Californ Bgional ' cility ^arnFWTirf*' i . & THE FAMILY HERALD; A DOMESTIC MAGAZINE ov WistM |iiformatix)u & giimtsamitt. Weekly, prtee Id. ; by Post 2d. ; Monthly, 6d. Annual Volumes, la. M. BF.GISTBRKD FOB TRAJfSMISSION ABROAD. SATURDAY REVIEW. " The Family Herald stands at the head, both in age and popularity, of all the penny serials. The editor is the confidant and confessor in every station of life. The answers to correspondents cannot be fictitious, for if they were, a romance and a life history being em- bodied in almost each of them, the editor would be as | great a genius as we now consider him tobe a miracle of general information. These are elements of popu- larity inexhaustible, and on the whole, people may recur to advisers less judicious and often more in- | tercsted tlian the Ductorea Dubitantium of the [ penny weekly press." i LEIGH HUNT'S AUTOBIOGRAPHY, " I call out every week for my Family Herald, a little penny publication qualified to inform the best of its contemporaries." BRITISH QUARTERLY REVIEW. " The Family Herald may be considered thePater- familias of the whole stock of penny weekly serials. Of all these publications, we are inclined to consider -m THE FAMILY HERALD. the Family Ileriihl tho licst. It is well considcrcil witli rcfert'iicc to its aims, urn! is various ami atniis- iiiR, witli a fair amount of utility intermixed. Tliern is a leadin.i; article, or essay, every week, upon some sulijcct of an instructive or tlunishtful character. Under the head of the Story-teller, we have novel- ettes simider in construction than in the pajjes of the other i>cnny serials. Then there is a little column of receipts and instructions in household matters ; gleanings of small facts, useful and scientific ; a few scraps of statistics; eliess problems and riddles; an anthology of stray humour and miscellanies; and verses let into its pages, like sunshine, to brighten them." LITERARY GAZETTE. "It must be said of the Family Herald that it is the purest reading of all purely amusing literature ; it is indeed a family paper." SATURDAY REVIEW (Second Notice). "The Family Hrrald, which never condescended to write down to or flatter the prurient imagination of its readers, and which in its leaders and scientific articles is the very pattern of cheap journalism, is, perhaps, more flourishing than ever; and its tales are quite as well writteu as the best circulatmg library stories." THE BOOKSELLER. " For amusing reading, such as may be admitted to one's houscliohl without fear of consequences, we may recommend the Fimilv Huraltl, the father of this class of publications. For cme penny you get a por- tion of a well-written novel, two or three novelettes, a lot of useful information interspersed throughout, a page of answers to correspondents, alone worth the penny, and a variety of other matters, which will make readers either merrier or wiser, or perhaps both." London : B. Blake, 421, Stxand, & all Booksellers. m RE ISSUE, REDUCED IN PRICE. In WrrJi?!/ Xmnhcrft, prior \(l. ; Moiithiu Vnrtn. Cxi., THE MUSICAL UERALD; Containing Eight Pages of 4to Music. AD DR E S sr THE MUSICAL HERALD was originally cnm- moncccl with a view to afford the same aid in the proprress of Musical Art that Litoraturo had so undeiiiably received from the pubUcatiou of the Family Herald. Till the issue of that work, the high prices at which periodicals were sold denied to tho peojde at large all access to the som-ccs of information and amusement; and 1)e- fore the Musical Hkbald appeared, the cxorlji- tant sums demanded for engraved music amounted to a proliibition of its free cii'culation among the middle and lower classes. The love of Music is increasing in England, and doubtless will still increase if the public are pro- vided with means of acquiring the art, and are made acquainted with its most l)cautifnl produc- tions. " Music," says Montesquieu, " is the only one of the arts which does not connipt the mind." But not only does music not cornipt the mind — it softens, refines, and exalts it ; furnishing to the rich a pure and intellectual pursuit, and to the poor a relaxation from their labours. The reprint (which, tlu-ough the abolition of the paper duty, we are enabled to issue at a lower price than* has ever yet been practical^le,) will, it is hoped, furnish that great and acknowlcilged want, a carefully edited selection of Secular Music, in every way suitable for Choral and Amateur Musical Societies, which are rapidly springing up all over the country. London : B. Blake, 421, Strand, W.C. ; And by Order of all Book and Musicsellers. iC \ ) ETIQUETTE OF THE AND GUIDE TO ALL THE f2eiu anti dras1)ionabIc Sauces!, CONTAINING THE STEPS AND FIGURES OP QUADRILLES, VALSES, POLKAS, GALOPS, MAZOUKKAS, COUNTRY DANCES, ETC. WITH |t|ints anti Instructions RESPECTING TOILET AND DETORTMENT. BY Mrs. NICHOLAS HENDERSON, TEACHER OF DANCING AND CALISTHENIC EXERCISES. NINTH EDITION. BENJAMIN BLAKE, No. 421, STRAND And may be had (by order) of ALL BOOKSELLERS AND MUSIC SELLERS. i Mr. & Mrs, Nicholas Henderson's ADULT AFTERNOON AND EVENING CLASSES. The Evening Classes meet tvdce a week, throughout the season— on Tuesday t for those requiring instruction, and on Fridays for prac- tice of all the new and fashionaVjle dances — from eight to half-past ten o'clock p.m. The Afternoon Classes on Wednesdays and Saturdays at four o'clock p.m. A few private lessons will suffice to qualify- any person not previously acquainted with dancing to take a part in a private party. A JuvENiLB Academy twice a week, from two till four o'clock. Terms : Two Guineas per quarter. Gentlemen may receive lessons any day, at twelve or four o'clock, ^vithout previously making appointments. FouE Lessons, One Guinea. Three Pkivate Lessons, Two Guineas. Single Lesson, Half a Guinea. SUBSCEIPTION TO EVENING CLASSES, TwO Guineas. 19, Newman Street, W. The Etiquette can be forwarded (postage free) by the i'ubilsher, on the receipt of 12 postage stamps. CONTENTS. Preface 6 ETIQUETTE OF THE BALL-ROOM. The Toilet, Material and Colour of Ladies' Dresses — their Relationships with Com- plexion, Age, Figure, &c.— Mouru- inp: — Half-Mourning — Gentlemen's Attire .... from 12—15 The Ball-Room. Form— Floorinp: — Music — the entree — Partners— General Deportment at Balls— Married Couples- Private, Pill lie, and Charity Balls—Supper — Retiring— Conducting Ladies home — Time of going to Balls, &c. 15 — 21 The Quadrille (First Set). Its Universality — Style of Dancing Quadrilles— taking places— v/s-rV-tv's — and a Description of the Five Figures 21—27 21)2571.7 IV C0HTENT3. PAGE The Lanckrs. Description of its Figures and new In- troductions .... 28 — 31 The Lancers for Sixteen , 31—33 The Caledonians . . . 33—35 The Valse. Revolution in the Valse introduced hy the Polka— History of the Chanp^o 35—37 Vat.sb a Teois Temps, or Old Waltz 37 Valse a Deux Temps . . 38—40 The Galopade— Le Galop . 40 The Polka. Profluced a Revolution in the Art of Dancing — its Origin — onlj'one Polka — Mode of Dancing it — Description of the Step — inelegant and ohjection- able diodes of Dancing it — Advice to Ladies— Young and not Young — Slender and not Slender, &c. . 40 — 47 The Mazoueka Valse. {Commonly called the Cellarins Valse.) History of it — first danced in London by M. Coulon and Mrs. Henderson — Comparison with Polka and Schot- tisch 47—51 CONTENTS. V PAGE The Mazourka Quabeille . 51—63 Coulon's QuAURiLLE, or Double Qnji- drille, danced by Four Coui)les 63—56 Mrs. Hkndkeson'b Double Qua- drille 56 — 60 The Redova. History of its Introduction — Compa- rison with other round dances . 60 — 62 The Polka Mazoueka . . 62—63 The Schottisch . . . 63—67 The Goelitza .... 67—68 La Varsoviknne ... 69 The Spanish Dance . . 70 — 71 The Waltz Cotillon . . 71—73 La Tempete, a New Dance . 73 — 77 Le Viennots-The Viennese 77—81 Le Prince Imperial . . 82 — 85 QUADEILLE DE8 DaMES . . 86 — 90 Country Dances ... 91 The Holly Uerrt . . . 91—93 SlE KOGEE DE COVEELET . 93—91 Glossaey of French Terms used in Danciu;? .... 9i— 96 PREFACE. Mrs. Nicholas Henderson presenis her comiMments k Tout le Monde, o.nd, in return for the patronage xvith vjhich she Jias already been honoured, she begs they will receive this little booh as a token of her gratitude and respectful rega/rd. As authors and authoresses a/re very naturally disposed to entertain a very elevated opinion of the subject on xvhich they discourse, Tout le Monde need not be surprised to hear that Mrs. Nicholas Henderson regards the art of dancing not only as an agreeable o/nd elegant pastime, but as one of tho most efficient as well as delightful means of human civilisation. So long as dancing is cul- tivated, civilisation progresses; but no sooner is the interdict sent forth against this elegant accomplishment and social amusement, than the people who were once refined cmd polished by its inspi- ration, relapse into ba/rba/rism, or give place to others more spirited tha/ni they. So long 03 dancing prevailed a/inorujsi PREFACE. Vll the nations of the East, they were the Coryphcei of the age ; hut now that the OHcntal ladies are shut up in harems, or their feet compressed ivithin the shoes of infancy, the nations that have thus done violence to nature and good taste have lost their precedence in the "march of intellect." Were Mrs. Nicholas Henderson a learned lady, she might, in corroboration of this statement, either give references to old hooks, or make quotations from them ; hut not heing versed in the records of antiquity, she merely hegs leave to remind Tout le Monde of the fact. Being more accustomed, in private or public life, " Tochase the glowing hours with flyingfeet," than to perpetuate thoughts upon paper with the pen of a ready xoriter, Mrs. Henderson hegs the indulgence of a generous public in the pei'tisal of the fol- lowing pages. They are short aiidtiny, and therefore she hopes they will he read. And if they are not classically elegant or beautiful {and she is not sure but they are, for she cannot tell tvhether she writes classically ornot), she hopes they will he useful to the youuij and theinex2ycrienced in the cultivation of grace and beauty in personal deyneanom\ and in correcting the rudeness, the aivkwa/rdness, and the negligence of an imperfect moral and modal education. Politeness of manner and gracefulness of style, ivhen once learned in the hall- room, willTnaterially improve the general demeanour in all the other social inter- cou/rse of life. In evei^y period of existence, the art of dancing facilitates the acquisition of ease and elegance in personal deportment, hut especially v:hen acquired in early life. Those ivho have learned, to dance in childhood are even distinguishable in manners from those who have not. They enter a room and retire, they poxe an apartinent, ivith greater ease and even dignity of carriage. The graceful move- ment has become a second nature by early training cmd continuous practice. Natu/re alone ivill not teach good, manners. Art is Nature's younger sister, and comes in to ivn/ish what Nature begins. Each has her beauties — each her imperfections. The one corrects the other. With Nature alone we are awkward and simple — ivitlo Art alone ive are formal, cold, and deceitful. Books alone are insufficient to teach an art. Personal instruction and personal discipline are indispensable. A fexv les- sons are sometimes siifficient for those who are gifted by Nature with a delicate sensibility and quickness of apprehen- sion. But a living model, a severe and friendly criticism., are necessary to make books of etiqtiette available, even to those who are naturally elegant. The un- taught and the ta/ught are easily dis- tinguished, even in entering a room or in Hsing from a seat. The maintien is the physical test of the gentleman or the lady ; and this art of personal de- portment is naturally communicated to those ivho are capable of acquiring it, in the graceful evolutions and chivalrous attentions of the dcmce. 11', Newman Street, Oxford Steeet. PREFACE TO THE EIGHTH EDITION. The favourable reception which this little hook has obtained from the public is evinced by the rapidity with which it has attained to the seventh edition ; and Mrs. Henderson hopes that the care with which she has revised the ivork, in accommodation to the changeful customs of the fashionable world, ivill deserve the continuance of the patronage which she has received. Mrs. Henderson's pupils are now numerous and ividely distributed over all the British empire : many of the first professors of dancing, at home and in the colonies, belong to the list, and each succeeding season adds to the member of those who have taken their tone from her style of instruction. That it has also been duly appreciated is evi- dent from the friendly relationships which continue to subsist between her and her former pujpils, who zealously recommend to others her academy as a school of da/ncing and good ma/nners. To thcso genoroHS friends she nmv ex- presses her grateful acknowledgments for 2)ersonal kindness and cordial re- cominendations, wore especially to such as have patronized and personally attended her classes and halls; and by persistence in that mode of in- struction which has met their approval and obtained their applause, she hopes to deserve the contimiance of their fawour. The alterations which she has made in the present edition are not so much correct ions as fashionable changes, and she trusts that the latest edition of her Guide will altvays approximate, as closely as is x)ossihle for a book to do, the prevailing taste in the beau nionde. ETIQUETTE OF THE BALL EOOM. THE TOILET. The first tiling for a lady to consider, is simplicity of attire, whether the material be cheap or costly — such simplicity as produces the greatest effect with the least apparent labour and the smallest number of articles. The next tiling to be considered is ele- gance of make and propriety of colour. Fashion in general will determine the for- mer ; but the latter must be left to indi- vidual taste. In the selection of colours a lady must consider her figure and her complexion. If slender, white or very light colouis are gene- rally supposed to be suitable ; but if inclined to emhonpoint, they should be avoided, as they have the reputation of apparently ad- ding to the bulk of the wearer. Pale colours, such as pink, salmon, light blue, maize, apple-green, mauve, and white, are most in vogue amongst the blondes, as being thought to harmonise with tiieir complexions. Brilliant colours are more generally selected by the brunettes, for a similar reason. Harmony of dress involve^s also the idea THE BALL-BOOM, 13 of contrast. A pale jjirl looks more pnlo, and a brunette looks loss dark, contrasted with stronc: colours. Hut as the blonde and the brunette are both handsome in thein- solves, when the contour of the countenance and tifxure is srood, a young girl, blonde or brunette, may without fear adopt either style, or both, for a change ; for a uniform style of dressing assumes at last the cha- racter of mannerism and formalitj'. The material of the dress should be of the lightest description — the more gossamer-like the better. A rich silk slip should always have either crape or net over it ; and it is the received opinion, that the less trimming the dress lias the better. On this point, however, individual taste may sometimes successfully deviate from the general rule. Ladies should also remember that gentle- men look more to the effect of dress, in set- ting off the figure and countenance of a lady, than to its cost. Very few gentlemen have any idea of the value of ladies' dresses. This is a subject for female criticism. Heaufy of person and elegance of manners in woman will alwajs command more ad- miration from the opposite sex than beaut}', elegance, or costliness of clothing. it is the fashiou at present to wear long 14 ETIQUETTB OP dresses ; but in having the dressos made, orders sliould be given not to have them so long as to touch the ground ; tor in tliat case they are apt to be torn before lialf the evening is over. It is ahuost impossible to thread the mazes of the dance without such an accident, if the dress swoep tlie Hoor, except with a careful, accomplished cavalier. The head-dress should be in unison with the robe, tliotigh ladies who have a pro- fusion of beautiful hair require little or no artificial ornament. To those who are less gifted in this respect, flowers are generally thought becoming. White satin shoes or boots are worn with light-coloured dresses, black or bronze with dark ; bwt it is now more fashionable to have the chaussure to match the dress in colour. The gloves should fit to a nicety. Mourning in any stage —full mourning or half-mourninsi — has alwaj's a soml>re ap- pearance, and is, therefore, unbecoming in a ball-room ; but since the custom of decora- ting it with violet has come into vogue, an air of cheerfulness has been imparted to its melancholy appearance. A lady may wear a mourning dress, with scarlet floweis and trimmings. Many ladies wear black from preference, whether in mourning or not. lu the latter case they THE BALL-ROOM. 15 trim it with such colours as their taste dic- tates. But mourning black is decorated with violet or scarlet onl}'. Gentlemen's ball attire varies but little, as tliey jrenerally appear in black. Either black or wbite neckerchiefs are fa- shionable, and considered " dress." The waist- coat should contrast with tlie neckerchief; if a wliite cravat, a dark-coloured vest ; a white one, if the neckerchief be black. Enamelled boots are most appropriate for ball costume ; but plain leather are often seen. Shoes, or pumps, have quite prone out, except at state balls, where court dress is worn. White or lemon-coloured gloves and em- broidered shirts are very fashionable. THE BALL-KOOM. Ball-rooms, like tastes, vary so much that it is impossible to describe the particular form that prevails. But that which o;ives the jrreatest satisfaction has a form nearly square, one side being only a little longer than the other. The advantage of the nearly square form lies in this: that it may be used either for one or two quadrille par- tics, and one or two circles for the round d:uices ; whereas, were it perfectlj^ square, it could not well be divided for two parties; 16 ETIQUETTE OP or, if very long, it could only be used at one end by a single party. The top of tlie ball-room is that end where the head of the table would be were the room converted into a dininjr-roora. It is generally farthest from the door; but in cases where the orchestra is at one end, the orchestra end is the top, and will be found in general farthest from the principal entree, or the staircase. It is always of importance to know and remember the top of the ball- room, as ladies and coui)les at the top alwa) s take the lead in the dance. Good flooring is indispensable for a ball- room ; when the floor is rough, it may be remedied by covering it with hollaud, tightly stretched — a practice now much in vogue. This adds greatly to the comfort, and im- proves the appearance of the floor. The holland may even be stretched over the car- pet. The room ought to be well lighted and ventilated. Those who give private par- ties should carefully attend to these two particulars. Good music should also be provided ; for bad music will spoil the best dancing, and destroy both the beauty and the pleasure of the entertainment. When a lady and gentleman enter a private ball-room, their first care should THK BALL-HOOM. 17 be to find their hostesn, and malie their obeisance. But on entering a public ball- room, the gentleman merely takes the lady to a seat. When a gentleman goes alone to a public ball, he must make application to the master of the ceremonies, or one of the stewards, who will introduce him to any lady that he wishes to dance with ; and a gentleman so introduced will never be refused by the lady, if she be not already engaged, or form one of a party which she cannot leave; for a re- fusal would be a breach of the law of good manners, as the nuister of the ceremonies is entitled and expected to be very scrupulous upon this point, and careful not to introduce to a lady any gentleman who is not ate fait in dancing, or who is in other respects ex- ceptionable. IJut no gentleman who is un- qualified sbould seek an introduction under such circumstances. At a private ball the necessary introduction is made by the host or hostess, or by a member of the familj'. As ladies are not privileged to ask gentle- men to dance, it is tlie duty of gentlemen to see that ladies are not long waiting for partners ; it is one of the greatest breiicbes of good manners that a gentlenuin can be guilty of in a ball-room, to stand idling whilst ladies are waiting to be asked, lie 18 ETIQUETTE OP has the appearance of one who is either peevish at a rei'usitl, or too proud to dunce with any hut his own favourites. Whatever preference may he felt, none shouUl he shown in a puhhc assenihly of plea- sure, which should he one large taniily, with universal urbanit}- prevailinj^ through- out. Perfect politeness conceals preferences, and makes itself generally agreeahle. Fa- vouritism is suitahle only for i)rivate life. Lovers are apt to forget this in the hall- room, and make themselves disagreeable, and sometimes particularly offensive, hy their exclusive devotion to one another. The hall-room is not the proper place for making love, hut for general and agreeable association. Ladies especially ought to re- member this; as no lady, however beautiful, accomplished, or opulent, can afford to lose the good opinion of the society in which she moves. A gentleman should not dance frequently with one lady, nor engiage a lady too many dances in advance, as it may obhge her to dance more than is agreeahle, or perhai)s to forego the pleasure of dancing with a particular friend who may afterwards in- vite her. A lady once refused to engage with a gentleman upon the plea that she was already sngaged. The gcntlemau re- THE BALL-BOOM. 19 quested permission to look at her pro- pninime, and, tindinsr it not tilled up, put his name ddwn for a late dance. The lady replied, "You ma}' put your name down, ])ut I shall be at home when the dance is called." If a gentleman ask a lady to dance, and receive a polite refusal, let him not exhibit symi)toms of dissatisfaction if he see lier dancing with another; but he is justitiid in never afterwards repeating the request. Never form an engagement duringa dance, or while the lady is engaged ; never wliis- per to a ladv, nor lounge about on cliaii*s or sofas while the dance is proceeding. Avoid all unfriendly or ungenerous cri- ticism, ridicule, or satire, as such can never commend you to those whom you address, and ujay be repeated to your own prejudice. Besides, they are out of harmony with the spirit of the liall, which ought to be, an association of kind and generous hearts, for soothing rather than irritating the feelings. In private balls, where there are no pro- grammes, engagments should not be made until the dance be annonncetl. Married couples ought not to dance with each other. There is, perhaps, no positive impropriety in it, and deviations from the rule may sometimes he either expedient or unavoidable; but it is more generous, and B2 20 BTIQUETTB OP more polite, for spouses to distribute their fovours amongst the rest of the company. Balls of pleasure should never be incon- veniently crowded, as this destroys both the beauty and the pleasure of the danciiigr. Charity balls may be excepted, as at such balls the crowding is desirable for the suc- cessful accomi)lishment of the object in view. When the dance is over, the gentleman shoidd ask the lady to take some refresh- ment. Should she not accept of it, he re- conducts her to a seat, and, unless he chooses to sit beside her, bows and witlidraws. Retire quietly. It is not even necessary to say " Good night" to the host or hostess, as when people are seen retiring it very often breaks up the party. A quiet opportunitj', however, should previously be S(night of intimating your intention, as it is more re- spectful and agreeable. If there be a supper, the gentleman should conduct to the supper-room his last partner, unless he has a previous engage- ment, or is asked by the hostess to do otherwise. In the latter case he nmst pro- vide a substitute for himself, making at the same time a handsome apolog}-. If a gentleman be introduced to a lady at a ball, he is not entitled to claim her ac- quaintanceship afterwards. He must not THK BALL-BOOM. 21 how to licr if ho meet her in the street, un- less shi^ do so first. Ahroad, the pentlenian is entitU'J to how to the hidy, hut this is contrary to etiipiptto in Eno^hsh society. No eo])le to use the walking step. Hut the du'erful and the young, in all countries, us(> the galoj), which is tlie popu- lar style. l{ow to partners — each gentleman thin olliTs his arm to his lady, and conducts her to hor seat. 28 ETIQUETTE OF THE LANCERS. The Lancers has again become a very popuhir dance in consequence of its revival at Her Majesty's state balls, and the corre- sponding circles in high life. It is a very elegant dance when well performed, and one in which the skill of the dancer may be displayed to great advantage. First aiTange a set of four couples, vis- a-vis. FiauRE. 1. The leading lady and opposite gentle- man advance and retire ; they re-advance, joining hands ; pass round each other and return to places (8 bars). Then join hands and cross over, between the opposite couple, whilst the latter pass outside to opposite places. Then the leading couple separate, and the opposite couple pass between them, hands joined, to their own places (8 bars). All four couples set to corners and turn to places (8 bars). The second couple then take the lead, and the figure is repeated. Then the third and fourth couples in succession take the lead, so that the figure is repeated four times. 2. The leading couple advance and re- tire, the gentleman holding the lady's left THE BALL-BOOM. 29 hand ; they re-advance, nnd tlio pentleinau leaves the lady in the centre of the qua- drille and retires alone (8 bars). Then set and turn to places (8 bars). The side coui)les then join top and bottom couples, forniiiig four in a line. When so placed, all advance and retire together, and each gentleman turns his own partner to place (8 bars). Bottom and side couples do likewise in succession, so that the figure is repeated four times. 3. Leading lady advances alone, and stops ; the opposite genth-mau then does the same ; the lady retires, fiicing the gentleman, making a low, formal courte>y ; gentleman bows (8 bars). The music makes a sort of pause. Four ladies double chain, or right hands across, and turn then vis-a-vis ; then repeat double chain, or left hands across, and turn to partners (8 bars). The second, third, and fourth couples re- peat the figuie in succession, so that it is rei)eated four times. [It is now the fashion for the four ladies to advance and courtesy to each other; then each lady turns to her partner and curtseys to him. The ladies then do the mouUnet while the gentlemen all move round outside the quadrille and return to places (8 bars). This is repeated four times. The second 30 ETIQUETTE OP and fourth times all the geutleinen advance, and immediately turn towards their partners and bow to tliem, and then continue the figure as before.] 4. Leading gentleman takes his partner by the left baud — they advance to the couple on the right, and bow and courtesj', and then pass to the fourth couple, and again courtesy (8 bars). All four chassez croisez, and leading couple return to places (8 bars). Top and bottom couples right and left (8 bars). The other couples take successively the lead in doing likewise j thus repeating the figure four times. FINALE. Figure commences with the music. Each gentleman faces his partner, and takes her right hand, and after three chords of the music, presents his left hand to lady on the right, then his right hand to next lady, and so on alternately, till he regains his place. All do the same at the same time. This forms a chain called the grand chain, and occupies IG bars. The leading couple promenade in- side the figure, and retiun to their own places, finishing with their faces turned outside the quadrille. The side couples fall in behind them, and bottom coui)les reujain as they were, the whole forming THE DALL-KOOM. 31 two lines; the gentU'inen on one side and tlie ladies on the other (8 bars). They all chassiz croiscz [the hulies to the left, the gentlemen to the right, and then back again in a like manner, the gentlemen pitssnig hiliind their own jiartners.] The leading lady leads otV to the right — the leading gentleman otl" to the left, and they meet at the bottom of the quadrille and p.u^s up to their own places. All the ladies at the same time follow the top lady, and all the gentlemen follow the top gentleman untd all have regained their places (8 bar>). The four ladies join hands, and the tour gentlemen do likewise, facing partners — all advance and retire, and e:ich turns i)artner to place (8 bai-s). Grand chain. The other couples then repeat this — and the grand chain is repeated each figure. After the last, the grand promenade. THE LANCERS FOR SIXTEEN. 1st Fi (/It re. —Biiih ladies at the top and opposite gentlemen ; ct)minence at the same time and go through the tii:ure as in the Lancers tor eight. All bdlancez at corner.s (that is to say, each gentleman does balau' cez with the ladj' on his left hand, while the ladies bahuicvz with the gentleman on their right.) The ladies at the bottom 33 ETIQUETTE OF with the vis-a-vis gentlemen, repeat the above ; and afterwards side couples, until the fij^ure has been repeated four times. 2tid Figure. — Top couples advance and retire, readvance, leaving ladies in centre of quadrille ; balances and turn partners. The two couples nearest the toi)join tlie top couples ; at the same time the couples nearest the bottom join the bottom couples. (Thus there are sixteen in each line.) All advance and retire, turn partners, the side couples returning to places. This is re- peated by the second, third, and fourth couples. When the top and bottom couples separate to join the lines, the couples move one to the right and one to the left, in order to make the lines of eight on each side. 3rd Fi(/nre.—To]) ladies advance and stop ; opposite gentlemen do likewise (after the ladies) ; bow and courtesy and retire to places. The ladies do the moulinet, the gentlemen pass round outside tlie quadrille to the left, and back to places at t-ame time. This is repeated second third and fourth couples, (Sometimes all the ladies advance and courtesy to each other, then turn to their partners and do hkewise; then moulinet, &c.) ^th Figure. — The top couples lead to the couples on their right (the ' leading THE 13ALL-H00M. 33 couple to the nearest couple on the right, the second top couple to the farthest on their right), bow and courtesy to each other, then turn to the vis-a-vis couples and do likewise. Chasscz croisez and retire to places — right and left top and bottom couples. Bottom couples recommence the figure with the couples on their right. Sides do likewise. bth Figure. — Grand chain, pausing every eight bars ; bow and courtesj', so as to occupy thirty-two bars, when each couple should have regained tlieir places. The figure is nearly the same as the Lancers for eight. Top couples lead round. Side couples fall in immediately behind leading couples, so as to form four sets of lines. Four times repeated. Finish with chain. THE CALEDONIANS. This is a Quadrille which gener;illy ap- pears once in a programme. It is not so accommodating as the First Set, for the number is confined to four couples; but it is very well adapted for a small family party, and even at public balls the dancers can be arranged in sets of eight indefinitely. 34 ETIQUETTE OF THE FIGURE. 1. The two leading couples liands across and back. Set to partners and turn. ]jadie.s' chain. Halt ])ronienade : half right and left. The other two couples repeat this. 2. The leading gentleman advances and retires twice. All set at corners and turn, each lady passing into the next lady's place. Having changed partners, all promenade quite round. The second, third, and fourth gentlemen repeat this figure: then all will have regained their places. 3. The leading lady and opposite gentle- man advance and retire twice. Leading couples cross over with hands joined, whilst the opposite couple cross over outside them : the same reversed. All set at corners and turn. All advance and retire twice, in a circle, with hands joined. ]iei)eated by the other couplesin succession 4. The leading lady and opposite gentle- man advance and stop ; their ]>artners un- mediately do the same ; both couples turn p.irtn(U-s to jilaccs. Ladies then move to the right, each into THE BALL-ROOM. 35 the otlior's plare (i bars) ; poiitltMiion to the left, each into the other's phicc (Ihars). A^'aii. hi(hes to the right; gentlemen to the left (8 hai-s). I'roiuenacle and turn partners. Other couples repeat the tigure in suc- cession. 5. The leading couple promenade round inside the fi>;ure. The tour ladies advance, courtesj'' to each other, and retire; the four gentlemeu do likewise, and bow. All set to partners and turn. Grand chain, half round. All promenade to places, and turn partners. All cliasscz croiscz. lu'peated bytheothercouplesinsuccession. Promenade for tinale. THE VALSE. Within the hist few years the Valse has nndergone a conii)lete rovulntion or reform. The old Valse (the word Waltz has now gone out of fashion ; moreover, the Germans pronounce it val-ic — the v for the w) was a dance in three times, slow and stately, wheeling round in one direction only, and not susceptible of a reverse tiun or a for- ward and backward movement. The con- sctiuence was, that, notwithstanding the c 2 36 ETIQUETTE OF deliberation with which it was conducted, most people became ^ddy with the motion in a veiy few minutes. The Valse d Deux Temps, or two times, has introduced an important reform or revolution in this re- spect — for the step is of such a nature that it can be made in a rotatory movement from right to left, or from left to right ; or it can be walked in a straight line backwards and forwards ; thus enabling the parties to cor- rect the slightest tendency to giddiness as soon as it is experienced. This, perhaps, is the principal cause of the preference which has been given to the Yalse a Deux Temps in the fashionable world. Notwithstanding this advantasre, however, it did not prei)0ssess the public mind so rapidly and so decidedly as the Polka ; for, although it was introduced into this country before the Polka, it was but coldly received at first, and no enthusiasm whatever was excited by its appearance. Tlie Polka mania was perhaps indispens- able to complete the revolution that has been effected ; and the Polka, being a dance which is susceptible of all the various move- ments above alluded to, and withal a dance which is easier of exeoition, and less giddy in its effects, was pecuharly fitted for pre- paring the way for the future triumph of THK BALL-ROOM. 37 the new over the old Valsc. Once the Polkii was learned, the fate of the old Valsc was sealed. jSIoreover, both Polka and new Valse have bt-en jjreatly indebted for their success in this country to the late Monsieur Jullien, wliose admirable Polkas express the time in so very clear and intellit^ildo a manner, without any sacriHce of melody or harmony. The popu- larity of the Polka music rapidly transferred itself to that of the Deux Temps, and the two dances now triumph together at all the fashionable assemblies. Step of the old Waltz, oe Valse a Trois Temps. We shall merely describe the gentleman's step, the lady's being precisely the same with the opposite feet — i. e., right for left and left for right — « contrejamhe. 1st. (ientleman slides left foot diagonally backwards — 2nd, slide right foot past the left in the same direction, tm-ning slightly to the right — Mrd, bring the left foot again behind the riirlit — Ith, slide the right for- ward, still slightly turning to the ri:,'ht — ■ 5th, slide left foot forward again — tith, turn on both feet, finishing witli the right foot forward. All turns are to the right for the geutlcmau, to the left for the lady. 38 ETIQUETTE OV Step of the J^aJse a Deux Temps. The music of tlie Valse a Deux Temps contains three times, like the old valse, oiil^'- the}- are otherwise divided and accented- two of the times being includeii in one — or rather, one of the times divided into two. The first step consists of a c/lissade or slide. The second is a chass6, including two times in one. The gentleman begins by sliding to the Jeft with his left foot, then performing a chassez towards the left with his right foot, without turning at all during these first two times. He then slides backwards with his right leg, turning half round ; after which, he puts his left leg behind to per- form with it a chassez forward, again turn- ing half round at the same time. He must finish with his right foot forward, and betrin again with his left foot as before. (The accent, or spring, should be on the chassez.) To dance the Deux Temps well, it must be danced with short steps, the feet sliding so smoothly over the surface of the floDr that they scarcely ever seem to be raised above it. Anything like springing or jump- ing is altogether inadmissible; moreover, though a very quick dance, it must be danced very quietly and elegantly, aud every inclina- THE BALL-KOOM. 30 tion to ronipiiij; or other vnli,'ar movements must 1)0 c.iri'fully rlifckid niid corrected. Tliis is the beset tiiij; sin ri' dancinj^ — a sin, kowever, which is committed by bad duucers only. A ^rentloman should practise this dance loni; in private betoie he attempts it in puldic, for he looks exceedingly vul^'ar and clownish if not quite an fait; and he sub- jects Ids partner to all kinds of inconve- niences, not to speak of kicks and bruises. Many conceited young men, misled by tlie apparent easiness of the step, undertake, after one or two private lessons, to lead a lady through the Detix Temps; and, pos- sibly, to their ( \vn satisfaction tliej' do get through it. But little are they aware of the discomfort, perhaps pain, which they occa- sion ; and if they only saw themselves in a glass — they would blush at the inferior position which they occupy in a gay and gracefid assembly. The Dejcx Temps should not be danced long without stopping ; for after a few turns, it becomes laborious ; and where labour is apparent, grace is wanting. Tail gentlemen should, if possible, avoid dancing with short ladies, as it is not so graceful. Partners in dances of this de- Hcription should always be well suited, as 40 ETIQUETTE OP the conjoint moveinent of the two requires to be as perfect as if the two persons were Olio. Since the introduction of the Dettx Temps, the old VaJse a Trois Temps is danced at double the speed that it was danced originally. THE GALOPADE-LE GALOP Is a dance now very much in vogue, from its being so very similar to the VaJse a Deux Temps in appearance ; but the music is entirely different, being iu two- four time. Like the round dances, an unlimited number may join, and the step is somewhat similar to the chassez. The gentleman commences with his left foot and the lady with her right, and it is generally cominenced with eight sliding steps, the gentleman keeping his left foot forward and the lady her right, then half turn, and vice versa, the gentleman with right foot forward, and lady with left, and so on at pleasure. It may be varied by valsing. THE POLKA. The Polka affords a remarkable instance of the rapidity with which a fashion spreads over the world. In the year 1843 this THE BALL-EOOM. 41 dance made the grand tour of Europe in a few months. So preat was the excitement which it created, that its introduction into fashionahle society may he regarded as the comniencemoiit of a new era in the art of dancing:. The young, the old, and the middle-aged were roused hy its attractions into a state that hordered on enthusiasm. Judges, senators, lawyers, and physicians, imable to resist the soft persuasion, divested themselves of the soberness and sage-like gravity of age and profession, became young men again, and took lessons in dancing once more. The movement thus given to this elegant divertissen^.ent still continues, and most probably will increase with time. The origin of the Polka is unknown ; but it is generally believed to be an ancient Scythian dance, as it has been imme- morially known and practised in the northern countries of Europe : namely, Kussia, Servia, Bohemia, Germany, and Hungary. Amongst military tribes it is danced with spurs on the heels and hatchets in the right hands of the men, in a sort of disorderly mdlee, resembling a charge in battle, whilst a furious beating of time with the feet at intervals takes place, as if on purpose to represent the trampling of horses or the din of war. 48 ETIQUETTE OF Thore is only one Polka known or re- cofriiised in tlie fa^-hionaMe woild ; Imt the style of dancing it varies considerably. The most elejrant people, and tiie best dancers, always dance it in a quiet, easy style ; and those gentlemen who rush and romp about, dragging their partners along with them until thej^ become red in the face and covered with the (lewdrr)i)s of a high corporeal temperature, are both bad dancers and men of little refinement. The gentleman should pass his right arm round the lady's waist, holding her with sufficient firmness to be able to take her through the mazes of the dance with peifect safety. Her right hand should be held in bis left hand, which he should raise towards his left shoulder in such a manner that he may be able to tiu-n her round as with a lever, or point out as with an index the movement which he contemplates. The lad}' rests her left hand on the gentle- man's right shoulder, her head slightly inclined towards the left. The Polka step is very simple. It consists merely of three steps and one rest. The gentleman begins with a slight spring on his right foot, at the same time sliding the left foot forward. This is the first movement (the toe of the left foot THE BALL KOOM. 43 being pointed outward, and the heel jioiiited towards the liirht f(M)t). The ri;;;lit ft)ot is tlien hmuiiht up to where the left is with a spring, nt the same time raising tlie K'ft foot. Tliis is the second move- ment. Tlien fall on the U^ft foot, raising the riirht foot behind. Tliis is the tliird movenunt. After a rest of one quaver, sprinir with tlie left foot, and slide the ri^ht forward, thus reversing the move- ment, and do as before with the opposite feet. As tlie lady begins with the right foot, s])ringing on her left, the above directions reversed apply to her. The Polka thus consists of two opposite linear movements, one towards the right, another towards the left. At the same time a circular movement goes on, vvhich completes one half of the ciicie in moving to one side, and the other half in moving to the other side, and a progressive move- ment at the same time goes on in the orbit of the great circle. The step can also be executed moving forward in a straisrht line — the one partner going forward whilst the other goes backward, and vice vtrsit. And the circular movement can be made either from right to left or from left to right, at pleasure; but it always begins with right to left, so that the other is called the 44) ETIQUETTE OP reverse turn ; but the step is precisely the same iu both. The general figure of the Polka consists of two circles, a great and a small, like those of a planet iu its orbit. The planet revolves round the sun and on its axis at the same time ; so each couple is not only moving in a great circle, but wheeling round in small circles of eight steps each, or six steps and two rests. As the dance is an ad libitum dance, in which much individual liberty is allowed, the great circle is frequently broken up into a mH6e of apparent confusion. But it is usual to begin with the great circle in perfection, each couple following the other iu regular succession. This makes a very beautiful figure, but it requires every gentleman to be thoroughly master of the step. After that, as it is reasonable to suppose that some may feel disposed to giddiness by the circular movement, the forward or back- ward movement may be indulged in at pleasure, and the couples may either go within or without the great circle, or do the reverse turn, as tliey may feel disposed. It is the province of the gentleman to take the lead in all these changes, and they ought to be fiequent. When the lady expresses a desire to pause for a THE BALL- ROOM. 45 little wliilo, the Kf^tleman takes her aside, and waits till she feels refreshed, and inchued ouce more to join the whirling maze. The Polka requires considerahle practice on the gentleman's part to dance it well ; for the trentlenian has to guide his partner throutrh the mazes of the disorderlj* melee into which it \isually forms itself; and this he must do in such a manner as not only to preserve the step and time, but also to avoid collision with other couples, by gracefully and easily wheeling round them, or passing between them, as circumstances demand. The lady, being passive in this movement, has much less to learn. Ladies, however, not being all alike either in figure or facility of movement, should consider well whether or not they are imposing a severe task on their partners by their passivity, and generously assist them when they seem to require it. A lady who dances well can e;isily do this, and, however ponderous in person, may make herself as liiiht, in the arms of a partner, as a slender girl of eighteen. Many ladies of magnitude, however, object to do this, and play the passive young girl, and thus convert a light and agreeable pastime into a task of extreme toil und hardship 40 ETIQUETTE OF to tlie pfentlenien wlio dance with thorn. Tlie g:allantry of the gentlemen seldom makes more of this than material for an innocent joke ; but even this may veiy easily be avoided by a little more activity on the part of the lady. The lady, in leaning on the shoulder of the gentleman, should bear as hghtly as possible, for the dance is never well or agreeably executed until all sensation of weight or labour is thoroughly removed ; and in the accomj)libhmeiit of this end more depends on the lady than on the gentleman. Every accomplishment has its vulga- rities, and so has the Polka. But a person of refined taste can at once perceive the ditierence between the eleprant and the inelegant, the delicate and the indelicate. It is only when well practised, that any of the fine arts can improve the taste and morals of the people ; when otherwise practised, they must corrupt them. Paint- ing, and sculpture, and poetry itself, can be made instrumental to the basest of passions; so may dancing. The best gifts of God may bt; abused. Gold itself, the most incorrujitible of metals, is the most corrupting of them all. All rompin^c, dragging, hngging, and THE BALL-UOOM. 47 li-anincf or stoopiiisx over the slioiiltlcrs of ]);irtiu'r8, is decidedly olyoctionahle. In u'spectable piivate houses it is uuivcrsiilly discoii rasped ; but it must be confessed, and with extreme rej^ret the confession is made, that i)uUic balls, even those of high pre- tensions, aie very tar from bein-j so decorous in this respect as they ought to be. Much of what is objectionable to a delicate tnste arises perhaps from bad dancing ; but there are good dancers who yield themselves up to the excitement of the moment, and forget the proprieties of social etiquette. THE MAZOURKA VALSE, Commonlt/ called the Cellarius Valse, The steps of this dance are the same as tho^e of the Maiourka Quadrille. But a (Quadrille requiring eight persons or four couples to dance it, and the figures of the Mazourka being extremely intricate and too dilficult for private parties, the idea sug- gested itself to ]\L Cellarius, of Paris, to change the form of the dance, and convert tlie Quadrille into a Valse, preserving the original step. This was no sooner done than it became the furenr of the Parisian circles, and it received the name of the Cel- larius Valse, in compliment to the com- 48 ETIQUETTE OF poser, although the proper name is the Mazourka Valse, in contradistinction to the Mazourka Quadrille. As soon as it was found to be fashionable in Paris, it was the object of the profession in England to acquire a knowledge of the dance. M. Coulon, of London, tlierefore hastened to Paris, in 1845, a few days before the annual Polish Ball, in order to procure it for that brilliant festival. On his return we danced it together before the Lord Mayor and seven or eij?ht hundred persons. This was the first occasion on which the C-ellarius Valse was danced in England, and the music was hastily and expressly composed for it by M. Jullien on the previous evening. The Cellarius was very favourably re- ceived at first, and became a general fa- vourite. Every one for a while seemed anxious to acquire it, being one of the most elegant dances that have lately been intro- duced. But the quick dances being so nmch in vogue, and the Cellarius being a slow and graceful dance, it has not been able to keep its ground with the Polka, Schottisch, an Deux Temps, which at present monopolise all the favour and patronage of the gay world. This peculiai-ity of the public taste is very much to be regretted, because, though the three round dances above mentioned THE BALL-nOOM. -19 have many agreoablo characteristics to re- ft nmnoiid tlii'in, still they are all quick, and the f'xtt tusinifile only requires a slow and L^racotul variety, which tiie Cellarius Valse is well calculated to supply. It argues rather a deficiency of taste when the rage is all for rai)id and whirling dances; hut it is very prohahle that the present strong pre- dilection for the latter is the natural re- action from the old and long-estahlished slow and deliherate style which the Polka was the tirst to hanish from the modern hall-room. The Cellarius is more like the old Valse in its time, and therefore, not- withstanding the gracefulness of the dance, it is not quite in harmony with the spirit of the revolution which has taken place in thd art since the memorahle year of 18 14}, when the I'olka mania seized upon our toes. Mc.r.'over, the C\'llarius h;is hecn very much injurt'd in reputation hy untpialitied persons attempting to dance it in puMic. It requires much practice and gracefulness of carriage and movement, to dunce it well. TUB STEP OP THE CKLLAUIUS VAL8H. The Cellarius VaUe consist'^ of three dif- ferent jiarts. 1 shall desciiix' the step for the ladies, remiiidmg the reader that the step for the gentlemen is preeisely the saiue; D 50 ETIQUETTE OF only the feet reversed— the right for the left, and the left for the right. 1. Spring with tlie left foot, at the same time sliding right foot forward (these two movements count two in time) — then spring on the right foot (count one) — spring again on the right foot, at the same time sliding left toot forward (counting two)— s])ring again on the left foot (count one). This constitutes the iirst part for the ladies. In these six steps one circle is completed. 2. Stand in the first position — sprin? on left foot, at the same time slightly striking both the heels together— slide rij;ht foot to the right, bendmg the knee (count two) — then bring left foot up to the place of the right loot with a slight hop, raising the right (count one) — then spring agaui on the left foot, striking the two heels, sliding right foot to the right (count two), falHng on the right foot and raising the k'ft behind (count one). Then spring on the right foot, and reverse tlie whole of the second part. 3. Spring on left foot, at the same time sliding riiiht foot to the right (counting two ) — then hop on right foot, bringing left foot up behind to right foot (count one) — then spring on right foot, and slide left foot to the left (count two) — tlien bring light foot to left foot's place with a slight hop, raising left foot (count one). THK BALL-ROOM. 51 THE MAZOURKA QUADEILLE. This quadrille is dilicreiit from the one introduced by M. Ooulon in 1S45. It made its lirst tippeurance in the year fol- lowin}X, when it was danced by twelve of my jmpils, under my direction, at Al- mack's. It admits of any even number of couples. It must be danced with the iNIazourka steps. To those who are familiar with these, the acquisition of the dance will present no difficulties. A few lessons will suffice. This quadrille contains five figures like the common quadrille. Arrange as for a quadrille. All join hands— grand round to the left (4 bars) ; then to the right (4 bars), with second step of Cellarius Waltz. Petit tour (holubieck) forward and backward (8 bars). l.s-^ Fif/ure. — Top and bottom couples right and left (8 bars) , with Redova stejt ; then they advance, tlie ladies cross over, the gentlemen meanwhile pass quickly round each other, and return to own places (4 bars) ; petit tour forward with oi)l»osite ladies (4 bars) ; right and left (8 bars) ; advance again ; the ladies re- turn to own places, and the gentlemen pass again round each other to their own D 2 52 ETIQUETTE OF ladies (4 bars) ; petit tour backward (4 bars). Side couples do likewise. 2nd Figure. — (8 bars' rest). — Top and bottom couples advance and retire, hands joined (4 bars). All cross over into op- posite places, each going to each other's left (4 burs) ; petit ^oHr forward (4 bars) ; advance and retire (4 bars), and return to places (4 bars) ; petit tour (4 bars). Side couples do likewise. Zrd Fir/nre.— iS bars' rest).— Top and bottom ladies cross over into opposite places (4 bars) ; return, presenting left hands to each other and right hands to partners, as in La Poule (4 bars) ; pass round with partners into opposite places (4 bars) ; petit tour backward (4 bars) ; vis-a-vis couples hands across, round (6 bars) ; retire (2 bars) ; top and bottom ladies cross over (4 bars) ; ladies cross agrdn, giving each other left hands and right to partners (4 bars). All pass round to own places (4 bars) ; petit tour back- ward (4 bars). 4:th Figure.— (S bars' rest). Top couple lead round inside the figure (8 bars) ; petit tour forward and backward (8 bars) -ad- vance to opposite couple, the gentleman turns half round 4vithout quitting his THE BALL-ROOM. 53 partner, and gives his left hand to oppo- site liidy ; the two hidics join hands be- hind «:entli man (4 bars) ; in this position the three advance and retire (8 bars). The gentleman passes under the hidies' arms; all three pass round to the left, with second step of Cellarius, the opposite lady finishing in her own place (4 bars). The top couple return to places (4 bars) ; 2'ctit tour forward (4 bars). Opposite couple and side couples do likewise. 5(h Fiffure. — (8 bars' rest). Top and bottom couples half right and left (4 bars) ; petit /*)»>• backward (4 bars) ; half right and left to places (4 bars) ; petit tour backward (4 bars) ; vis-a-vis co\i\)\qs hands round to opposite places (4 bars) ; jntit tour forward (4 bars) ; hands round to own i)laces (4 bars) ; petit tour (4 bars) ; right and left (8 bars). Side coui)les do likewise. J'/Hn/f.— Grand round oil to the left, and then to the right (10 bars) ; grand chain, as in the Lancers, with first step of Cellarius (16 bars) ; but if there are more than eight in the quadrille, the music must be continued until all have regained their ])laces. N.B. — Music continues during rests. 54 ETIQUETTE OP COTJLON'S, OR DOUBLE QUADRILLE. This quadrille is danced by four couples. All quadrille music will suit it. It is very easily learned. It has the same figures as the common quadrille, only so arranged as to be danced by four, instead of two couples ; and to occupy only half the time of the common quadrille. This ar- rangement gives great additional variety and cheerfulness to the movements of the dance. 1st Figure, Pant aJon. — Top and bottom couples right and left, whilst the side couples dance chaine An(/Jaise outside them. All four halancez to partners. The four ladies form ladies' chain, or hands across, and back to places. Half promenade, top and bottom couples chaine Anr/laise, whilst side cowples f/ rand e chaine round them. This leaves all in their re- spective places. 2. L'^Ete. — The lady at the top, and the lady on her right, with their opposite gentlemen, perform L'Ete (each forming a semicircle to the left in crossing over to oi>posite places). The remaining four do likewise. 3. La PonJe. — The lady at the top, and the lady on her right, with opposite gen- THi: BALL-ROOM. 55 tlemen, dance La Poulo (setting in two cross lines). The rest do likewise. 4. La r,(storale. — Toi> and bottom couples dance La Pastorale with the two collides on their right. The lat- ter do likewise with top and bottom couples. 5. Finale.— k\\ galopade round. The to]) and bottom couples galopade for- wards ; and whilst they are retiring the side coujUes advance, and as they retire, top and bottom couples galopade to op- j)osite places. Then the side couples do the same. Top and bottom couples re- advance ; and whilst they are retiring, the side coujiles re-advance, and as they retire, top and bottom galopade back to places. Then the side couples do like- wise. Double ladies' chain, and galopade round. Then the side couples bejdn the repeti- tion of the figure, which finishes with a general galop. Uniformity of step and correct mea- surement of time are particularly indis- ])en8able in the execution of this dance. This quadrille is now very general- ly taught by the profession, the lead- ing members of which were invited by M. Coulon to his house to give their opin- 66 ETKiUETTE OF ion of its merits, and all agreed to intro- duce it to their pupils. MRS. HENDERSON'S DOUBLE QUADRILLE. This quadrille is merely an adaptation of the figures of the common quadrille for a party of eight. Arrange as for the quadrille for eight. First Figure.— ie Panfahm.— lop couple half right and left with the couple on their right ; then the same with the couple at the bottom. At the same time the bottom couple do the same with the couple on their right, and then with the couple at the top. This brings the top couple to the bot- tom, and the bottom to the top. Then the couple at the top and bottom repeat the figure with the sides, and regain their places, always moving to the couples on the right hand. This occupies sixteen bars. The four couples set and turn partners (8 bars). Do likewise at corners (8 bars). The lady at the top with the lady on her right do half ladies' chain, passing round the gentleman with the left hand. The same lady does half ladies' chain with the lady at the bottom, passing round the THE BALL-ROOM, 57 gentleman ; ami tlion ladies' chain ^vitll the lady on hor right, again passing round the gentleman, and finishing the chain with the lady at the top, passin ; round her own partner to her place (16 bars). The top and bottom lady commence this figure at the same time with the ladies on their right ; thus each lady passes tlie circle of the quadrille, the gentlemen remaining in their places, and turning the ladies as they come to them. Top and bottom couples with the cou- ples on their right do half promenade and half right and left round the qua- drille till they regain their places (16 bars.) [The bottom couples doing like- wise till they regain their places at same time.] 2. L'Eti'. — The first lady and opposite gentleman adrance and retire, and cross over to opposite places. The first gen- tleman and ojipnsite lady do likewise. Then the two cou])Ie3 advance and re- tire, and then return t(» ))Iace8 (24 bars.) The first gentleman and opposite lady recommence this figure ; then the side coui)k'8 do likewise. 3. I.a L'oulc.— lhc top lady with her vis-a-vis lady cross over, presenting right 58 ETIQUETTE OF hands ; the hidies at the side do the same at the same time ; all return, giving their left hand to each other, and their right hands to their partners. This forms two cross lines. In this position they rJiasses round [the lady commences with her left foot, and the gentleman with the right] to opi)osite places. All change hands quickly, and back again to places (16 bars). All join hands, advance and re- tire, and i)ass round (to the left) to op- posite ])laces, with galopade step, com- mencing with the left foot, re-advance and retire, and then back again to the right to places with the right foot (16 bars). Then the side ladies recommence, and the figure is repeated. 4. La Pastorale.— The top couple ad- vance, and retire to the couple on their right. They re-advance ; the lady re- mains with the gentleman on her right, and her partner retires to place. At the same time the bottom couple advance and retire to the couple on their right ; the lady remains, and the gentleman re- tires alone. This forms two opposite parties of three, who advance and retire to each other ; they re-advance ; at the same time the two gentlemen who are THE BALL-BOOM. 59 etiiinling alone advance and retire, taking a lady in each hand, and retiring to ]ilaces. leaving tlie other two gentlemen alone, who retire to their ]daces. Then the to]) and bottom gentlemen advance and retire with their two ladies ; re- advance. The gentlemen at the sides do likewise, and each retires with his own partner ( 24 bars). All four set and turn partners (S bars), 5. Fi)iah\ — AW join hands, advance and retire twice (8 bars) ; the first gen- tleman gives liis right hand to his part- ner, passes round her, presents his left to the lady on the right, who advances and gives him her leftliand; he passes round, and presents his riglit hand to hi.s i)art- ner; again passing round her, repeats the figure with the lady at the bottom of the set, and finishing with the last lady — always passing round his own partner, •who advances eacli time to meet him with her right hand (16 bars). Thus the gen- tleman perff)rm8 a sort of chain with each lady until he regains his place. Tl>e first coujtle and the couple on the right galop to each other's places (four steps) at the same time ; the bottom and last couples do likewise ; the first couple change places with the couple at tho 60 ETIQUETTE OF bottom, the other two do likewise ; and so on round till each are in their places (8 bars). All advance and retire (8 bars). The second gentleman then recommences the chain with his partner, and the rest of the ladies (always commencing with the lady on his right), until he regains his place. Then the galop. Care should be taken that the top and bottom coujdes go outside the side couples first ; then inside ; and so on till they finish in their places. Advance and retire. The sides do likewise. THE EEDOVA. The Redova is a Valse, the step of ■which has been taken from the second Mazourka Quadrille, which was first in- troduced into the fashionable world in Paris, and afterwards in London, by myself and pupils, at the Almack Rooms, about the commencement of 1847. This second Mazourka experienced the same difficulties as the first in attaining to popularity. The Quadrille was too com- plicated and difficult to acquire, and it was seldom that a sufficient number of persons could be found in a private party to make up the full number of eight re- quired, and possessing a thorough know- ledge of the steps and the figures of the THE BALL-ROOM. 61 dance. It was, therefore, deemed advis- able by the ])rofession to introduce the principal step in a valse or two, so that a small or great number might dance it together, as circumstances permitted. This transformation of the dance greatly facilitated its reception into private parties. The step is as follows, supposing the lady to commence : — Stanl in third position (right foot for- ward), spring on right foot, bringing it up behind the left foot, at the same time raising left foot (count one). Slide left foot forward, slightly bending the knee (count one), bring right foot up to left, with a slight hop, again raising left foot, still keeping it forward (count one). Spring on left foot, bringing it behind right, and raising right foot with a slight hop vcount one) ; slide right foot forward, bending knees (count one) ; bring left foot uj) to right, with slight hop, raising right, keeping it forward (count one). This is the forward movement ; the gen- tleman merely reverses the feet. For the circular movement, the lady slides the left foot forward, aiid the right back ; the gentleman riic n rsd. The reverse turn may also be used in 62 ETIQUETTE OP tlie dance to form a variety. The step is almost the same as the pas de Basqne ; the only difference is the hop. In Paris the Redova is still quite the fashion. In dancing the Redova, care should be taken to mark well the first and third crotchet in the bar, otherwise it loses the character of the Mazourka ; and I have remarked that at public balls the music is invariably played too slow for the pre- vailing taste. THE POLKA. MAZOURKA, This is a round dance, and a combina- tion of the Polka and Mazourka as regards the steps. The music is the same time as that of the Redova— a three-eight time. The dance was introduced about the same time as the Schottisch. It is very simple and easily acquired, although not so much in vogue as some of the other round dances. STEPS. Gentleman rests on the right foot with the left slightly raised behind— slide left foot to tlie left — (count one)- spring on right foot, b.inging it to where left is, raising left foot at the same time in front — (count one) — spring again on right foot, passing left foot behind without THE BALL-ROOM. 63 touching the ground with it— (count one) — one bar. Slide If ft foot to left— (count one) — spring on right foot, bringing it up to the left foot's place, raising left foot at the Same time — (count one) — fall on left foot, raising right foot behind — (count one) — then recommence with the right foot as before — one bar. In the first three counts turn half round ; in the second three, half r(jund again; which completes the circle. The lady merely reverses tlie foot. This cheerful and elegant dance is now a great favourite in Paris. THE SCHOTTISCH. Of all the new dances which have been introduced within the last few years, none appears to be a more general favourite than the Schottisch. But although it ranks amongst new dances with us, it is a dance of immemorial antiipiitj — a tradition from olden times, like the Polka, the origin of which seems to be totally unknown to the profession in England. It is, in tact, a German ]ieasant dance. The nmsic, too, is German, although many suppose it to be of recent composition. The Schottisch is now becoming quite 64 ETIQUEXTB OF universal. It does not require bo much practice as many of the other dances, and, when properly danced, it is a very elegant, and withal a particuhirly pleas- ing movement, for it is a combination of two movements, a Polka movement and a circular hop movement ; and the two combined make up a most agreeable variety, not to be found either in the Polka, the Deux Temps, or the Redova. 'I'he step is very easy, but the double movement requires so much more care and attention than the Polka, that it be- comes much more difficult for the gentle- man to guide his partner through the mazes of the .^chottisch without encoun- tering many of those awkward mishaps, such as treading upon toes and dresses, to which unskilful dancers are constantly subject through the agency of an invaria- ble law of nature, which punishes learners in dancing as sclioolmasters punish pupils; only with a different instrument. It is chiefly in the circular or hop movement, that the difficulty is experienced ; for if the time be not precisely kept, so as to make the two hops ])erfectly simulta- neous, a collision is inevitable, and a so- lemn pause immediately follows, to the great disappointment of bothi)arties, but THE BALL-ROOM. 6j especially of the gentleman, on whom the chief resi)on9il>ility lies. It is per- hujjs uiifi)rtuiiate for the cultivatiun of the art of dancing that tlie gentleman's part is really more diflicult, and re<[uire8 greater practice, while gentlemen in general devote less time and attention than ladies to the acquisition of the ac- complishment. THE STEP OF THE SCHOTTISCn The gentlciuan holds the lady in the same manner as in the I'olka. He com- mences with his left foot, merely sliding it forward. Tlien he brings uj) the r glic foot to tlie place of the left foot, again sliding the left foot forward ; then he si)rings or hojis on the left or furward foot. He repeats this movement to the right, beginning with the right foot, sliding it forward, bringiiig up the left foot to the ])lace of the right, and sliding the right forward again, tlien hopjiing on tiie rigiit. [Tlic common style of dancing tliis part of the Sehottiscli is, to advance and retire, instead of going right and left ; but the former style is very ajit to cause collisions, which it is always priuk-nt to guard against, for even good dancers arc liable to encounter them from the K 66 ETIQUETTE OF awkwardness of the unskilful. These collisions are far less likely to occur in the ri;:;ht and left, or diagonal, tlian in the forward and backward movement.] Immediately after this, the movement changes into a series of double hops and a double rotation. Spring twice on the left foot, turning half round ; twice on the right foot, turning half round ; twice again on the left foot, turning half round ; and then twice again on the right foot, turning half round. Then begin again, and proceed as at first. The lady's step is the counterpart of the gentle- man's, she beginning with the right foot. The Schottisch, Hke other circular dances, may be varied by means of the reverse turn, or even by going in a direct line round the room. You may also double each part by giving four bars to the first part, and four bars to the second or circular movement. The gentleman is expected to regulate all these matters, according to circumstances, sometimes for variety, sometimes to avoid collision in a crowded room ; and it is only neces- sary for him to apprise his partner of his intentions, by saying, "double, "or "four bars," and she repeats the sliding step, instead of proceeding to the hop. THE BALL-ROOM. 67 The VaJse a Deit.r Temps is now very generally introduced instead of the double hops. The Schottisch is easily acquired, un- like the Deux Temps, which requires only a few lessons to learn, but many to perfect it. The time is the same as the Polka, but much slower, although it is now danced much faster than it was originally. THE GORLITZA. A new round dance for two, lately introduced by Veran, in Paris, and in London, in the spring of 1851. It is a Polish dance, much in vogue before the fall of Poland. It requires much practice to dance it gracefully, the movements being much varied. It is danced in Schot- tisch time, rather slow. First Fart. — The gentleman takes the lady as in the Polka, and commencos with the Polka step, with the left foot moving to the left, at the same time turning half round ; then slide right foot to the ri^^ht ; bring left foot behind right, in fifth po- sition ; glissade with right foot, finishing with left foot in front.— All this occupies two bars. 68 ETIQUETTE OP Spring on right foot, at the same time raising left foot in front ; let left foot fall behind right ; glissade with right foot to the right ; finishing with left foot in front. Spring again on right foot, at same time raising left foot in front ; let left foot fall behind right ; glissade with right foot to the right ; finishing with right foot in front. — This occupies two bars. The two movements, or four bars, are repeated, finishing the second time with left foot in front. This is one half of the dance. The last two bars are performed turn- ing round without progressing. Second tart. — Begin with the Polka Mazourka step to the left, turning half round; Cellarius step, with the right foot to the right ; left foot falls behind ; glissade with right foot in front, four bars. Repeat Polka Mazourka with right foot to the right, turning half round ; Cella- rius with left foot to the left ; right foot falls behind ; glissade with left foot, finishing with left foot behind, four bars. In all, sixteen bars. For the lady, the directions are the same, only reversing the foot, except in the last two bars of the first part ; there each begins with the same foot. THE BALL-ROOM. 69 LA VARSOVIENNE. A ROUND DANCE FOR TWO. Commence as for avalse. — The gentle- man slides his left foot to the left, and slightly springs forward twice with right, finishing with left foot raised behind, as in Polka Mazourka. This is repeated. Then one Polka movement, turning (3 bars) ; bring right into second position (1 bar). The gentleman then begins with his right foot, and repeats the above descrip- tion reversed. The same description answers for the lady, foot reversed ; that is, she moves right foot when the gentlemen moves left, and vice versa. Second Part.— The gentleman makes one Polka movement with left foot to the left, turning (1 bar) — brings right foot into second position, bending towards it (1 bar)— one Polka movement with right foot turning to the right (1 bar), bringing left foot into second position (1 bar). Third Prtr^.— Three Polka steps, be- ginning to the left (3 bars) ; pause, point- ing right foot (1 bar). These movements are reversed, as in other round dances. Generally 16 bars to each part. 70 ETIQUETTE OF THE SPANISH DANCE. Formerly the principal waltz of the evening, before the introduction of the Valse a. Deux Temps and otlier round dances, as then it vras seldom that more than one circular waltz Avas performed. It is occasionally introduced at a private party, and sometimes at a public ball, but very rarely. The couples stand as for a Country Dance (sometimes the couples are arranged in a circle), except that the first gentleman must be on the ladies' side, and the first lady on the gen- tlemen's side ; and to prevent the other coupUs waiting, every fourth lady and gentleman exchange places. By this means delay is prevented, and the whole can start at once in the next movement. The first gentleman and second lady advance and retire with a valse step, and change places. First lady and second gentleman do likewise at the same time. First gentleman and partner advance and retire with valse step, and exchange places. Second gentleman and partner do likewise at the same time. First gentleman and second lady repeat this figure ; and first lady and second gentleman do likewise at the same time. First gentleman and partner repeat the THE BALL-ROOM. 71 same. First lady and second gentleman do the same at the same time. All four join hands, and advance to the centre, and retire : pass ladies to the left. All join hands again and advance to the centre as before, and i)ass ladies to the left. This is repeated twice more. Each gentleman takes his own partner^ and the two couples valse round each other once or twice, ad lihitum, leaving the second lady and gentleman at the top of the dance, as in the Country Dance. The first lady and gentleman repeat the same figure with every succeeding couple to the end of the dance. THE WALTZ COTILLON. A pleasing little dance, danced with four couples, placed as in a quadrille, each gentleman having the lady on his right : may be learned in a few minutes, there being only one figure, repeated by each couple. The figure is as follows : — The first couple valse inside the figure with either the old Trols Tetiips or Deux Tem})fi, at pleasure, finishing at their places, and occupying 8 bars. The first and op])osite ladies crossover, with a valse step (occupying 8 bars); the 72 ETIQUETTE OP first and second gentlemen do likewise ; the third and fourth ladies repeat this figure, and then their partners ; the top and bottom couples then valse to places (4 bars); side couples do likewise. Each gentleman tlien takes his part- ner's right hand, and they both advance to each other with a valse step (1 bar), and then retire (1 bar) ; the gentleman then passes the lady under his right, and she passes to the next gentleman, and he passes to the next lady in the same manner as the grand chain in the Lancers. (This occupies 2 bars.) This figure is repeated with the next and following ladies and gentlemen until all regain their respective places (occupy 32 bars) ; side couples separate and join hands with top and bottom couples, forming four in a line ; all advance and retire twice (4 bars) ; then all cross over and turn (occupying 4 bars) ; then re-advance and retire twice (4 bars), and recross over to places (4 bars). The four couples then valse round to places. This completes the figure, but it is re- peated four times, each couple in succes- sion taking the lead. This, though a most graceful and easy THE BALL-ROOM. 73 dance, has of late been put aside by the more fashionable round dances ; but it is still frequently introduced in i)rivate circles, and generally Avith success, as one or more couples knowing the figure are sufficient to keej) it uj). I have occasionally introduced this dance at my soirees, and varied the cha- racter of it by using the Polka step instead of the valse. This variety has generally given much satisfaction, as it makes an agreeable change from the quadrille and round dances. If danced to the valse step, the music should be moderately fast only, as, if too quick, it destroys the gracefulness of the dance. LA TEMPETE. The new dance known by this name, was lately introduced into Paris, and is now in high repute in the Soirrcs J)an- ,s('>//r,s-, and the fashioiuible circles in Eng- land. It may be truly represented as a general favourite, as it only requires an intimate knowledge of the figure to make it botli agreeable and suitable for all ages. It admits of the graceful and cheerful movement of the quadrille, but has this advantage over it, that, like a country- dance, it establishes an entente cordiale 74 ETIQUETTE OF amongst all who engage in it. Like the quadrille, however, it is arranged in par- ties of four couples, but the arrangement is ditferent. Two couples stand face to face (or vis-a-vis), and there are no side couples. As many sets of four couples as the room will hold may thus be arranged ; the first line of each new set standing ■with tlieir backs to the second line of the former set. The figure of the dance admits of only two couples in a breadth, but it may be as long as the Crystal Palace. FIRST PART. Arrange two couples in a line across the room, and see that each gentleman has his lady on his right hand ; opposite these arrange other two couples as vis a- vis. Then two couples more with their backs to the preceding ; with other two as their vis-a-vis; and so on with any number of four couples that the room and the company will admit of. The dance is commenced by all the couples at the same time, who advance and retire twice, hands joined. The lead- ing couples (that^is, all those with their backs to the top of the room) then pass, with hands joined, to the places of their respective vis-a-vis. The vis-a-vis at the THE BALL-ROOM. 75 same time separating, pass outside the leading couples to the places of the latter, where they join hands, and return to their own places, and back to the top, without separating hands ; the top cou]jle at the same time pass outside, hands apart. The hitter then join hands, and pass to their own places between the opposite couple, who separate and pass outside to their own phices. The lady and gentleman in the middle of each line then join hands, giving their other hand to their lus-u-ris, and all four in a circle pass round to the left, and back again in a circle to their places. At the same time, the otherlady and gen- tleman on each side respectively perform the same movement, with a circle of two instead of four. The circle of four then perform hands across round ; change hands ; round again, and back to places. Each outside couple does the same figure in twos. The whole of the company are performing the figure at the same time. SECOND PART. Then all advance, and retire, and re- advance. The top lines pass the bottom lines^ into next places, where they re- 76 ETIQUETTE OP commence the figure, their late vis-a-vis having passed to the top, and turned round to wait for new vis-a-vis ; the gen- tleman taking care to have the lady always on the right hand. Thus, at the conclusion of each fi<:ure, a general change of vis-a-vis and places has taken place ; for, as the top lines are passing down, the bottom lines are passing up, till the top line reaches the bottom, and the bottom the top, where they turn round, and proceed in a similar manner to their original places. Here, if the party be large, the dance terminates ; but it may be repeated at pleasure by going down and up again. It may be remarked that when the first pass or exchange of vis-a-vis is made, the new top and bottom lines are left without vis-a-vis ; but the next move will reward their patience, by presenting the welcome face of a vis-a-vis to each. The figure of the dance may be varied as follows : — All advance and retire twice (hands joined). All vis-a-vis couples chassez croisez en double ; each gentle- man retaining his partner's left hand ; eight galop steps (4 bars) ; deehasscz eight steps (4 bars) ; the couple on the right of the top line passing iu front THE BALL-ROOM. 77 of the couple on their left the first time, returning to phice, passing behind. Thus, two couples are moving to the right, and two to the left. This is repeated. The vis-a-ris couples do likewise at same time. This of course applies to all the couples, as all commence at the same time. When the figure is properly performed, the dance is particularly social, cheerful, and amusing, and combines the excite- ment of the country dance with the grace and the elegance of the quadrille, whilst, at the same time, it symbolically illus- trates the singular vicissitudes of the social condition of the land which gave it birth, or, at least, celebrity — the top going down, and the bottom going up. LE VIENNOIS-THE VIENNESE. AVhen this charming dance was first in- troduced at Vienna, in 185(3, by the Con- vention of Dancing Masters, it was named the Empire Quadrille; since then the mas- ter-hand of M. Cellarius has re-arranged and sinqjlified the figures, curtailing those which were too redundant, and, as now (lanced in Paris, it is called Le Vicnnois. It is likely to be no less popular with us than in Parisian society, because it com- bines the grand principles of social enjoy- 78 ETIQUETTE OF ment, cheerfulness, good taste, and a variety of elegant ste])S. all of whicli are easy of attainment. The music, too, ia animated and pretty, with the time well marked ; and there are no difficulties but such as may be overcome by a few good lessons and careful ])ractice. By no means so intricate as the 3Iazourka Qua- drille, the arrangement of the dancers in two lines, as in a country dance, leaves no unoccui'ied side couples. The diver- sity of figures and steps is most attractive, and the skill of the dancer is admirably displayed in the Mazmtrka stej)s, the bril- liant pt'^/i ^o?(r, the gliding balance, the Cellarius step, the dos-a dos, and the IlouUnet. It is, in short, one of those pleasing dances in %hich the courtly bearing of the gentlema)i leads and sus- tains the quiet grace of his partner through the picturesque groupings and figures. In the arrangement of this de- lightful quadrille, as described in the fol- lowing pages, I have to acknowledge the kind aid of M. Coulon, who, with myself, first introduced it at our soirees during the Christmas festivities of 1S58. First Ficjure. — Arrange in tAVO lines. Top and bottom couples advance with four Mazourka steps, the gentlemen hold- THE BALL-ROOM. 79 ing thoir partners* left hands with their left (4 bars). Gentlemen cross their right hands over their left, and take opposite ladies' rijj;ht hands, retiring with them to their places (4 bars). Thus the gentleman is on the right hand of the lady ; in this position, they advance and retire four ste]ts each way (4 bars). Fdit iour (4 bars), gentleman finishing on left hand of the lady. Tliis figure is repeated (16 bars) ; by so doing the gentlemen regain their places and partners. Second Fif/ lire. — First ladies and oppo- site gentlemen advance four Mazourka steps, join hands four steps to the right and four to the left (the gentleman com- mencing with rigl^foot, the lady with the left ; this is 'IRne throughout the Quadrille, where the halancez is danced). The genthman takes the lady's left hand with iiis left, he jiasses her round him by raising his hand above his head, as she passes four steps (4 bars). Fetit tour (4 bars), finishing tlos-a-doa ; they return to partners four steps (4 bars) ; Ixilanoez with partners (4 bars) ; ladies pass round their partners (as before descril)ed, 4 bars), retit four (4 bars). '1 he figure is then recommenced with second Lidies and opposite gentlemen. 80 ETIQUETTE OP Third 'Fiffure. — First couple advance (4 bars), gentleman holding his partner's left hand ; he passes her round to his left (still retaining her left hand) ; he crosses his left hand over his right and takes the op])Osite lady's left hand (thus the two ladies are facing him) ; they all then re- tire, four steps (4 bars) ; haJnncez four 8tei)S to the right and four to left (4 bars). In the same position four steps, en round, to the left (second step of the Cellarius, 4 bars) . The gentleman crosses over alone (4 bars) ; the ladies meanwhile slowly turn (to face the gentleman, who remains on the 0])po8ite side), they then cross over, four stejjs (4 bars) ; each gentleman takes his partner, aUifour steps to the right and four back (flairs) ; the leading couple return to jjlace, four steps ; the other coui)le, 'petit tour (4 bars), repeat, beginning with second couple. Fourth Figure. — Commence on fifth bar ; all advance four walking steps (2 bars) ; vis-a-vis couples join hands, all one step to the right, and one to the left (2 bars), marking time; four walking steps round to the left (2 bars) ; marking time (2 bars) ; four steps round to the right (2 bars) ; separate; return to places, four steps (2 bars) . Leading couples cross THE BALL-ROOM. 81 over and join hands with their vis-a-vis (4 liiirs) ; nil return hands joined (4 burs) ; all present left hands, and dance the MauUmt to the right and left, eight steps, commencing with right feet. '1 he leading couple cross over to opposite place, four steps (4 bars). Each gentle- man then takes his partner's left hand, and passes her round ; she presents her right to the opposite gentleman (still retaining her partner's hand), the other lady doing likewise, at the same time ; thus the two ladies are dos-a-dos ; they all pass round to places, four steps (4 bars). Four steps to the right and left (4 bars); pitit (our (4 bars); recom- mence this figur^fcfith second couple, crossing over to imm-vis couple. Fifth Finl Figure, La CorheUlc. — The first gentleman advances with his partner, and leaves her in the centre of the quad- rille, facing him. They bow and curtsey to each other ; he retires to his place. The opposite !;'entleman then repeats this figure with lii^ partner ; then the third, and afterwards the fourth couple do like- wise. The four ladies join hands (each facing her own partner), and galop round (8 bars), until they again face their part- ners. The four gentlemen then advance, and join the circle by giving their right hands to their partners, and their left to the ladies on their left. Balavcez all eight (4 bars) ; each gentleman then re- tires to place with their partners (4 bars). The second couple then recommence the figure, which is repeated as before ; after- wards by third and fourth conpl<-s. F 2 84 ETIQUETTE OF 4f7i Figure, La Double Pasfourclle. — Top and bottom couples advance and retire ; advance again, the top gentleman leaving his lady on the left of the gentle- man on the right, the bottom gentleman finishing on the right hand of the fourth lady ; the top gentleman and opposite lady retire to respective places. The two lines of three advance and retire twice ; then the top gentleman and ms-a-ws lady advance and retire, re-ad- vance, bow and curtsey, and both turn towards partners. Two sets of four join hands, half round, and then half right and left to places. Top and bottom couples advance and retire as before ; advance again, the bottom gentleman leaving his lady at fRe left hand of the gentleman on his right (the top gentleman at the same time going to the right hand of the lady on his right), and the remain- der of the figure is the same as before described. The third and fourth couples repeat. 5th Figure, Le Tourhillon. — (The four ladies commence the figure at the same time.) Each lady gives her right hand to her partner, and passes quickly round him to the gentleman on the right ; gives hira THE BALL-ROOM. 85 her rijxht hand and passes round him, and likewise with each gentleman, until each lady has retrained her place. The gentle- men remain in their places, and pass the ladies round them, each as they come, with the right hand (16 bars) ; first lady and opposite gentleman advance and retire ; re-advance, dos-a-dos. lialancez and turn partners. This figure is repeated four times. After the last tourbiUon, all rest for four bars. Then each gentleman conducts his ])artner to the centre of the quadrille, and turns her facing him. Bow and curtesy to each other. The gentlemen oflfer their arms to partners, and all retire. flF QUADEILfflTDES DAMES. Lately introduced by the Society of Professors of Dancing at Paris. This quadrille is danced with eight. FIRST FIGURE. Top and bottom couples cross to oppo- site places (half right and left) (4 bars) ; advance and retire at corners (4 bars). Top and bottom couples return to places, (4 bars), advance and retire at corners |r 86 ETIQUETTE OP (4 bars). The four ladies advance to the centre and curtsey, return to places (8 bars). The aides then repeat the half right and left, advance and retire at corners. Half right and left to return to places, and advance and retire at cor- ners. The four ladies do not again ad- vance. Here the figure ends. 2nd Figure. — The top gentleman ad- vances to vis a vis lady, he takes her right hand with his right hand and passes round her (4 bars), (she then gives her left hand to her own partner and passes round him, taking his left hand). The lop gentleman continues the same figure ■with third lady, gj|fe|| her his left hand (4 bars), (she^JPIses round her own partner with her right hand). The top gentleman continues the fiirure with the fourth lady, with his right hand (4 bars), and concludes with his own partner in a like manner, giving her his left hand (4 bars). (He has thus performed a sort of chain with each lady). Each gentleman then takes his partner's left hand with his left hand, all four couples advance towards the cen- tre and retire (4 bars), each gentleman retains the baud of his partner, and passes THE BALL-ROOM. 87 her rouiul him to the left {4 burs). Tlie second gentleman then recommences the figure, and afterwards the third and fourth gentlemen, so that tlie figure is ilone four times. (There is no })ause for the loading gentleman until the figure is concluded). 3rd Fiyare. — Top and bottom coujjles advance to the cou])le8 on their right hands (4 bars), (the top and bottom couples are thus jilaced, facing the side couples). Each gentleman takes his ris a vis lady by both hands, each couple separates, (that is, the top and bottom gentlemen, with the lady move to the right, the side gentleman with the ladies make a like movement to the left, in this manner the foim||ouples divide). Each gentleman halfflB^ns the lady so as to form two lines to]i and bottom (4 bars), (thus each gentleman is facing his partner). Tlie top and bottom gentlemen having exchanged places, the four ladies do half ladies' chain (commencing with opposite ladies), four times until they return to where they started from (16 bars). Each gentleman takes the lady next him with his right hand (and her left), and advances with her,hepa6ses her to his left and all take own partners and r«;tire (8 bars). 88 ETIQUETTE OF The top and bottom gentlemen remain in opposite places, but they will now have their own partners. The couple at the bottom lead to fourth couple, and the couple at the top to the third cou])le. The figure is again gone through until top and bottom coui)les are in their places. The third and fourth couples do likewise. This figure is danced four times. ith Fi(jure. — Top and bottom ladies advance towards the centre, then give each other their left hands, the two la- dies at the sides join them, giving their right hands (4 bars). (The four ladies are now in a line in the middle of the quadrille), balancez four in a line, four bars ; the top and j||^m ladies retain the side ladies by riJJPliands, and pass round them (4 bars) ; form again, in a line, balancez (4 bars). (The top lady will now be vis avis to bottom gentleman while the bottom lady will be vd a vis to top gentleman. The side ladies will be vis a vis to their partners). All eight balancez and turn ladies, eight bars. 'Jhe ladies at top and bottom of the quadrille. Recommence the figure, the side ladies j-^in them and repeat as be- fore. (The top and bottom ladies will now have regained their places and part- THE BALL-ROOM. 89 ners.) Third and fourth ladies do likewise, Tliis figure is danced four times. 5th Fifinre. — Top and bottom couples advance and retire ; the side couples sepa- rate partners and return to places (at the same time) (4 bars). All turn partners, (i bars). The side couples advance and retire, top and bottom couples separate partners (at same time), (4 bars) ; all turn partners (4 bars). Top and bottom couples advance, the top gentleman takes his vis c! vis lady's left hand with his riglit, and passes with lier through the fourth couple, while they separate and pass out- side the top couple towards the centre of the quadrille (4 bars) ; they then return to places betweeryAe top couple, who in their turn pass ol^de (the same as the first figure in the Lancers). (The couple at the bottom will do likewise with the third couple at the same time. This will bring the top and bottom couples into the middle of the quadrille). The four join hands and pass quickly round into oppo- site places (4 bars). The four ladies ad- vance and retire (4 bars). They then do half moulinet (right hands across) to opposite gentlemen (4 bars). Top and bottom couples re-advance, each gentle- man taking his vis-a-vis lady's hand. 90 ETIQUETTE OF passing through the side couples as before, and back to the centre of the quadrille (4 bars). The four join hands and pass quickly round to opposite places (4 bars) ; top and bottom gentlemen will now have regained their places with their vis-a- vi^ ladies. The ladies at the sides will also be in opposite places. Top and bottom couples advance and retire, while side- couples separate partners as before (4 bars); all turn partners (4 bars). Side couples advance and retire (4 bars) ; top and bottom couples separate partners at same time (4 bars) ; all turn partners, (4 bars). Top and bottom couples re- commence the figure, and go through it precisely as before, i|[ttil each lady is in her place with her jSRner. All this is again repeated for the side couples to do likewise ; each part is gone through four times, and at the end, half chassez croisez, half halancez at corners (4 bars) ; turn at corners (4 bars) ; half chassez croisez back, hsiU halancez with partners (4 bars) ; turn partners (4 bars). (Four bars rest, all advance and bow, and curtsey to part- ners. ) THE BALL-ROOM. 01 COUNTRY DANCES. Country Dances are now entirely out of vogue in fashionable assemblies, but not entirely out of favour at country balls and i)rivate parties. They are very gene- rally known, and require no description. They belong to a ruder age than the pre- sent, and a blither and merrier style of manner than that which prevails in the fashionable world. They are more cha- racteristic of " Merrie Englande" than of Almack's; and therefore, whatever merit they possess in the estimation of the cheerful, the gay, and the light-hearted, they hold a very inferior place in the programme of a i^^ern festivity. THE HOLLY BERRY, A COUNTRY DANCE FOR ALL TIMES. Arrange in two lines from the top of the room to the bottom, ladies on the left, looking from the top, the gentlemen vis-a-vis. All advance and retire (-4 bars). All cross over (4 bars). Every two couples hands across, and back to places (8 bars). The top couple galopade to the bottom of the dance— hands across, with bottom 92 ETIQUETTE OF couple ; the two couples at the top of the dance do likewise at the same time. The leading couple galop round the room, followed by all the rest, until they come to the bottom of the dance, ladies and gentlemen arranging themselves on their own side. The leading couple will now be at the bottom of the dance. The second couple do the same thing ; and all the rest in succession do so like- wise, until all have regained their re- spective places. The music best adapted for this dance is a galop. In advancing and retiring, use only the walking step ; and foj^he rest the galop. Mrs. Hexderson Wre introduced this dance in compliance with the request of pupils and friends, who were at a loss for a cheerful country dance in which all might join without previous instruction in the fashionable dances. It is usual to conclude the evening's festivities with one ])articular species of Country Dance, called "Sir Roger de Coverley." It has of late enjoyed con- siderable vogue, and is patronized by her Majesty, at her own entertainments. We give it as at present danced at the Pa- THE BALL-EOOM. \}6 lace, somewhat modernised and adapted to the prevailing taste. SIR ROGER DE COVERLEY. Form in two hues: hidieson the left from the top. All advance (2 bars); retire (2 bars); cross over (4 bars); re- advance (2 bars); retire (2 bars) ; recross over (4 bars). Top lady and bottom gentleman advance to each other, bow and courtesy. Top gen- tleman and bottom ladj-^ do the same. Top lady re- advances with bottom gentleman, and present right hands, and pass quickly round each other to their own places. Bot- tom lady and top gentleman do so likewise. [The top lady gives her right hand to her partner, and passes behind the next two gentlemen. She then crosses the line, giving her It'tt hand to her partner, and then passes behind the next two ladies ; and this order is kept up all the way to the bottom of the line. The top gentleman performs the same figure, and at the same time. The lady presents her left hand to her partner, and they promenade to the top of the line.] This figure contained within the brackets is generally omitted. The top couple make a co7i(je and cast off 94 ETIQUETTE OP ladies to the right and gentlemen to the leit, all following the top couple, who remain at the hottom of the line and let all the other couples pass them under their arms (or not, ad libitum), until all arrive at their own places, except the top couple, who re- main at the bottom. The figure is repeated until all the couples have gained their places. A GLOSSARY OF FRENCH TERMS USED IN DANCINO. Chaine Anglaise — right and left. Demi chaine Anglaise —\ii>.\f right and left. ■ Balaneez—%Qi to pwtners. Chaine des dames — ladies' chain. Totir des mains — turn partners. Demi promenade — half promenade. JB/i avant deux, or en avant et en ar- ritre—ihe first lady and opposite gentle- man advance and retire. Chassez a droite et a gauche— moye to the right and left. Traversez— the two opposite persons exchange places. Betraversez—Teturn to places. Traversez deux en donna nt la main THE BALL-ROOM. 95 f?roj7o— the two opposite exchange places, giving right hands. J\((rari'rsez en donnant la main qauclie — the two opposite recross, giving left hands. Balances qnatre en liqne — the four dancers set in a line, holding both hands. Dos-a-dos—ih.e two opposite persona pass round each other. JSn avant qua f re et enarriere — the four 0]>posite persons advance and retire. Mn avant troisdeuxfuis — advance three, twice. Demi tour a qtiatre— four hands half round. C/iasscz croisez, tous les liuit, et dechassez — gentlemen all change places with part- ners, and back again. Les Dames en 3/o?t/?ne^- ladies right hands across, half round, and back again with left. B((hincez en 3foulinet— the gentlemen join right hands with partners, and set in the form of a cross. Pas d'Allemande — the gentlemen turn their partners under their arms. Grande promenade tons les huit — all the eight diincers ])romenade. A la Jin— at the finish. 96 ETIQUETTE OF THE BALL ROOM. Contrepartie pour Us autres — the other dancers do the same. C/idinc ties dames douhle— double ladies* chain, which is performed by all the ladies commencing at the same time. Chaine Anylaise double — the right and left double. Le (jrand rond — all join hands and ad- vance and retire twice. Balancez en rond — all join hands and set in a circle. La (jrande tour de rond — all join hands and dunce quite round to places. A vos places — to your places. Totir a coin — turn the corners. Demi 3fo7clinet — the ladies all advance to the centre, giving right hands, and re- turn to places. La meme pour les cavaliers — the gen- tlemen do the same. Pas de Basque—ihiB step is peculiar to Southern France, and bears a strong re- semblance to the step of the Redova. WUliam Stevens, Printer, 37,BellYard, Temple Bar. I FAMILY lIEliALD HANDY BOOKS . Just Published, price 2>d. each. No. 1.— HOW TO CAEVE, AND HOW TO SEEVE A DINNER. . "The instructions are very plain, and a multiplicity of diR.i;rams renders them still more comprehensible," —C