dublin 3 

Ealing 1 

Edinburgh 3 

Enniskillen 1 

Glasgow 4 

Hastings 1 

Highgate 1 

Ipswich 1 

Kentish Town 1 

Leamington 2 

Leeds 1 

Leicester 1 

Liverpool 4 

London 25 

Londonderry 1 

Ludlow 1 

Manchester 2 

Maidenhead 1 

Newcastle 1 

Northampton 1 

Norwich 2 

Nottingham 1 

Paddington 1 

Penzance 1 

Preston 1 

Ramsgate 1 

Ripon 1 

Sheffield 2 

Shrewsbury 1 

Swansea 2 

Thurso Caithness 1 

Wandsworth 1 

Weymouth 1 

Whitby 1 

Wickhammer 1 

Willingborough 1 

Worcester 1 

Wykeham 1 

W. OSTELL, HART STREET, BLOOMSBURY.