BROOKES ON MODERN DANCING, CONTAINING A FULL DESCRIPTION OF ALL DANCES, AS PRACTISED IN THE
BALL ROOM AND AT PRIVATE PARTIES TOGETHER WITH AN ESSAY ON ETIQUETTE. 

BY L. DE G. BROOKES 

New York: 1867. 

Entered according to Act of Congress, in the year 1836, By L. De GARMO BROOKES, In the Clerk's
office of the District Court of the United States for the Southern District of New York. INTRODUCTION.

In presenting this work I have been actuated by gratitude towards those who have sustained
me in my long professional career, and also by a desire that it may prove entertaining and instructive
to them, as well as to the public at large. My larger work on " The History of Dancing from the Earliest
Ages to the Present Time ," is now in press and will be issued as soon as possible. 

L. De G. BROOKES, 361 Broome Street, New York. BROOKES ON MODERN DANCING. UTILITY AND SANITARY
ADVANTAGE. 

Dancing has met, at all times, and under circumstances of no ordinary character, with strong
opposition; but it has gradually overcome its opponents to such an extent, that they are now
but few, and belong only to those classes of people who oppose everything that makes life cheerful.
Even in the oldest histories of the world, we find recorded the fact, that the best and greatest
of men and women were in favor of this recreation, and indulged in it as a benefit to their mental
and physical health at all convenient opportunities. Socrates and Cato were among these.
Plutarch, Sallust, Lucian, Macrobius, Libanus, Julius, Athenaeus, and many others commended
dancing. Burton gives it his favor in his "Anatomy of Melancholy," and Addison, in his commends
it for the "pleasure we receive in being agreeable to each other in ordinary life, and conducive
as it really is to a proper deportment in matters that appear the most remote from it." 

Sir Thomas Elyot, an English moralist, who died 1546, in his "Governor," discourseth how dancing
may be an Introduction unto the Moral Virtue call'd Prudence. Designing (says he) to declare
how Children of gentle Nature and Disposition , may be train'd with a pleasant Facility , and
knowing that it is expedient that there be mixl with Study some Recreation to quicken the vital
Spirits , least they being much Occupied in Contemplation or Remembrance of things grave and
serious , might happen to be fatigu'd or perhaps oppress'd, &c. 

I have among all Pastimes , wherein is Exercise of the Body, noted Dancing to be of an excellent
Utility , comprehending in its wonderful Figures (or as the Greeks term 'em, Ideas) of noble
Qualities, and especially of the Commodious Virtue, call'd Prudence ; which Tully ( lib 2 de
offic .) defineth to be the Knowledge of things which ought to be desired and follow'd, and also
of them which ought to be fled from or eschewed, &c. 

The first moving in every Dance is call'd Honour , which is a reverend Inclination or Curtsie.
By that may be signified, that at the beginning of all our Acts, we should do due Honour to God,
which is the Root of Prudence, which Honour is compact of these three things, Fear, Love and
Reverence. Sir Thee. Elyot's Governor, b. 1, ch. 22, 23, 24, and 25. And I believe on mature consideration
scarce any one will differ in opinion from Athenoeus , when he says, dancing is a thing becoming
persons of honor and wisdom; and by all nations practised and deservedly admired . 

All persons, whatever may be their condition in society, are desirous of being in the possession
of strength, activity and physical beauty. There are yew few who do not wish to unite these three
qualities elegance of carriage and deportment. Nothing can render the frame more graceful
than dancing. It is extremely useful to women, whose constitutions require to be strengthened
by frequent exercise. Very many members of the medical profession concur in recommending
dancing as an excellent remedy for a number of diseases. Tissot, an eminent French physician,
ordered it to be practiced in all schools, alleging that the minds of young persons burthened
with continual study, require some amusement above the trivial kind, on which they may fix
with pleasure. Phaedrus, (lib. 3, fab. 14,) says on the subject of amusement:- 

"Cito rumpes arcum, semper si tensum habueris, At si laxaris, quum voles eril utilis. Sic ludus
animo debet aliquando dari, Ad coffitandum melior ut videat tibi;" 

which translated, reads:- 

"You must expect your bow to be soon broken if you keep it but if you slacken it, you will always
find it ready for use. Thus, the mind should be amused at times, for so it will be rendered more
for thinking." 

Bodily exercise, says an English writer, is conducive to health, vigor, liveliness, a good
appetite, and sound sleep; but a sedentary occupation occasions many derangements in the
nervous system, which sadden existence; disturb repose, produce a certain disrelish for
everything, and bring on a continual languor and listlessness, of which it sometimes difficult
to discover the cause. 

Anaxchus, the Scythian, used to say that it was often necessary to amuse ourselves by games
or other diversions, so that the mind after tasting a little useful repose, might return with
in vigor to exercise of its delicate functions. Dancing ought to form a part of the physical
education of children, not only for their better health, but also to counteract the many vicious
attitudes and habits which they too often contract. Dancing, besides the amusement it affords,
serves to improve our physical and oven to animate our moral powers; gives relief in certain
diseases, affords a cure in others, promotes the harmony of society, and is a most requisite
accomplishment for all. Ovid say, "If you have talents that please, display them whenever
you can." Music, simply so considered, has sometimes effected cures of disease; but music
is only operative as a remedy when conjoined with dancing. 

Galen prefers exercise before all physic, rectification of diet, or any regimen in what kind
soever. And Sir Thomas Elyot, after having treated of sundry forms of exercise necessary for
every gentleman, and recommended the studying of Galen's treatise De Sanitate Tuenda , shows
that dancing is a pleasant exercise, and by no means to be reproved. Sir Thomas Elyot's "Governor,"
book 1, chap. 16, 17, 18, 19. It pleasing to the young, agreeable to the old and necessary for
all. 

In the great days of Greece, no maxim ever moro practically prevailed, than that sloth and inactivity
were equally the parents of diseases of body, as of vice of the mind; agreeably to which idea,
one of greatest physicians in Europe, the celebrated Tronchin, used to declaim with great
force against the false delicacy shown by some ladies, in their aversion to exercise, which
was often the cause of their bad habits of body, their pale color, the beginning of weakness,
and of a puny, diseased constitution. 

Dancing furnishes to the fair sex, whose sphere of excrete is naturally more confined than
that of men, at once a salutary and an opportunity of displaying their native graces. It is in
history a settled point that beauty was no where more flourishing, nor less than among such
people as encouraged and cultivated exercise. 

In examining the anatomy of the human body, we find a long chain of moveable bones, which extend
from the top of the neck, along the back, downwards. They are twenty-four in number; seven belonging
to the neck, twelve to the back, and five to the loins. They are called the vertebrae or spine.
These bones are joined and articulated, by strong ligaments, which keep them together. They
have for their basis, the os-sacrum, a large immoveable bone, to which the hip bone and the haunches,
&c., are united. 

They rest one upon the other, growing gradually more slender, from their basis upwards. When
they are well set, and rise one above the other, in a natural and regular manner, the body will
be straight; but when they are otherwise, it must of course be deformed. So that when we see any
one that is humpbacked, or in any other way crooked in the body, we may be very certain that the
spine has by some means or other acquired a wrong cast. 

The articulation of the thigh bone, and the hip, is similar to that of the arm and the shoulder
blade, and their operations are in general the same. 

Though it is not every one's good fortune to be naturally formed to please, yet all have it more
or less in their power to improve what is amiss in their make, sad many imperfections may be,
by proper methods, greatly improved. 

Some nurses have an abominable custom of carrying children constantly on one arm, which has
a vary dangerous tendency to make them crooked. 

There were two brothers that were a good deal deformed, and both in the same way, owing doubtless
to their having been wrongly carried about. They both had the same dry nurse, who, unfortunately
for them, had a weakness in her right arm, so that she had used them both to her left. The consequence
was, the left knee of each of them was very much turned inwards, and their right shoulders were
so much higher than their left, that it gave them a very disagreeable appearance. Another thing
remarkable was, they were both left handed, which could be imputed to no other cause, than their
having had the use of the left hand more than the right. Their parents had afterwards other children,
who were free from these deformities, owing doubtless to the care they took in the choice of
nurses. 

Many too, are fond of seeing children attempt to stand or walk, before their little limbs have
got strength enough to support the weight of the body. It is commonly owing to this bad practice,
that children get into a waddling way of walking. 

If a child gets into a habit of standing more upon one foot than it does upon the other, that side
of its waist to which it inclines, will bend inwards, and the opposite shoulder will be higher
than the other. 

To remedy this evil, the mother or the person who has the chief superintendence of the child
should make him stand, as much as possible, upon the foot he is the least inclined to rest upon:
and if he is even allowed to hop pretty much about upon it, this will be found a good expedient.
Now and then, when he is standing in the manner proposed, (suppose it should be upon his left
foot) persuade him to try how far he can reach up the wall with his right hand; telling him at the
same time, it is a sure way to make him grow fast; for nothing is more pleasing to a child, than
to be impressed with this belief. By frequent exertions of this nature, the contracted side
of its body must be lengthened, and the shoulder which was highest will fall in proportion as
the other takes a contrary direction. 

When a child either raises or depresses one shoulder too much, some sort of burden should be
put upon the shoulder that is lowest. This weight will oblige him to raise it up; and at the same
time it will make him depress the other; for the shoulder that carries a burden is always higher
than that which is not loaded. 

A child that has the bad habit in question is never more ready to show it than when he is learning
to read; therefore, it is highly proper that his master should make him stand in such a position
as may render it inconvenient to him to indulge this propensity; and this may be easily done,
as, for example: if it is his left foot which he stands most upon, he should be placed with his
right side to his master, and this will make him rest his body upon his right foot, without his
thinking about it. Another method is, to make him carry any weighty thing in his hand, or rather
under the arm at that side to which he inclines, and this will naturally make him lean to the contrary
side, more or less, in proportion to the weight he carries. 

As nothing adds more to the grace of the body than a well-formed chest, so no pains ought to be
spared that may promote so material an advantage. 

Let a young lady take hold of her stays or bodice with her fingers, as near to her shoulders as
possible, and, with as much force as she is capable of, endeavor to draw back her arms. This practice
if frequently repeated, if but for a minute or two at a time will gradually lengthen the clavicles,
and consequently the shoulders will have a better fall, the chest will become more round and
full, and the head will be more erect. 

The following method, I have been told, was much recommended by the celebrated Marcel, whom
Lord Chesterfield mentions with more than ordinary praise, in his letters to his son. Let a
child hold a stick across its breast, with its arms stretched out at their full length. This
small effort, if frequently repeated, will be found to answer the end proposed. 

Some eminent masters have a method of forcing down the shoulders, which has a great effect.
It is thus: Place your pupil with her back to you, take hold of her arms and turn them till the elbows
arc a little inwards, then raise her arms and bring them down with a pretty smart jerk, but rat.
her gently at first, till habit makes it easy to her, which it will do in a short time. This abrupt
motion of the arms, if frequently repeated, will in time relax the muscles which confine or
draw the shoulders forward. 

Children are never more in danger of acquiring a wrong shape than after they have been long confined
to a sick bed, for then the bones are very loose in their articulations, and the muscles, from
long disuse, become feeble and weak. What Dr. Audry says relative to this subject is worthy
of notice. (Orthopaedia, vol. 1, p. 88.) When children, says he, are recovering item a disease
that has confined them long to their bed, the use of stitched stays, or at least of quilted bodices,
is more necessary than upon any other occasion; because the body, being weakened by the length
of the disease, will very easily acquire an ill shape. 

Grown persons themselves ought, in such a case, to remember that the bones or the spine, when
a person lies in bed, do not press one upon another, neither do they feel the weight of the head.
Hence it happens that when one is confined to bed for a long time together, these bones recede
at a greater distance from one another, and consequently the body is thereby rendered longer.
As this increase of length proceeds from the fact, that the bones of the spine are not so exactly
joined with one another, it necessarily follows that the spine must have less strength and
firmness after one has just risen from a long illness. 

It is obvious, from the above circumstances, that when a young person, in particular, is in
a state of convalescence, and is able to sit up for a short lime, great care ought to be taken to
keep the body as upright as possible. 

In walking there is a natural and instinctive motion of the feet, which is used by every one without
their being sensible of it. What I mean is: after advancing one foot (suppose it to be the right)
the heel of the left foot must be raised from the ground. This motion of the heel, with a small
exertion of the muscles, sets as a lever to impel the body forward upon the right foot, by which
means another station is attained. The left foot next advancing in like manner, a progressive
motion of from one foot to the other is produced. 

All good masters will recommend the frequent exercise of the lower joints by alternately sinking
and rising with very open knees. This exercise of the joints must, in time, very much relax the
muscles which draw the knees together, and, in proportion to the degree they are affected,
the knees will be more or less at liberty to take a proper direction. 

Dancing, when properly taught and practiced, is the very best safeguard against the evils
of over mental education, to which young ladies are so subject. 

This education is often carried to such an extent that the children have scarcely any leisure
for recreation. If they go out of doors at all it is in too formal and decorous a manner to answer
any really useful purpose. 

Let us not blame the teachers who preside over these establishments being the anthem of this
erroneous system. To them it is as irksome as it is to their pupil. The fault lies generally with
the parents, who send their daughters to school, expecting that within a given period of time
they should obtain a certain amount of accomplishments, such as cannot be crammed into them
without sacrificing what is really more important to this one object. It might, indeed, be
further urged that the injury thus inflicted on them is not merely physical; that the mind suffers
as well as the body; that mere learning, without having leisure for reflection, tends, not
to strengthen the mind, but to weaken the intellect. The use of dancing is to prevent the evils
above described. The pupil should practice in movements calculated to give a firm and graceful
air in walking, and in such dances as are becoming either in the home circle or in the ball room.

When the parents are thoroughly alarmed at the discovery that the health and figure of their
children are giving way, they hurry to a dancing master or other teacher of exercises, and hope
in a few lessons, at intervals, to undo the evil that has insidiously worked its way, hour by
hour, day by day, and year by year. 

The evils of over mental education may be entirely prevented by the adoption of dancing as an
every-day amusement, When children seem weary with over-study, let music sound its note of
invitation for the dance. The pallid cheek will soon regain its roses, the listless form will
spring up into life and activity, the eye that drooped with dullness will sparkle with animation.
and the mind, "like a giant refreshed," will return with alacrity to the task it a few moments
before looked upon with neglect. That dancing is a ready means of breaking the irksomeness
of study appears a sufficient reason in favor of its more extended use, and wherever it has been
adopted its beneficial results have been unfailing. In the American Annals of Education we
find the following: 

When thought shall need no brain, and nearly four hundred organs of motion shah cease to constitute
the principal portion of the human body, then may the student dispense with muscular exertion.
Mrs. Alfred Webster, of Bath, England, who published, in 1851, a book entitled, "Dancing as
a means of Physical Education," etc., says: One of the most satisfactory cases I have met with
was that of a young lady aged seventeen, very fall, her muscles soft, and her hue pallid grid
unhealthy. She had been severely taxing a most active mind, and quite neglecting exercise
in every form; consequently her spine had given way, and a double lateral curvature had taken
place; the deformity was perceptible in every attitude of the hotly, and even the face was distorted.
The first difficulties-those of infusing hope and convincing the young lady that perseverance
would assuredly conquer-were more easily than in general got over. She first attended at my
house for one hour early every morning, beginning, of course, with simple movements, and gradually
proceeding to more difficult ones. In a month a decided change had taken place: her muscles
had become firmer, her appetite and general health had wonderfully improved, and the wan and
unhealthy hue of her face had gradually disappeared-while the spine was evidently becoming
straighter. The body being stronger, we tried two hours a day, and in three months her back was
so straight that her figure was an object of admiration, and no person could suspect that any
deformity had over existed. 

Every reflecting mother must have observed with pain how many hours her daughters are compelled
to sit at their studies, a great portion of the period being occupied in writing. During the
whole of this time the spine is bent on one side and the chest contracted. If not engaged in writing,
they arc taken to practice on the piano-forte: here again the back, having no support, becomes
weary and sinks on one side, a position still further induced by the much greater exercise given
to the right hand than to the left. When worn out with music (which should be a recreation,) they,
as a change, go to drawing; and here the same stooping, the same indolence of one hand and activity
of the other, produce the same result; and so the education of young ladies is constantly carried
on. What are the almost universal consequences? General debility, curvature of the spine,
pallid faces, and spiritless forms! 

When it is remembered that this system is maintained for so large a portion of every day, and
that during the period of growth, when the human form is so susceptible to good or evil habits,
can we wonder at the constant complaint that so many of the rising female generation are crooked?
But how might all this have been prevented? The answer is simple. By a due blending of bodily
with mental education, by a proper use of exercise to stimulate the unused and flaccid muscles
of the body, and by the use of dancing as a cheerful relaxation to the overstrained mind. 

As to the idea of dancing having an influence on the mind, Dr. Andrew Combe, in his "Physiology
applied to the improvement of Mental and Physical Education," says: 

In acquiring readiness and forming habits, we merely turn to account that organic law which
associates increased aptitude, animation and vigor with regular exercise. It is not the soul
or abstract principle of the mind which is thus changed, but simply the organic medium through
which it is destined to act, In physical education we are quite alive to the advantages of repetition
and practice. The same principle apples equally to the moral and intellectual powers, because
these operate by means of material organs. 

Dancing must have its allotted portion of time like any other lesson; and boys and girls must
be taught that rudeness and coarseness are totally opposed to the free and frank manners of
a gentleman or lady. The difficulty in getting a proper degree of attention bestowed on the
dancing lesson is a common complaint with masters. 

James Fordyce (born 1720, died 1796,) a Scotch minister, author of poems and sermons, says,
in his sermons to young women: I freely confess that I am one of those who look on with a very sensible
satisfaction, well-pleased to see a company of young persons joyful with innocence and happy
with each other. It seems to me there can be no impropriety in it, any more than modulating the
voice to the most agreeable tones in singing, to which none, I think, will object. What is dancing,
in the most rigid sense, but the harmony of motion rendered more palpable; awkwardness or ungraceful
gestures can never, surely, be meritorious. 

Doctor Cairus, on "Healthful Exercise," says: The exhilirating exercise of the dance is admirably
suited for weak and debilitated constitution, as, from the various evolutions, all the muscles
of the body are brought into beneficial action. 

We never pass along the streets, says the editor of the New York Ledger , of April 11th, 1857,
at the hours when children are let cut from school, without being reminded, by the feeble frames
and dull eyes of many of these precious little ones, of the immense importance of the subject
of Physical Education. 

Apart from the diseases of the body which must follow the neglect of physical education, so
common, it is folly to anticipate true mental culture while it prevails. There can be no sound
mind without a sound body . 

We need to go back a little, and learn of the ancients on this head. They made their gymnasiums
rand athletic games matters of public concern. So should we, in our schools, at least, do the
same. And we should do everything else that may be needed to develope bone rand muscle, and strength
cerebral fibre , in our children, and so cultivate not one department of their nature at the
expense of another, but the whole . 

A young man, said the Abbe Meunier, who cannot dance, should go to battle and lose a leg with all
possible expedition, as he will then have a palpable excuse for his awkwardness. 

In France the poorest peasant dances with grace and agility; and few scenes can be more communicative
of pleasure than the rustic Feles of Provence. These are, indeed, Feles Champetres in every
sense. 

As the sun declines, in that beautiful country, the villagers assemble in their gayest attire
on the green lawn, attached to some noted cabaret. Two violins and a bass form the band, and the
captivating griselle or jolie paysanne , each in her fanciful costume, is led out with easy
gaiety by the man of her choice, and the same is much heightened by the clear softness of the climate
and the warmth of charnels of these Southrons with their dark flashing eyes and passionate
modes of expression. Well might the Abbe, as a Frenchman, make the remarks we have quoted. 

Mrs. Lydia H. Sigourney, one of the most observing and intelligent of writers, and a lady whose
estimable moral virtues could not be overrated, says:- 

I was once accustomed to witness dancing in a happy family, where the children, at the close
of the reading and lessons which diversified the long winter evenings, rose to the music of
the piano; while the parents, and even grandparents, mingling with the blooming circle, gave
dignity to the innocent hilarity in which they participated. There was nothing in this to war
with the spirit of the prayers which were soon to follow, or to indispose to that hymn of praise
which hallowed their nightly rest. 

The good tendency of dancing is beautifully illustrated in the following extract from the
chapter called The Grace , from Sterne's Sentimental Journey :- 

"When supper was over, the old man gave a knock on the table with the haft of his knife, to bid them
prepare for the dance. The moment the signal was given, the women and girls ran aLl together
into a back apartment to tie up their hair, and the young men to the door to wash their faces, and
change their sabots; and in three minutes every soul was ready, upon a little esplanade before
the house, to begin. 

The old man arid his wife came out last, and placing me between them, sat down upon a sofa of turf
by the door. 

The old man had some fifty years ago been no mean performer upon the vielle (violin), and at the
age he then was of, touched it well enough for the purpose. His wife sang now and then to the tune-then
intermitted-and joined her old man again as their children and grandchildren danced before
them. 

It was not till the middle of the second dance, when, for some pauses in the movement wherein
they all seemed to look up, I fancied I could distinguish an elevation of spirit different from
that which is the cause or the effect of simple jollity. In a word, I thought I beheld devotion
mixing in the dance; but as I had never seen her so engaged, I should have looked upon it now as
one of the illusions of an imagination which is eternally misleading me, had not the old man,
as soon as the dance was ended, said that this was their constant way; and that all his life long
he had made it a rule, after supper was over, to call out his family to dance and rejoice; believing,
he said-" that a cheerful and contended mind was the best sort of thanks to heaven that an illiterate
peasant could pay." 

"Or a learned prelate either," said I. 

For many years there hung framed in the Alexandria, Va., Museum, a letter from George Washington,
written about one month Before his death, and directed to a committee, who had invited himself
and wife to their assemblies. 

Mount Vernon , Va, Nov. 12th, 1799. 

Gentlemen . 

Mrs. Washington and myself have been honored by your polite invitation to the assemblies in
Alexandria this winter, and thank you for this mark of attention. But alas! our dancing days
are no more. We wish, however, all those who relish so innocent and agreeable an amusement,
all the pleasure the season will afford them. 

I am, Gentlemen, Your most obt. and obliged humble servant, George Washington . 

Among the ancients, their oldest and most able men were great advocates of dancing, as a means
of improving their body health, and of rendering themselves agreeable and useful in the daily
walks of life. Socrates and Cato danced when past the age of sixty years. Many other very old
men, eminent for extreme intellectuality, have, in all times, been pupils, and have obtained
proficiency in the art, at a time of life when many would suppose that their graceful and dancing
days were over. Among my own pupils, I once gave lessons to a gentleman who was eighty, years
old. He took great delight in learning the modem dances, and imparting them to his grandchildren,
as well as participating in them as a beneficial exercise for himself. 

Herr Cline, the great tightrope performer, who executed, with remarkable activity, several
difficult acts, including the wooden shoe or sabot dance on the tight-rope, many years ago,
is no doubt well remembered. When he was over sixty years of age, he performed on the rope at a
theatre in the city of New York to very large and fashionable audiences, and was so graceful
in appearance, and supple in movement, that the spectators supposed he was a very young man.
He is still an excellent performer, although now nearly seventy years of age. 

Madame Celeste, the great pantomimist, actress and danseuse , made her first appearance in
this country, over thirty years ago, and she is now, although a lady past sixty years of age,
as attractive in exerted, as energetical in action, and as ambitious in her stage representations,
as she was ever a quoter of a century ago, as her performances in this country in 1866 show. 

Gabriel, Antoine, Jerome and Francois Ravel, with many others, are wedded to our earnest recollections
of popular pantomime dancing. 

The whole secret of this resides in practice and determination. I have made good dancers of
children aged from three-and-a-half to four years. Neither extreme old age, nor infancy can
resist the attractions of the art of dancing; all may benefit by it to an extent which words can
scarcely explain. 

Locke, in an essay on education, advises that children should learn to dance at the earliest
possible age.-Locke on Education, Sect. 67. 

Since (says he) nothing appears to me to give children so much becoming confidence and behavior,
and so to raise them to the conversation of those above their age as dancing; I think they should
be taught to dance, as soon as they are capable of learning it. For though this consists only
in outward gracefulness of motion, yet I know not how, it gives children manly thoughts and
carriage more than anything. 

But you must be sure to have a good master, that knows and can teach what is graceful and becoming,
and what gives freedom and easiness to all the motions of the hotly. And this being fixed by learning
this art young, seldom leaves them when grown up. And by dancing in company, children wear off
that diffidence, fear and awkwardness which might be a perpetual Remora to their fortunes,
and which is very visible in children that are not used to company and want those advantages.
* 

I have had repeated instances among my young pupils, at the beginning of their practice, who
seemed totally devoid of an ear for music; yet in the end have been capable of adapting the step
to the music with critical exactness. 

So long as dancing is cultivated civilization progresses. 

"To chase the glowing hours with flying feet."- Byron . 

In every period of existence, the art of dancing facilitates the acquisition of ease and elegance
in personal deportment. 

"They move easiest who have learnt to dance."- Pope . 

There is a vice in dancing, against which pupils cannot be too carefully guarded; it is that
of affectation. The simplicity of nature is the great fountain of all the graces, from which
they flow spontaneously, when unchecked by affectation, which at once poisons and dries them
up. 

Vanity should never mislead a man in the estimate he forms of his own talents. 

"Let nature, in everything, be the guide of art, and let art, in everything, aim at imitating
nature."-Gallini, page 267.-The master can, doubtless, second and develope nature by moans
of the resources which his art furnishes him. 

"The perfection of art is to conceal art." 

Is not that the best education which gives to the mind and to the body all the force, all the beauty,
and all the perfection of which they ere capable.- Plato . 

All persons should, and do, desire to be agreeable to those whose good opinions are worth cultivating.
If divested of this desire, we would soon become totally regardless of our outward deportment,
and would make but indifferent figures in society. 

When young people first appear in public life, external qualifications are then, in particular,
of great consequence to them, and they should be qualified for the best of company by a good and
graceful carriage. 

"When you dance, I wish you a wave of the sea." 

Shakespeare's Winter's Tale . 

Beauty, without good manners, speedily creates feelings very different from those of admiration.

Parents, who can afford to give their children a tolerable education, should have them early
instructed in the rudiments of genteel, graceful, and attractive address. 

The art of dancing is not only necessary, but indispensable, to those who are fond of society.
The manner of presenting ones-self, and of receiving others in company with a graceful propriety,
and the easy and polite demeanor which is so becoming everywhere, are acquired most effectually
by those who have studied the art of dancing. 

One of the principal beauties in the female character is modesty, a virtue in itself so lovely
that it often captivates where a pretty face or graceful figure would be disregarded. Addison
says: "If you banish modesty out of the world, she carries with her half the virtue there is in
it." But while modesty is an essential virtue, timidity and diffidence are weaknesses which
should be overcome. BALL DRESS. 

Dress, though often considered a trifling matter, is one of considerable importance, for
a man's personal appearance is a sort of "index and obscure prologue" to his character. 

Lord Chesterfield has said, "I cannot help forming some opinion of a man's sense and character
from his dress." Shakespeare has written, "The world is still deceived by ornament." 

The dress should be studiously neat, leaving no other impression than that of a well-dressed
gentleman. 

Black dress coat, black or white vest, black trowsers, white necktie, patent leather boots
or pumps, and black or white stockings, white kid gloves, hair well dressed. Coats of fancy
character and colors, velvet collars and metal buttons are not proper for the opera or ball.

Ladies in dress should display the form with taste and elegance, but avoid affectation. Gentlemen
look more to the effect of dress than to its cost. THE BALL ROOM. 

The top or head of a room is generally that part farthest from the entrance door, should the entrance
be at one end of the room; but whenever the door is upon the side of a room, custom or the floor manager
decides which is the head, The head of the room is never determined by the situation of the music;
the orchestra is frequently located at the side of a room, which is never the head. 

Your first duty on entering a ball room is to ascertain from the floor-manager (master of ceremonies)
the head of the room. 

The master of ceremonies is the arbiter elegantiarum of the ball room, who directs and superintends
the arrangements for the time being, to whom all appeals must be made, whose authority is unquestionable,
and decisions final; with such powers as these, it is scarcely necessary to add, he should unite
the knowledge of the prescient with the manners of a gentleman; and while his dictum is without
appeal, it should never seem peremptory. It is apparent the office is a very delicate one, and
as the appointment is most flattering to the individual, the responsibility is considerable
and not lightly to be encountered. 

A lady or gentleman wishing to dance, and not being provided with a partner, should apply to
the master of ceremonies. 

The master of ceremonies is the arbiter in all disputes, who, with the parties at variance,
leave the room. ETIQUETTE. 

Invitations to a ball or party should be issued, if possible, eight days before it takes place.

Go to a private party as near the hour invited as possible. 

On entering a private house to join an evening party, you should, as soon as convenient, pay
your respects to the host and hostess. If you are late, and they should be in the rooms where the
party is dancing, you must await your opportunity to pay them your respects. 

The necessary introductions to the company are obtained through the lady and gentleman of
the house, or some member of the family. On leaving a private party you should not allow your
departure to be particularly noticed, or to interfere with the general arrangements, but
should find your host and hostess and return them thanks for the enjoyment you have received,
and express to them year regret that you must leave. 

Invitations to a party are issued in the name of the mistress of the house, and to her answers
are to be sent. 

Of a family containing sons and daughters, one card is to be sent to the master and mistress,
one to the daughters, and a third to the sons. 

If any guest is staying with the family invited, a distinct card must be sent. These are all enclosed
in an envelope unsealed, and directed on the outside to the mistress of the house. 

Answers should be sent in the course of the next day or the day following. 

In ordinary cases, the safest way is to send one answer for the females and one for the males,
enclosed in one fold. 

The sons and daughters of the lady by whom the party is given should dance as little as possible
during the evening, as their time will be required to entertain the guests. They should also
avoid talking in a loud voice, and hoping that everybody finds everything agreeable. 

If a servant offends you by any grossness of conduct, never rebuke the offence upon the spot;
it only gives rise to a scene. 

A gentleman, attending a lady to the assembly room, will see her to the ladies' dressing-room,
and then repair to the gentlemens', to divest himself of his hat, overcoat, &c.; and having
adjusted his toilet and drawn on his gloves, will await at the portal of the ladies entree salon
for the lady or ladies he accompanied, and usher them into the ball-room. 

After the promenade music ceases as a preliminary to the commencement of the dancing, the dancers
will take their positions on the floor at the sound of the trumpet, or by the announcement of
the master of ceremonies. Universal custom requires that a gentleman escorting a lady to a
ball or party should, when practicable, be her first partner in the dance as soon after their
entrance to the ball-room as may be convenient. 

Ball-room introductions cease with the object, viz: dancing; nor subsequently can the gentleman
anywhere else approach the lady, by salutation or in any other mode, without a re-introduction
of a formal character. The lady may, at her election, on meeting the gentleman afterwards,
salute him or not; but it awaits her pleasure and discretion. 

In a ball-room never address a lady unless properly introduced. 

When the Quadrille or other dance is over (for which the introduction was made) the acquaintance
ends; nor can the gentleman invite the same lady to dance again, unless he is again introduced;
the acquaintance ends with every dance. 

Never introduce one person to another without knowing that it is agreeable to both. 

Gentlemen are introduced to ladies, not ladies to gentlemen. Ladies should be first consulted.

Occasionally in the ball-room and at private parties, a very improper habit of criticising
others who are present is indulged in. 

This should always be avoided as beneath the character of a gentleman or lady. A true gentleman
or lady will never so far forget themselves as to wound the feelings of those with whom they may
be associated. 

A gentleman should never form an engagement with a lady while she is engaged in dancing with
another. 

On being introduced to a lady for the purpose of dancing, you bow respectfully and say, "Can
I have the pleasure of dancing the next set (or waltz or whatever the dance may be) with you?"
The lady, if she be not engaged, with a gentle inclination, will reply, "With pleasure, sir."

In private parties, introductions are not considered necessary; the fact of your being invited
is a voucher for your respectability. 

When a lady civilly declines to dance with you, do not take any notice: although you see her afterwards
dancing with another. Ladies are not obliged to tell their reasons, neither to show them. 

After engaging your partner for a Quadrille, secure a couple if possible for your vis-a-vis.

Do not neglect your partner (pro. tem.) to hold protracted conversation with others, in the
same or other sets. 

On the finish of a dance, leave your partner as near to the seat you received her from as possible,
unless she request you to lead her to another. 

Lord Chesterfield very justly remarks that in mixed companies of the sexes, whoever is admitted
to make part of them, is for the time at least, supposed to be on a footing of equality with the
rest. 

In offering refreshments, bouquets, or any other attention to a lady, avoid being too urgent,
as it often gives offence. 

Ladies should not leave a bail-room assemblage unattended. 

The etiquette of the Ball-Room varies slightly in country places, and in different cities.
In country ball-rooms generally, a gentleman may ask a lady to dance with him, and enter into
conversation or promenade with her through the room; but in the city an introduction must place
before the gentleman can be entitled to offer himself as a partner; and though he may be intimately
acquainted with a lady, it is considered proper for him to ask the consent of the person accompanying
here; unless that person delegates the floor-manager or some other gentleman to perform that
duty in his stead; in such cases he will apply to the proper parties. This consent must be obtained
for each and every dance. 

Floor-managers or teachers of dancing, when attending a ball, have no right to introduce partners
to ladies, unless the ladies or their gentle men escorts so request it; notwithstanding the
lady may be the teacher's own pupil. 

A gentleman having ladies under his charge may address a stranger and offer him a partner. 

When there is a difference with regard to the pre-occupancy of a place in a set, a quiet appeal
to the floor-manager or master of ceremonies should settle the matter. 

It is improper to leave one set and go to another, unless you have been directed to do so by the
floor-manager or master of ceremonies; you have the right, however, to retire from a set and
be seated, should an objectionable party take a place in the same set after you have formed there.
It is improper for two gentlemen to dance together when ladies are present. Two ladies may dance
together, if they wish, without infringing proper etiquette, as privileges are always accorded
to them which may not be claimed by the other sex. 

Ceremonies vary in every country, but true politeness is everywhere the same, which is generally
the result of proper cultivation. 

Etiquette is moulded in Europe by the custom of courts, so that the forms of politeness in each
nation axe distinct, but good breeding readily conforms to all modes with ease and grace. For
instance: at Vienna men always make courtesies instead of bows to the Emperor; in France nobody
bows to the Emperor or kisses his hand; but in Spain and England bows are made and hands axe kissed.
Thus every court has some peculiarity, which those who visit it ought previously to inform
themselves of, to avoid blunders and awkwardness. 

In London the laws of the court dancing tribunal axe administered by a Gynesocracy , viz: twelve
persons of the first rank, four Duchesses, as many Marchionesses, and the same number of Countesses.
To these are added a sub-committee of ladies, chosen more for their wealth and influence than
for their rank. All measures originate with this committee, to be referred for approval to
the upper house. 

The lady patronesses are chosen from this two fold council. The royal perSonages may consent
to be at the head of the list, but take no part in this government of women. To be eligible to membership
in Terpsichorean temple of London haut ton , the qualifications must be fortune, rank, accomplishments,
or the antiquity of their family; thus are tickets granted or rejected agreeably to this scale.

All introductions are through the auspices of the sub-committee, and once introduced, they
are deemed a passport to family intimacy. The ordeal is of a searching nature, and the entree
of difficult attainment. 

In France a gentleman, without an introduction, may ask any lady to dance with him; but then
he must restore her to her seat, immediately after the set is concluded, and may not enter into
individual conversation with her after the dance is over, such being deemed a wise precaution,
rendered the more necessary, perhaps, from the greater liberty allowed in forming the partnership.

In England, on the other hand, a regular introduction must take place between the parties before
a gentleman can be entitled to offer himself as the partner of a lady; but this indispensable
ceremony having been gone through, he is at full liberty both before and after the dance to take
his seat by her side, or promenade with her through the room, without being considered guilty
of presumption in so doing; he may also invite her to partake of refreshments, which she can
decline or accept. GLOSSARY OF FRENCH TERMS FREQUENTLY USED IN QUADRILLE DANCING. 

Assortiment du Quadrille .-A set of quadrilles. 

Chaine Anglaise -English Chain.-Two couples right and left to opposite sides and back. 

Demi Chaine Anglaise .-Half right and left. 

BalancE .-Set or setting.-It implies that a certain portion of time is to be occupied in the
performance of a step or steps, to be danced in one and the same place. In a few Quadrille figures,
the balance is omitted, and a walking or galop movement to the opposite side and back is substituted.

Chaine Des Dames .-Ladies chain. Two opposite ladles advance to the centre, give right hands,
pass on and turn opposite gentleman with left hands, and return to places in the same manner.

Tour des Mains .-Turn, giving beth hands to opposite person and resuming places. 

Demi Promenade .-Half promenade. 

Traversez .-Cross over to opposite place. 

Retraversez .-Return to place. 

Dos-a-Dos .-Back to back. Two opposite persons pass round each other, back to back, and back
to places. 

Dos-a-Dos en Quarree .-The four couples forward to the centre, and turn back to back in the form
of a square, each gentleman passing his lady in front of him, and all finishing with their backs
to the centre. 

Demi Tour a Quarre .-Four hands half round. 

Chassez Croisez tout les Huit et de Chassez .-Gentlemen all change places with partners, and
back again. 

Les Dames en Moulinet .-Ladies cross right hands half round and back again with left hands.

Pas d' Allmande .-Pas d' Allamande is quite different from the Allamande figure. The Pas d'Allamande
is a movement of the arms, when the gentleman takes either hand of the lady and passes her under
his arm on either side; there are a variety of these movements which properly belong to the alsace
caned the Allamande. 

Grande Promenade tout les Huit .-All eight dancers promenade. 

A la Fin .-Finish. 

Chaine des Dames double .-Double ladies chain, which is performer by all the ladies commencing
at the same time-thus: four ladies cross right hands, go half round, and turn opposite gentlemen
with left hand; cross right hands again, go half round, and turn partners with left hand. 

Moulinet .-Hands across, or cross hands. 

Balancez en Rond .-All join hands and set in a circle. 

Le Grand Tour de Rond .-All join hands in a circle and move to the left around to places. 

A vos Places .-To your places. 

Tour a Coin .-Turn the corners. 

Pas de Basque .-This step is peculiar to Southern France, and bears a strong resemblance to
the step of the Redowa. 

La Grande Chaine .-Right and left all round.-All eight pass round until they regain their respective
places, giving alternately their right and left hands, commencing with the right to partners.

En Avant .-Advance forward. 

En Arriere .-Retire backward. 

Chassez a Droitte et a Gauche 

Chassez et Dechassez, 

Chassez, move sideways in a straight line to the right and left. 

Les Tiroirs .-First couple join hands and cross over between the opposite couples, while the
latter separate, pass outside to opposite places; then leading couple separate, and the opposite
couple pass between them all regaining their first places. 

Chassez Ouvert .-Chassez from your partners. 

Le Grand Quarre .-Grand Square.-The leading couples advance to centre together; at the same
time the side couples separate from each other sideward, the ladies to their right comers and
the gouts to their left corners. They (the sides) move into the places of the leading couples,
while the leading couples glide into the vacated sides. The sides then move up to centre, while
the leading couples separate, as the sides did, to reach the corners, and so to their own places,
while the sides move by the fight and left into their own places. This figure is effected by four
distinct movements for each person; all must move together -each dancer making a square in
one corner of the cotillion, and the whole figure makes the Grand Square . 

Demi Queue du Chat .-Half promenade four. 

Demi Rond .-Half round. 

Ballotez .-A setting step of four times in the place. 

A Droite .-To the right. 

Figurez Devant .-Dance before. 

Figurez a Droite .-Dance to the right. 

A Gauche .-To the left. 

La Main .-The hand. 

Vis-a-vis .-Face to face (opposite.) 

Tour sur Place .-Turn in place. 

Promenade ob Queue du Chat .-Promenade and Queue du Chat are the same. 

Grande (all) Peomenade .-All the couples, one following the other, move around within the
limits el their own set until they have regained places. 

Demi Promenade .-Half promenade is performed by the opposite couples moving in a half circle,
round to, and taking each others situation; if this circle was continued round to places, it
would then be the whole promenade of two couples. 

Emboiette .-A step in Quadrille dancing generally used to retire with. 

La Premier Cavalier .-The first gentleman. 

La Premiere Dame .-The first lady. 

Les Quarres .-The squares. 

Le Petit Quarre .-The small squares, The first couple describe squares, with the lady and gentleman
on the right and left. 

Rigadoon .-A setting step used in Quadrille dancing. 

La Poussette .-Is performed by holding the lady's hands and making her retreat, then she does
the same by her partner. 

Demi Poussette .-Two couples join hands with partners and promenade round each other to places.
THE FIVE POSITIONS. 

The five positions for private dancing are as follows: 

First Position . Both heels together, the toes turned out at right angles, the body erect. Let
your ams hang naturally by your side, your fingers grouped together. Ladies should hold their
dresses with the tips of their fingers and thumb. 

Second Position . Weight of body over left foot, point toe of right foot on a direct line to the
right, heel of right foot slightly raised. 

Third Position . Heel of right foot in the middle or hollow of left foot. 

Fourth Position . Right foot directly forward, toe touching the floor, heel raised. 

Fifth Position . Heel of right foot against toe of left same positions for left foot commencing
from first position. GENTLEMEN.-THE BOW. 

Step off with right or left foot to second position, draw the other foot to first position and
bow slightly. LADIES.-THE COURTESY. 

Step off with right or left foot to second position, draw the other foot to fifth position behind,
and passing the position a few inches, slightly bending both knees and bowing. 

N. B.-Avoid bending the knees too much, or bowing the low. THE FRENCH QUADRILLES. 

The French Quadrilles (Country dance or Centre dance, Contra dance-from the dancers being
placed opposite each other) were first performed by two couples, one couple facing the other.
They were first introduced in France about the middle of the reign of Louis the Fifteenth, or
about A.D. 1760. 

During the first part of the present century Quadrilles disappeared for a time from the Parisian
ball rooms, to make way for the "Ecossaise" once more. The Ecossaise was first brought out in
1750, as we learn from Voltaire's letters, for his niece, Madame Denis, greatly distinguished
herself in it. It consisted mainly of hands across and down the middle.- London Athenaeum .

During the reign (1824 to 1830) of Charles the Tenth of France, the cotillion was rendered fashionable,
and occasioned considerable amusement. 

The figures of the Quadrille only differ from the old German Cotillon by leaving out s portion
of the changes; being much shorter and frequently composed of figures that require but four
persons to their performance; as in the first set of French Quadrilles that were publicly danced,
viz: "Le Pantalon," "L'Ete," "La Poule," and "La Trenise," neither of which require more than
four persons in their performance. 

Two couples were afterwards added and formed the sides of the square; thus the French Quadrille
and the English Cotillon are formed precisely alike. 

Many Cotillion figures are now introduced in Quadrille dancing that require eight persons,
and most of the finales (or finishing dances) contain some figure or figures requiring that
number in their performance. 

Occasionally Quadrilles are danced in sets of eight, twelve, or sixteen persons; but the set
of eight is best calculated for general convenience and enjoyment. STEPS FORMERLY USED IN
QUADRILLES. 

Sissons Balote, 

Emboiettes, 

Glissade, 

Balancez, 

Pas de Bourree, 

Chasse, 

Pas de Basque, 

Coupe Balote, 

Coupe Dessus, 

Jete, 

Coupe Dessous, 

Assemble, 

Changement de jambe, 

Temps de cuisse, 

Echappe, 

Entrechat, , 

together with many others, according to the taste of the teacher and dancers. 

The Pas Marche, or walking step for Quadrille, was first used about 1835. Two steps are counted
to each measure of music. 

Among the highest circles in Europe and America nothing more than the correct musical step,
a graceful walk, with a knowledge of the figures, is deemed necessary for taking part successfully
in a fashionable Quadrille. 

The dancing of society, as it exists at present, may be considered as entirely distinct from
that of the theatre. 

It has its beauties and its steps proper to itself alone, having nothing in common with that
which is applauded upon the stage. 

Private dancing has a peculiar softness which would hardly be perceivable on the stage; so
stage dancing would have a rough and ridiculous air in a room. 

The change of manners and customs, the fickleness of fashion, and, above all, the exigency
of the modem laiser aller , have doubtless greatly contributed to the giving up of the formal
dances of some few years since. 

It would be an error to suppose that the new dances, despite their apparent facility of acquirement,
can in the least dispense with those preliminary exercises which give ease to the body, are
the necessary preparation for the steps and attitudes, and which have in all times formed the
foundation of every description of dance. 

A master ought to avoid giving, under the title of such and such a foreign dance, a fanciful step
which will be only a counterfeit, and have derived its birth (in all probability) from the head
of the masher himself. 

The want of unity in teaching is injurious to all. FORM OF THE QUADRILLE OF FOUR COUPLES. 

Each lady standing to her partner's right, all occupying a space of about ten feet square. 

The first couple (in each and every set) is that couple nearest the head of the zoom, with their
backs to the head, facing the centre of the Quadrille. 

The second couple opposite (vis-a-vis) and facing the first. 

The third couple to the right of the first. 

The fourth couple opposite the third. 

A set of Quadrilles is usually composed of five parts or numbers, each number consisting of
two or more figures. 

Double sets should always be avoided if possible. 

The music of a figure generally consists of a strain of eight measures to a park. There are, however,
some figures that require sixteen measures, and some again that only take four measures. 

As soon as all the sets are formed, the floor-manager gives a signal to the leader of the music
to begin, upon which the dancers all salute each other; the gentlemen bow, the ladies courtesy,
first to partners, and then to corners (each lady to the gentleman on her right, each gentleman
to the lady on his left.) 

These salutes are made during the first strain of eight measures of music or introductory part.
On many occasions the bow and courtesy to the first eight measures are dispensed with. At the
commencement of the second strain the figure begins. 

Eight measures of music are played as an introduction prior to commencing the figures of every
number, during which (except to the first number) the dancers remain standing. There are a
few Quadrilles, however, to which this does not apply. In the Lanciers three chords are given
by the band as an introduction to the fifth or last number, after which chords the dancers begin
the figure. 

Quadrilles are frequently called square dances. QUADRILLE FRANçCAIS, (OR FIRST
SET.) (Also known as the Plain or Standard Set.) No. 1 LE PANTALON. 

Measures. 

Right And Left ( Chaine Anglaise ) 8 

The first and second couples cross over, each giving theft right hand to opposite person, their
left hand to partner, turning half around and facing the centre, thereby changing places with
the opposite couple. Repeat the same to regain places. 

N. B.-Giving the right hand to opposite person is generally omitted. 

Balance , or give right hand to partner's right, left hand to partner's left, face each other,
execute a sliding step sideways to the opposite side, and back again without changing sides
with partner; or, instead of the sliding step, walk across eight steps, and return in the same
manner, or polka across and back. 8 

Originally, Balance was performed by setting to partner 4 4 

Ladies Chain , ( La Chaine des Dames ,). 8 

The two ladies give right hands to each other, cross over, and turn the opposite gentleman with
left hand. Return to places in the same manner. 

Balance , (same as before,) Originally, half promenade and half right and left. 

Le Pantalon is performed twice; first by the head couples, (1st and 2d,) and afterwards by the
side couples, (3d and 4th.) No. 2. L'ETE. 

Forward Two :- 

First and second couples forward and back 4 4 4 backward 4 

Recross to places. Do not change sides with your partner during the entire figure. 

Balance 8 

L'Ete is performed four times, twice by the first and second couples, and twice by the third
and fourth. Originally forward two was performed by two persons at a time, commencing with
the first lady and opposite gentleman, and in the same manner until all in their order had executed
the figure. 

All the figures in a Quadrille are governed by a common centre; no matter if you go forward, backward,
or sideward, the movement is still controlled as if you faced the centre of the set. 

Frequently the following manner of executing the forward two is indulged in, but it is not orthodoxical.

Forward and back, cross over (ladies passing between.) 

Chasse Croise, (cross and recross partners.) 

Recross to places (ladies passing between.) No. 3. LA POULE. 

Right Hands Across , 

First and second couples cross ever (ladies passing through the centre) without changing
sides with partners, 4 

Walk backward to centre of set. All joia hands in a circle, right hands to partners, ladies'
aims being crossed, the gentlemen's arms apart, 4 

Balance (in a circle) 4 

Half Promenade to opposite couple's place, (joining both hands with partner's, right hands
above the left (right hand to right hand, left hand to left hand), 4 

Two Ladies Forward And Back , 4 

Two Gentlemen Forward And Back , 4 

Forward Four And Back , 4 

Half Right And Left To Places , 4 

The entire figure is danced twice by the first and second couples, and twice by the third and
fourth couples. 

Originally Right Hands Across was performed by the first lady and opposite gentleman crossing
over into each other's places, giving right hands; recross to places giving left hands, retaining
hands, giving right hands to partner's "right hand and balance four in line. Half Promenade,
&c. No. 4. LA PASTOURELLE, 

Measures. 

Forward Four . 

First and second couples forward and back, forward again, and 

8 

Forward Three and Back , 4 

Forward again and leave both ladies with opposite gentleman 

4 

Forward Three and Back , 4 

Forward again and form a circle of four, (originally the first gentleman 

4 

Hands Four Half Round , exchanging places with opposite couple, 4 

Half Right and Left to Places , 4 

Danced four times, the second lady crossing over the second time. 

Third and fourth couples in their order. No. 5. LA FINALE. 

Ladies Chain , 8 

Forward Two (same as No. 2), 16 

Balance (or all promenade round within the circle of their own 

8 

Danced four times, twice by the first and second couples, and 

All Chasse Croise , 8 

The ladies passing to the left in front of the gentlemen, and the gentlemen passing to the right
at the same time and back again to places. All salute (bow and courtesy.) 

The gentleman offers his arm to his partner and conducts her to a seat. 

Chassez a Droite et a Gauche , 

Chassez to the Right and Left . 

Chassez across. and Chassez to the right and left, &c., are terms that frequently occur in Quadrille
dancing. There is also a step called Chasse, which induces many persons but slightly acquainted
with dancing to suppose that where the directions are given to Chassez to right and left, &c.,
that it must be done with the Chasse step notwithstanding the Chasse step may very properly
be applied to these movements; yet there are other steps equally suitable. QUADRILLE SOCIABLE.

Measures 

Head Couples Right and Left , 8 

Side Couples Right and Left , 8 

All the Ladies Balance to Right and exchange partners, 8 

All Promenade , 8 

Head Couples Ladies Chain , 8 

Side Couples Ladies Chain , 8 

All the Ladies Balance to the Right and exchange partners, 8 

All Promenade , 8 

All Hands Half Round to the left and reverse, 8 

Ladies Balance to the Right , 8 

All Promenade , 8 

There is no positive rule as to what figure shall be called in the Quadrille Sociable. The choice
is left entirely to the prompter. BASKET QUADRILLE. MUSIC-" Life Let us Cherish ." 

same as No. 2 Quad. Franc, Two, 16 , 8 

All the Ladies Hands Round in the centre to the left and reverse, 8 

All the Gentlemen Hands Round on the outside to the left and reverse, 8 

Finishing with the ladies to the right of their partners. 

(Here a pause occurs in the music), during which the gentlemen raise their hands joined, so
as to allow the ladies to pass backward and rise on the outside with their hands joined in front
of the gentlemen, reining a basket. 

All Balance in this position, 4 

Turn Partners to places, 4 

To be executed four times. The third and fourth times, the gentlemen in the centre, and the ladies
outside. CHEAT, OR COQUETTE. 

First Couple Balance to the Right . 

The First Couple Forward to the Couple on the Right (third couple), and balance at the same time;
the third couple balanceto the first as they approach them 4 

Turn the opposite person with both hands 4 

It is optional whether you turn the person with whom you balance, or exercise the privilege
to cheat; one may extend their hands to the opposite person, and when they attempt to turn them,
suddenly turn away, and turn some one else; hence its title-the cheat. 

Balance to Next Couple (second) and turn 8 

Balance to Next Couple (fourth) and turn 8 

Balance To Partner and turn 8 

Counterpart for the others . 

The Cheat is generally introduced as No. 4, after three numbers of the Quadrille Francais,
and followed by the Jig as No. 5. JIG No. 1. 

Hands All Round . 8 

All the Ladies Balance to the Right ; (each lady balances to, and turns, with both hands, the
gentleman on her right 8 

Balance to and Turn Next Gentleman on the Right 8 

Balance to and Turn Next Gentleman , 8 

All Balance to Partners and Turn 8 

Hands all Round 8 

All the Gentlemen Balance to the Right : (executing the figure 

32 

Hands all Round 8 

All Chasse Croise 8 JIG No, 2. MUSIC-" White Cockade ." 

Hands all Round 8 

First Couple Balance to Right, and Four Hands Round 8 

Same Couple Balance to Left, and Four Hands Round 8 

Hands all Round 8 

Counterpart for the others . 

Finish with, "All Chasse Croise." STAR FIGURE. 

All Promenade 8 

Four Ladies Forward and Back 4 

Gentlemen the Same 4 

Four Ladies Cross Right Hands and go Half Round 4 

Left Hands Back -retain left hands and give right hands to partners 4 

All Balance 4 

Turn Partners to Places 4 

Repeat. Third and fourth times, gentlemen forward and back first, "Cross right hands," &c.
Finish with, "All Chasse "Croise," and salute partners. GAVOTTE. 

Ladies' Chain 8 

Sides Four : the first and second couples lead to the couples on their right, (who advance to
meet them,) then retire, all forward again and exchange partners; the gentlemen taking each
others' places, and the ladies remaining in their own places opposite their partners, forming
two diagonal lines, parallel with each other 8 

First Lady Forward and Back Twice 8 

Opposite Gentleman the Same , (being opposite his partner.) 8 

Right Hand Across , (same two,) 4 

Left Hand Back 4 

Forward Two (same two,) 4 

Dos-A-Dos , (same two,) forward and go round each other back to back, and return backward to
places in line 4 

All Forward and Back ; forward again, and turn partners to (original) places 8 

All the above to be executed four times; the first and second times, the head couples lead to
the right, causing the side couples to move to the left; the third and fourth times, the side
couples lead to the right causing the head couples to move to the left. In executing the figure
the second time, the second lady will forward and back twice, &c.; the third time, the third
lady, and the fourth time, the fourth. MARCH QUADRILLE. 

First Couple Promenade Round inside and face outward, (keeping 

8 

Second Couple Promenade Round first couple, and fall in behind 

8 

Third and Fourth Couples , the same, in their order 16 

It has recently become customary to substitute the following for the above:-First couple
turn round and face outward, the lady on the gentleman's right, the second couple remaining
in their places; the third and fourth couples falling in line, between first and second couples,
as in No. 5 of Lanciers, the whole occupying 8 measures of music; then the music ceases, and the
floor-managers arrange the sets in two or more lines, after which the march and music begin.

Ladies March to the Right, Gentlemen to the Left . The top lady (the lady who is on the extreme
end of the line, and nearest the head of the room) turns to the right, and at the same time, the
top gentleman turns to the left; all the ladies following top lady; all the gentlemen following
top gentleman; they march to the lower end (or foot) of the room, where partners meet and march
in couples (arm-in-arm) to the head of the room. This may be repeated or continue marching in
couples in a zig-zag manner according to the fancy of the leader, or floor-manager, always
finishing by marching in a straight line from the foot to the head of the room, and stop; the couples
now separate and form in lines, facing each other; the ladies on one side, the gentlemen opposite.

Top Couple Balance , (commencing with the music) or forward and back; forward again, and turn
partner with both hands; chasse or valse down the middle, stopping below the last couple; as
soon as the top couple commences to chasse down the middle, the next couple repeat the figure,
and so on, for the rest. As each couple leaves the head of the room, the others move up; so that
every couple start from the same place, and take their position below the previous couple.
When the top couple arrive again at the head of the room; 

All Forward and Back ; forward again and turn partners to places (in Quadrille form), as occupied
previous to commencing the march; after which one or two figures may be danced. MINUET. 

Measures. 

First and Second Couples Forward And Back . 4 

Dos-A-Dos 4 

Sides Four and Exchange Partners 8 

Ladies' Chain All : same as ladies' chain in 1st No. Quadrille 

8 

All Forward In Two Lines And Back 4 

Turn Partners To Places 4 

Repeat all the above, after which side couples lead the figure. WALTZ QUADIRLLES, 

now seldom danced, were at one time very popular as well as pretty. Figures from some of the standard
Quadrilles were selected and danced to Waltz music. Each figure terminating by a Waltz round
by all the couples. QUADRILLE-NINE-PIN. 

Music in two-four or six-eight time , (very lively.) 

This dance is also known as the Prisoner, Wild Irishman, Miss Tucker, and Old Dan Tucker . It
is danced by four couples, and a gentleman in the centre, who is considered as the nine-pin.

Hands all Round the Nine-pin . 

Nine-Pin Right and Left ; the gentleman in the centre gives his right hand to the first lady,
his left to the next, his right to the next, and his left to the fourth. 

Ladies Hands all Round the Nine-Pin ; all the ladies (without the gentlemen) join hands and
form a circle round the nine-pin, turning to the left. 

All Promenade . 

Gentlemen Hands Round the Nine-Pin ; (here a signal is given by the orchestra, such as a roll
of the drum, a pause in the music, a whistle, or in any other manner, according to the taste of
the leader,) at which sisal the gentlemen all rush. for partners. The gentleman so unfortunate
as not secure a lady becomes in his turn the nine-pin. The music recommence, and the figure is
repeated ad libitum. Finish with Polka all round the room. 

N. B.-The prompter can vary the figure to suit the occasion, and give the signal in any part of
the dance. At the given signal, no gentleman can secure a partner, unless he is on her left. 

This dance is occasionally executed in the following manner: All the company present (each
gentleman with a lady) form one grand circle, with a gentleman in the centre; they all move round
to the left; the gentleman in the centre selects a partner, and as he approaches her the circle
stops moving. The gentleman then turns (with both hands) the lady he has selected, after which
the prompter calls right and left all round, (or grand chain,) which continues until the prompter
calls all promenade to places, which being done, the music and figure stop; the gentleman left
without a partner takes his place in the centre, and the figure is repeated. 

The dance can be performed with two gentlemen in the centre instead of one. DESCRIPTION OF THE
FIGURES OF THE QUADRILLE MAZOURKA, 1844, 

As Arranged by Cellarius, at Paris, in INTRODUCTION. 

Wait eight measures (take hands round,) 

Grand round to the left (eight measures,) to the right (eight measures.) 

All the couples make a tour sur place . 

(Holubiec,) forward (eight measures) and backward (eight measures.) Figure A. 

Right and left (Chime Anglaise,) top and bottom couples (eight measures.) Top and bottom couples
advance, then the two ladies cross over, the two gentlemen give each other their left arms crossed
at the elbow, then make a half-turn very rapidly, change ladies, and make a tour sur place forward
(eight measures.) Repeat this figure to return to places (sixteen measures.) Side couples
repeat the same figure (thirty-two measures.) Figure B. 

Wait eight measures. Top and bottom couples forward and back (eight measures.) 

They cross by their right to change places (four measures,) and make the tour sur place forward
(four measures.) They repeat this figure to return to places (sixteen measures.) The same
figure for the side couples (thirty-two measures.) Figure C. 

Wait eight measures. Top and opposite ladies cross over (four measures,) 

They-cross, giving the left hand, and stop in centre of Quadrille; the gentlemen then give
the right hand to the right hand of their partners, and place the left around their partner's
waist (four measures.) In this position, and without the ladies quitting each others' left
hands, they make a half-turn to change places (four measures.) 

The gentlemen, without quitting the waists of their ladies, make a tour sur place (four measures.)
The two couples then cross right hands (Moulinet,) once round (six measures.) Retire by taking
partners' hands (two measures.) 

Same figure to places, (omitting the hands across,) (Moulinet the second time,) (sixteen
measures.) 

Side couples repeat the same figure (forty measures.) Figure D. 

Wait eight measures. The first couple promenade round the centre of the set (eight measures.)

Petit tour forward and backward (a reverse,) (eight measures.) 

The Graces. The gentleman again sets out in advance, makes his partner pass to the left, and
without quitting her hand, takes with his other hand from the opposite couple the lady, who
takes behind the back of the gentleman the hand of the first lady (four measures.) Advance and
retire by three in this position (four measures.) The gentleman stoops and passes under the
ladies' arms (four measures.) One round in this position to the left, at the end of which the
opposite lady so taken is returned to her partner (four measures,) who with her performs a tour
sur place . The first couple then promenade to places, and execute a tour sur place (eight measures.)

Same figure for the three other couples (one hundred and twenty measures.) Figure E. 

Wait eight measures. Half right and left; the gentlemen then, without quitting the left hand
of their ladies, pass their right arm under the left arm of their ladies. to take them by the waist
(four measures;) in this position they make the tour sur place backward (four measures,) repeat
the same to places (eight measures.) Hands four (in a circle) half round to the left (four measures.)
A petit tour (four measures,) the same to places (eight measures.) Right and left (eight measures.)

Tour sur place forward (four measures,) and backward (four measures.) 

Same figure for side couples (forty-eight measures.) Finale. 

Grand round all to the left and to the right (sixteen measures,) and a Grande Chaine plate (right
and left all eight round;) when the partners meet in places, make the tour sur place , or, Mazourka
turn in place at pleasure (sixteen measures.) LANCIERS QUADRILLE. No. 1. 

First And Second Couples Forward and Back , 4 

Forward Again Turn (each the opposite person with both 

4 

Cross Over ( Les Tirois ,) first couple passing between the second 

4 

Return to Places , second couple passing between first, 4 

All Balance to Corners (all the ladies balance to gentlemen on 

8 

Repeated by head couples. Second time in "Cross Over," second couple first passes between.

Counterpart for the others . No. 2. 

First and Second Couples Forward and Back , 4 

Forward Again, and Leave Ladies in the Centre (facing partners,) 4 

Chasse to Right and Left , 4 

Turn to Places (giving both hands,) 4 

All Forward and Back in Two Lines , 4 

Forward Again and Turn Partners to Places , 4 

Repeated by head couples; ditto sides. 

In forming two lines, first and second times, side couples separate from their partners, and
join the head couples, making two lines of four in a line; third and fourth times, the head couples
separate and join side couples. NO. 3. 

First and Second Couples Forward and Back , 4 

Forward Again And Salute (Courtesy and bow), and back to places, 4 

Ladies Chain , 8 

Repeated by head couples; ditto sides. NO. 4. 

First and Second Couples Lead to the Right and Salute , 4 

Lead To The Left And Salute , 4 

Return To Places And Salute Partners , 4 

Right And Left, first, and second couples , 4 

Repeated by head couples; ditto side. No. 5. 

Measures. 

Begin with the music. 

Grand Chain (right and left all round), 16 

First Couple Promenade Round inside and face outward (in place); 

8 

All Chasse Croise, and Back , 8 

Promenade , ladies to the right, gentlemen to the left, meeting at 

8 

All Forward and Back , 4 

Forward Again , and turn partners to places, 4 

The entire number is executed four times; the other couples in their order lead the figure.
After the fourth time, finish with a Grand Chain, to which is frequently added Polka round the
room ad lib . 

The Lanciers Quadrille originated in England, was danced in America in 1825, and introduced
in France by Laborde in 1836. I have now in my possession a copy of the music published February,
1827, by E. Riley, 297 Broadway, New York. CALEDONIAN QUADRILLE. No. 1. 

First and Second Couples Cross Right Hands and Go Half Round , 4 

Left Hands Back , and return to places, 4 

Balance to Partners and Turn with both hands, moving to the left, 8 

Ladies Chain , 8 

Promenade Four , 8 

Same for side couples. No. 2. 

First Gentleman Forward And Back Twice , 8 

All Balance to Corners , and turn with both hands, each lady 

8 

All Promenade with New Partners , 8 

This number is to be executed four times. No. 3. 

First And Second Couples Forward And Back Twice , 8 

Cross Over , first couple passing between second couple, 4 

Return to Places , second couple passing between, 4 

Balance to Corners , and turn to places, 8 

All Join Hands in a Circle Forward (to the centre), and back twice, 8 

Repeated by head couples; ditto for sides. No. 4. 

Foward Four [first and second couples], 4 

Turn Partners to Places , 4 

Four Ladies Change Places to the Right (each lady passing into 

4 

Gentlemen Change Places to the Left , 4 

Ladies Again Change Places to the Right , 4 

Gentlemen Again to the Left , 4 

All Promenade to Places and Turn Partners , 8 

Repeated by head couples; same for sides. No. 5. 

First Couple Promenade Round Inside (and face the centre), 8 

Four Ladies Forward and Back , 4 

Four Gentlemen Forward and Back , 4 

All Balance to Partners , 4 

Turn Partners , 4 

Right and Left (Grand Chain), half round, 8 

Promenade to Places , and turn partners, 8 

All ChassE CroisE , and back to places, 8 

After fourth time, finish with Gallopads round the room ad lib . PRINCE IMPERIAL QUADRILLE.
No. 1.- La Chaine continue das Dames . 

First and Second Couples lead to the right and salute, 4 

Take Lady from the Side , and go backward to opposite places 

4 

Ladies Right and Left Around (the four ladies without the gentlemen], 

partners, [he four ladies having their backs to centre of set, 8 

All Chasse Croise to right and left, 4 

Turn Partners 4 

The first and second couples repeat the above, which bring all to their own places. Side couples
repeat. No. 2.- La Chaiine Croise . 

First Gentleman and Second Lady forward and turn with both hands, finishing in centre with
lady on the right, both facing first lady, who is standing alone 4 

Cross Over and Turn With Left Hand (first lady passing between the first gentleman and second
lady, and with left hand turns the second gentleman, at the same time the first gentleman, with
left hand, turns second lady to place of first couple) 4 

Forward Four and Back 4 

Ladies Half Chain 4 

Balance to Corners 4 

Turn Partners to Places 4 

Repeated by the others in their order. No. 3.- La Corbeille . 

First Couple Forward and Leave Lady in the Centre (facing the gentleman, who retires alone
to his place) 4 

Second Couple Leave Lady in the Centre 4 

Third Couple Leave Lady in the Centre 4 

Fourth Couple Leave Lady in the Centre 4 

Four Ladies Hands Round (ladies being back to back, or back to centre, take hands and move slowly
around) 4 

Four Gentleman Forward and take hands of ladies (giving right hand to partner and left hand
to next lady, forming a grand ring, gentlemen facing inward and ladies outward) 4 

Expand Circle 2 

Close Circle 2 

Turn Partners to Places (gentlemen drop the hands of ladies on the left and turn partners to
places) 4 

Counterpart for the others in their order-four times. No. 4- La Double Pastourelle . 

First and Second Couples Forward and Back 4 

Lead to the Right, Leave First Lady and Second Gentleman : lad on the left of third gentleman,
and second gentlemen on right of fourth lady) (first gentleman and second lady retire to places)
4 

Forward Six and Rack Twice 8 

First Gentleman and Second Lady Forward And Back 4 

Forward Again, Salute, and Go To Partners 4 

Hands Four Half Round (on each side) and change places: third and fourth couples retreat to
places of first and second couples respectively, 4 

Half Right and Left To Places 4 

Repeated by the others in their order. No. 5.- Les Tourbillons . 

Ladies To The Right (they turn each gentleman with the right hand) 16 

First and Second Couples Forward And Back 4 

Forward Again , leave Ladies in the centre facing partners 4 

Chasse to the Right and Left , turn partners to places 8 

After the Tourbillon (ladies to the right) has been executed a fifth time, all eight forward
and leave ladies in the centre facing partners; all salute partners. 

Instead of "all eight forward, &c.," Galop all round the room is generally substituted. LES
VARIEETEES PARISIENNES QUADRILLES. 

Danced by four couples, but they are numbered differently from the usual way. 

The Leading Couple Being First Couple . 

Couple to the Right of First, is Second Couple . 

Opposite to First, is Third Couple . 

Couple to the Left of First, is Fourth Couple . 

Each figure is danced four times . No. 1. L' INVITATION- Valse . 

First Couple (or first and opposite couples) Advance with four walking steps to the couple
on their right and salute, (2 measures) retire to places, (2 measures). 4 

Lead To The Couple On The Left , salute, and return to places. 4 

Right and Left with Opposite Couple . 8 

All Valse Around 16 

Repeated by the other couples in their order. No. 2. L' Etoile .- Polka . 

First Gentleman and Opposite Lady (or first and opposite couples) 

, terminating by facing partners. 4 

Chassee to the Right , (2 measures), turn half round with left hand, 

4 

First Gentleman and Opposite Lady , or the same couples, repeat 

8 

The Four Couples Turn with two polka steps to the place of the 

2 

Balance , (towards the centre and back), with one polka step each 

2 

Polka to the next place on the right, and balance as before, continuing 

12 

Repeated by the others in their order . No. 3. Le Prisonnier .- Valse . 

The First Gentleman leads successively each lady to the centre, 

8 

Ladies Join Hands , and turn to the left. 4 

Gentlemen Give Right Hands to Partners , and conduct them to 

4 

All Form a Square Dos-A-Dos , in the centre, with four waltzing steps 

4 

Valse (taking valse position) to places. 4 

All Dos-A-Dos To Centre , and valse to places again. 8 

Repeated by the others in their order . No. 4. L'Alternante - Polka Mazourka or Polka Redowa

First Couple Turn with Both Hands to the Centre . 4 

Moulinet , (giving right hands,) three on each side, (the first en moulinet by crossing right
hands with the couple on the left, while his lady performs the same movement with the couple
on the right,) 4 

First Gentleman and Lady Forward To The Centre , 2 

Chasse To The Right (diagonally,) 2 

Turn with Left Hand to Place 4 

First and Opposite Couples cross Over With Three Mazourka steps, and turn into opposite places
with one Polka step, (Polka Redowa may he substituted for the Mazourka,) 4 

The Two Other Couples perform the same movement, 4, 

First And Opposite Couples repeat to regain their places, 4 

Same for the two Other Couples 4 

The entire figure repeated by the others in their order . No. 5. La Rosace .- Valse . 

First Gentleman and Opposite Lady (or first and opposite couples) Forward and Back , 4 

Salute And Form Two Lines (first and opposite couples salute partners, then separate from
each other, go backward, and join side couples, forming two lines of four in each line,) 4 

All Forward and Back 4 

Ladies Cross Right Hands in the centre, left hand to partners, 4 

Balance (commencing with left foot,) 2 

Gentlemen Advance with two waltzing steps forward to the next lady, and give the left hand,
the ladies still retaining their position in the centre, 2 

Balance and Advanced to Each Lady in Succession , until all have regained their original places,
12 

All Valse Around 16 

Repeated b g the others in their order . 

After the fourth valse around All Salute Partners . SPANISH DANCE, Or, Saraband Of Spain . 

Slow waltz music. Can be danced by any number of couples, in a circle, or in lines of couples,
every two couples one facing the other, All begin at the same time, (eight measures of music
introduction.) The gentleman with his right hand takes his lady's left. 

All Forward .-Each couple forward towards their vis-a-vis , and back (two measures), with
the following step: one step forward with the right foot, in the fourth position; bring up the
left foot with the heel raised from the floor, to the third position behind; pause, (one measure);
step back with the left foot, fourth position; bring right to third position, front; pause,
(one measure); as the couples advance towards each other, the hands, which are joined, should
be slightly moved forward, and then backward, Forward, and change partners with both hands,
turning a quarter round, (two measures.) 

Repeat to regain partners, (four measures.) 

Repeat the whole, ending by facing as at first, (eight measures.) 

Measures 

Cross Right Hands , ( En Moulinet .) The two ladies give right hands 

4 

Cross Left Hands and return 4 

All Valse (or promenade around) to next couple 8 

Repeat the figure, around the circle, or through the lines until the music ceases. THE FIGURE
CALLED THE GRACES. 

1st. A gentleman with his partner present right hands; at the same time the gentleman gives
his left to the lady, who dances on his left; and the two ladies present each her hand to the other,
behind the gentleman, at the waist; all three then advance, and retire twice, during eight
measures. 

2nd. The gentleman retires behind, stooping to pass under the ladies' arms, who are holding
hands; the gentleman then immediately rising, causes the two ladies to pass and turn under
each of his arms, at the same time bowing, while the two ladies courtesy upon the point d'orgue,
or at the pause, during four measures. 

3rd. A gentlemen and two ladies dance hands three round and back again, returning to the same
position from which they began: this requires four measures. 

This figure is derived from the Allemand of three. SIR ROGER DE COVERLY; 

Known in America as the VIRGINIA REEL. 

This dance was composed expressly for a finishing country dance about one hundred and fifty
years ago, and derived its name from Addison's Sir Roger De Coverly, so frequently mentioned
by him in his popular essays in the Spectator (London). 

Two lines are formed, the one of gentlemen, the other of ladies, each gentleman opposite to
and facing his partner, thus: 

The dance is commenced by the top gentleman and bottom lady, both of whom forward toward each
other and back, 

Then the bottom gentleman and top lady do the same. 

The top gentleman and bottom lady forward, give right hands, both turn and back to places. 

The top lady and bottom gentleman do the same. 

The top gentleman and bottom lady do the same with left hand. 

The top lady and bottom gentleman do the same. 

The top gentleman and bottom lady do the same with both bands. 

The top lady and bottom gentleman do the same. 

The top gentleman and bottom lady dos-a-dos and back to places. 

The top lady and bottom gentleman do the same. 

The top gentleman gives his right hand to his partner, turns, gives his left hand to next lady,
turns, gives his right hand to his partner turns, and in the same manner through the entire line.

His partner does the same, turning the gentlemen instead of the ladies. 

When the top gentleman and lady reach the end of the line, their galop between the lines to their
original places; then the gentleman turns to the left, followed By the other gentlemen, and
the lady to the right, followed by the other ladies, and all march until they arrive at the extreme
end, when the gentlemen join their partners and march to their places; then the top gentleman
and his lady galop between the lines and take their places at the bottom; then the second gentleman
and first lady go through ~he same, and so on until all have led the figure. 

The head or top of this, as well as all other English country dances, is to the ladies' right and
gentlemen's left, when facing each other. 

This dance can be performed by any number of persons. THE POLONAISE. 

This is the most stately of dances (or rather a grand promenade). In all the aristocratic courts,
and, above all, at those of Northern Europe, from Vienna to St Petersburg, this is the prelude
to the balls of the highest sphere of society. From its dignified measure none may abstain -from
the king to the ensign-from the youngest of belles to the oldest of the ancien regime of beaux
. Then is the line formed for such a review as no field of battle can present. 

The march at court is preceded by the chamberlains; in other places by the masters of ceremonies.
THE VALSE. 

We find in Chapman's "Alphonsus, Emperor of Germany," the following lines: "We Germans have
no changes in our dances, an almain and an uppspring, that is all." The uppspring was the origin
of the modern valse, which was for a long time put down by Papal power. Although long danced in
Bavaria, under the name of "Landler," or "Hospur," it did not become fashionable until 1787,
when Vincent Martin's opera, "The Cosarara," drove from the Viennese stage Mozart's "Figaro."
Four characters in this opera, dressed in black and pink, danced the first Valse, or "Langaus,"
as it was then called, on the stage Thence it migrated to the ball-rooms, and ere long all Germany
went wild about the Valse. Weber, then in his prime, wrote his "Invitation to the Dance," and
in a short time the whole fashionable society of Germany was spinning around like testotums.
Presently the waltz made its way to England, and Lord Byron tried to write it out of favor, in
which he did not succeed. The German Valse was much improved when the elder Strauss took it under
his protection, and wrote the most danceable tunes for it. THE HUNGARIAN VALSE. 

The national valse of the Hungarians performed on festive occasions with equal zest by the
magnates and the peasants. It is characterized by simplicity and elegance, and has always
been received with pleasure when presented in ballets. Rossini caused its introduction in
his opera of "William Tell." THE VALSE A TROIS TEMPS, 

The plain waltz, is now out of fashion, and seldom practised, the Valse Denx Temps being more
generally adopted. 

Step of the Valse A Trois Temps for the gentleman. Three steps backward, and three forward,
viz: 

First , slide the left foot diagonally backward and around to the left, training a quarter.

Second , slide the right foot back past the left, turning a quarter. 

Third , slide the left foot backward past the right; this makes a half turn. He then begins with
the right foot, three steps forward in turning the other half. THE POLKA. 

In A. D. 1830, a young peasant girl, named Anna Slezak, of Elbetainitz, in Bohemia, who is still
living in Konotopy, a maiden sixty years of age, performed s dance of her invention one summer
afternoon for her own special delectation, and sang a suitable tune to it. The sohoolmaster,
Joseph Neruda. who happened to be present, wrote down the melody, and the new dance was in the
following week performed by the students and village girls in Elbeteinitz, About 1835, it
made its entrance into Prague, and then obtained the name of "Polka," from the Bohemian word
pulka , or half, from the half step prevalent in it. About four years later, it was carried to
Vienna by a music band from Prague, under the leadership of Pergier. In 1840, Raal, a dancing-master
of Prague, danced it with great success at the Odeon in Paris, whence it found its way with extraordinary
rapidity to every dancing saloon. The first Polka that appeared in the music trade was composed
by Franz Hilman, teacher of Kopidlino; and eventually Labitzky, Liebmann, Proehaska, Swoboda,
and Titl produced some excellent polkas. The "Polka Tremblante," Schottische, or Schottische
Polka, is also a national Bohemian dance, and was brought out in Paris by Cellarius in 1844;
I introduced it at my academy in New York in 1846. 

The Polka was introduced into the ball-rooms of France and England in 1843, and led to the inauguration
of the present style of round dancing. It had been in vogue but a short time on the other side of
the Atlantic, when a musical and theatrical gentleman, named De Thier, forwarded the music,
and a description of the dance, in manuscript, to the proprietors of the New York Daily Aurora
, of which paper he was a correspondent. 

Thaddeus W. Meighan, a gentleman connected with the editorial department of that paper, immediately
presented me with the music, and a description of the dance. At that time I was ballet-master
at the National Theatre, Chatham Street, New York, and it was first danced in America by Miss
Mary Ann Gannon and myself at that theatre on the 10th of May, 1844. 

The leader of the orchestra was Alexander Jamieson; the repetiteur was Charles Mather, who
played the music while the dance was rehearsed at the private residence of the lady. The dance
met with great success. 

On the first introduction of the Polka, a variety of figures and steps were executed; one of
the principal steps was very similar to an old Scoten step often danced in the Highland Fling.
Of all these steps the Scotch alone is now retained, and this has been considerably modified
and altered to suit the present style. 

A dance very similar to the Polka is said is have been practised by the ancient Scythians, and
immemorially known in the northern countries of Europe, namely, Russia, Servia, Bohemia,
Germany, and Hungary. Among military tribes it is danced with spurs on the heels, and hatchets
in the right hands of the men, in a sort of disorderly mele, resembling a charge in battle, while
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. THE POLKA VALSE. 

Music in two-four time . 

The position of the gentleman and lady in dancing the Polka, and all other round dances, is the
same, viz.: The gentleman should place himself facing the lady; he supports her with his right
aim placed around her waist, the lingers of his hand close together. 

The right arm, that holds the lady, alone requires a certain degree of vigor. 

The left hand, which holds the lady's right, should be half extended from the body, the arm neither
too stiff nor too much bent, the wrist no higher nor lower than the elbow. The lady's right arm
should be straight, her left hand gracefully resting on the gentleman's right shoulder. She
will leave her head in its natural position, and avoid raising it, lowering it, or turning it
to the right or left. She should let herself be guided entirely by the gentleman, who alone imparts
to her the direction of the dance, conducts her to this or that part of the room, and decides the
repose and the re-commencement of the dance. A lady is reputed so much the better dancer as she
obeys with Confidence the evolutions directed by the gentleman who conducts her. THE POLKA
STEP. 

This consists of one hop, three slides, and one rest. 

Forward stop for the gentleman. Let the weight of the body rent on the right foot, hop slightly
on the right foot, at the same time slide the left foot forward (count one), slide the right foot
forward (count two), slide the left foot forward again (count three), rest one quaver (count
four). Repeat all the above, commencing the slide with the right foot. 

( Backward step ). The weight of the body resting on the right foot, a slight hop on the right foot,
at the same time slide the left foot backward to fourth position behind, the knees not less than
twelve inches apart; the leg that is behind should be straight, the leg that is in front should
be slightly bent (count one), bring right foot (sliding) to third position front, the feet
nearly on a straight line with each other (count two), slide the left foot backward again (count
three), rest one quaver (count four). Repeat, commencing with the right foot. During the entire
time of going backward, the weight of the body should be on that foot which is forward. 

( Turning Step ).-Pivot on the front part of the right foot with a slight spring, turning a quarter
round, and slide the left foot sideways (count one), pivot on the toes of the left foot, turning
a quarter round, at the same time bring the right foot to first position (count two), slide the
left foot backward to fourth position behind (count three), rest one quaver (count four).
Pivot on the toes of the left foot with a slight spring, turning a quarter round, at the same time
slide the right foot sideways (count one), pivot on the toes of the right foot, turning a quarter
round, at the same time bring the left foot to first position (count two), slide the right foot
forward to fourth position (count three), rest one quaver (count four). 

N. B.-At first, the pupil must make the hop in a very distinct manner, by which means he will be
the better able to balance the body, afterwards reducing the hop so as to be scarcely discernable.

While revolving, the dancer should incline the body slightly forward. 

The gentleman begins with the left foot, the lady with the right-the same for all round dances.
He should cause his lady to turn to the right or left, to retire from or advance towards him; he
should even, in certain cases, and when the crowd leaves to each couple scarcely space to move,
faire pivoter his lady, so as to form a space for himself. 

The dancers do not experience the same pleasure in performing an uniform circle round a room
as when they move with that agreeable variety, which is so peculiar to the present style of round
dances, moderating or quickening their pace at pleasure, leading their lady as it pleases
them, sometimes obliging her to retrogade, sometimes retiring themselves, turning to the
right or to the left, and varying their changes every moment. 

On the first introduction of the Polka, the gentleman led out his lady, holding her right hand,
as in the old Hungarian dance, then turned towards her and turned from her alternately. With
the ordinary step was mixed that called the Bohemien , or double polka, which they executed
with the left leg in the second position, the heel to the ground, the toes in the air, exactly
as in a pas de polichinelle . 

The Valse a l'envers (the reverse) is the ordinary step danced in the opposite direction (turning
to the left). The Valse a l'envers is not only an agreeable change, but becomes even necessary
in some cases, where another couple, who suddenly present themselves, must be avoided. It
should, however, be employed with a certain degree of caution. 

A valser who is not quite sure of his step should not attempt prematurely the valse a l'envers
, as he would risk contracting an awkward habit. 

I do not advise the most consummate valser even to make a constant habit of the valse a l'envers
. I have seen good valsers loss many of their advantages in attaching themselves too obstinately
to the valse a l'envers . 

To run against, or to be run against in a ball, is, if not a grave fault, at least one of those unfortunate
accidents which should be carefully avoided. THE STEP OF THE POLKA REDOWA. 

( Music in three-four time .) 

This step is the same as that of the Polka, with the exception that you omit the pause, as in this
dance you count three both for the music and dance. THE GALOP, (GALLOPADE.) 

( Music in two-four time .) 

This dance is now very fashionable, and the most popular of all the valses; the stop can be applied
to any of the round dances. 

The step is a succession of glisses, or sliding steps; the same as the Polka, with the exception
that the hop and pause axe omitted, and the step is danced to two beats in a measure instead of
four. 

The Galop was introduced into France, from Germany, in A. D. 1800. STEP OF THE SCHOTTISCH. 

Music in four-four time . 

First part. The gentleman commences with the left foot. Slide the left foot sideways, bring
the light foot close to the left in first position, slide the left sideways again, hop on the
left foot, at the same time bring the right foot close to the left (counting four.) Repeat the
same to the right (counting four,) in all eight. 

Second part. Leap or step from the right to the left foot (counting one,) hop on the left foot
(two,) repeat to the right (three-four,) again to the left (five-six,) again to the right (seven-eight,)
slightly turning with each movement. 

Counterpart for the lady. The direction can be varied as in the other dances. 

The Galop is sometimes introduced instead of the first or second parts. REDOWA VALSE. 

Music in three-four time . 

The Redova or Redowa Valse was introduced into Paris in the year 1845. The step is composed of
the Pus de Basque. On its first introduction, it was danced in a very slow manner; at the present
time it is very rapid in its movements, and is danced with the Galop step, similar to the Deux
Temps. It is very popular. 

Many persons dance it with the second part of the Schottisch, which is not the proper step. 

The Redowa Valse is said to have originated from the Reydowak, a native dance of the Bohemians.
There is a Valse part called the Reydowtzka. VALSE A DEUX TEMPS. 

This valse made its first appearance at the court of Vienna, and was danced in Paris at the Opera
balls. In she carnival of 1832, it was danced by the corps de ballet , when it met with a very indifferent
reception. Six months after this, at Baden Baden, it was danced by all the fashionable company
there assembled, and was very favorably received. At the close of the season, when the members
of the assemblies, which consisted of the elite of Europe, returned to their respective capitals,
La Valse a Deux Temps was introduced at the soirees in Berlin, St. Petersburg and London. 

The Valse a Deux Temps is very popular, and does not appear likely for some time to loss its favor.

Cellarius very justly observes, that the "Valse a Deux Temps, which has so often been wrongfully
accused of being contrary to the laws of measure, might certainly have better been called the
Valse a Deux Pas . 

"But regretting, as I do, that the word pas was not originally adopted instead of temps , I have
thought necessary to adhere to the phrase, not daring to take upon myself a lingual reform,
but confining myself simply to wishing that this inapt expression had been supplied by one
more appropriate. 

"The music of the Valse a Deux Temps is rythmed on the same measure as that of the trots temps,
except that the orchestra should slightly quicken the movement, and accentuate it with especial
care. 

"The step is very simple-indeed, is the same as that of the Galop; it must be carefully glided,
avoiding leaps and jerks. 

"The lady should avoid leaning heavily on the shoulder or arm of her partner. The greatest defect
with most ladies, who are not much accustomed to the Valse a Deux Temps, is to throw themselves
back, to turn away the head, and to warp the figure, which gives a heaviness to their appearance,
and is out of character with the spirit of the valse. The German ladies do not hesitate to bend
slightly forward to their partners, which greatly facilitates the execution of the various
movements they may be required to make. 

"During the many years that I have devotes myself to the instruction of dancing, scarcely a
day has passed in which I have not had numerous couples of valsers under my eyes. Nearly every
new pupil has suggested to me by his defects, or by his habits, by his progress, or by his deficiency,
some hint useful to the theory or to the practice of the art of waltzing; that art so simple in
appearance, but which becomes so complicated by its gradations and details for those who seek
proficiency. The management of his partner is not the most easy, nor is it the least delicate
part of the valser's task. 

"If a gentleman runs against other couples-if he cannot keep clear of the most inexperienced,
even from couples a trois temps , who are to valsers a deux so great an impediment, he cannot be
considered as a good valser. This point, or rather this manoeuvre of the valse, can only be acquired
by careful practice. 

"The valser should also take care never to relinquish his lady until he feels that she has entirely
recovered herself. The effect of the rotary motion, even after stopping, is sometimes so great
that he would risk his, partner losing her equilibrium by detaching himself from her too suddenly.

"A lady who valses badly not only loses much of her charms, but she constrains or paralyses even
her partner, who, whatever may be his skill, cannot make up for her defects. Being compelled
to direct an inexperienced valser, he is reduced to the painful extremity of using an amount
of force which infallibly destroys all harmony and grace; he no longer valses, but supports,
bears, or drags his partner along with him. 

"A master only can, by virtue of his delegated authority, point out to a lady the steps and attitudes
she should endeavor to acquire. Indeed, a gentleman may correct his faults; he may hear truth
from the lips of his friends, but a lady is more accustomed to adulation than to criticism. A
master only will impose upon himself the necessary duty of pointing out those indispensable
principles which are the fruits of observation and experience." MAZOURKA. 

This dance originated in Poland. It was brought by the Russian soldiery from Poland into Russia,
and was first introduced in England by the Duke of Devonshire; from thence it found its way to
France. The Russians rather walk than dance it with a military and dignified air. Strictly,
but three steps pertain to its entire execution. The first, a terre-a-terre , or ground step,
of a rebounding character, onsisting of three hops on each foot alternately, constitutes
the chief Mazourka step. The original Polish dance was the Holubiec, or Holupca, a name taken
from the metal heels commonly worn by the Polanders, and which they strike together while dancing
to mark the time. The time is 3-4 or 3-8, but slower than the valse. The Mazourka has been remodelled
for the ball room of the present day. POLKA MAZOURKA. 

Music in three-eight time . 

This is a round dance, and a combination of the Polka and Mazourka. 

The gentleman rests on his right foot, then slides the left foot sideways to the left, (count
one,) then bring the right foot up to the Peel of the left foot, at the same time placing left foot
in the second position, (count two,) then spring on the light foot and strike the heels together,
(count three-one bar,) then turn half round with the Polka step without hopping, (one bar,)
recommence with the right foot, which completes the fall turn. 

The Polka Redowa step is frequently substituted for the Mazourka part. STEP OF THE VARSOVIENNE.

Music in three-four time . 

First part. The gentleman commences with one Polka Redowa step to the Ieft(one-two-three),
point right foot in second position (four), rest (five-six); repeat, commencing with right
foot, again to the left, again to the right (in all eight measures). 

Second part. Take two steps of the Mazourka (without turning), count six, turn with one Polka
Redowa step (one-two-three), point right foot in second position (four), rest (five-six);
recommence with right foot. Repeat all of the second part. Polka Redowa is sometimes substituted.

The whole dance occupies sixteen measures of music (eight for the first part, and eight for
the second). 

The Varsovienne was originated by an Italian, in 1850, who called it La Versuvianna in honor
of Mount Vesuvius. LA COSKA. 

Music in three-four time . 

This dance I composed and introduced in New York in 1850. The steps are of the Mazourka and Polka
Redowa. 

First. The gentleman commences with the left foot, take three Mazourka steps sideways, and
then one Polka Redowa step in taming half round (four measures), and repeat the same, commencing
with the right foot (four measures). 

Second. Take eight Polka Redowa steps in turning to the right and left, forward or backward
(eight measures); in all sixteen measures. 

The Mazourka step for this dance is to be executed in the following manner; Slide the left foot
sideways to the left (count one), then bring the right foot to the heel of the left, first position,
at the same time placing the left foot in second position (count two), then bring the right foot
up to the left foot, first position, (count three). STEP OF THE DANISH. 

Music in two-four time . 

Slide the left foot sideways, then draw the right foot to first position (count one); perform
this movement four times, then slide in the contrary direction eight Galop steps. Repeat all
the above (sixteen measures,) then dance the Galop, turning (sixteen measures); recommence
with the first part. LA ESMERALDA. 

Music in two-four time . 

The gentleman commences with the left foot, making two Galop steps sideways, then turning
with three Galop or Polka steps; commence with right foot. VALSE A CINQ TEMPS. 

(THE FIVE STEP VALSE.) 

Composed by Perrot, in London, 1815, and dedicated to Cellarius. 

The step is not very complicated; the principal difficulty consists in the measure, which
is a little out of date, but of which an example is to be found in the allegro of Boieldieu's famous
air, "Viens, gentille dame." 

Take one Mazourka step to the left (one-two-three), leap or step on the left foot (four), then
bring the right foot in front of the left, third position (five); recommence with the right
foot. 

This dance is now out of fashion. STEP OF THE CINQ TEMPS, 

As originally described by Cellarius . 

For the Gentleman . 

First time. He should have his right foot in front, make a jete with the left foot, passing before
the lady, as in the Valse a Trois Temps. 

Second time. Place the right foot in the third position behind. 

Third time. Join the left foot behind the right. 

Fourth time. Bring the right foot forward in the fourth position. 

Fifth time. A little glissade behind, and on the side. 

He must always recommence with the left foot. 

In the first three times he must make a half turn, as in the Valse Trois Temps, scarcely turn at
all in the fourth, and make the second half turn in the fifth upon the little glissade. 

The Step of the Lady . 

First time. She should have her left foot in front, make a jete upon the right foot, lifting the
left foot behind. 

Second time. Coupe upon the left foot, lifting the rightfoot before to the fourth position.

Third time. Jete upon the right foot, lifting the left behind. 

Fourth time. Jete upon the left foot, lifting the right behind. 

Fifth time, Little glissade behind with the light foot. 

This Valse is susceptible of as many variations as the others, and admits also of the l'envers
and l'endroit. VALSE LES PATINEURS, (THE SKATERS.) 

This I composed and danced at my Academy, in New York, in 1850. It became very popular, and was
introduced with great success on the Central Park ponds during the skating seasons. STEP OF
THE VALSE LES PATINEURS, (THE SKATERS.) 

( Music in three-four time .) 

The gentleman's right arm around the lady's waist, both facing the same direction, (front,)
the lady's right arm and the gentleman's left arm by their sides. 

For the gentleman-slide left foot forward, right foot behind, fourth position, foot slightly
raised from the floor; a slight spring on the left foot, slide right foot forward, left foot
behind. Repeat the above (four measures.) 

Turn in valse position, with the second part of the schottisch, or the valse step (four measures.)
VALSE L'AMERICAINE. 

( Music in two-four time .) 

Composed in 1866 by the Societe Academique des Professeurs de danse de Paris. 

Theorie . 

The position for this dance is the same as for all other round dances; it is executed in every
way-turning to the light, left, (a l'envers,) forward or backward. 

The entire dance is executed in eight measures. 

The steps for the gentleman, commencing with his left foot. 

First Part - 

1. Glisse et chassee du pied gauche. 

2. Glisse et chasse du pied droit. 

3. Glisse et chasse du pied gauche. 

4. 

Second Part- 

5. 

6. 

7. . 

8. 

N. B.-The first part can be executed with the Galop step. 

The second part with the Pas de Basque-Redowa step. THE COTILLON. 

Commonly known in America as "THE GERMAN." 

This dance was originally introduced in Germany upwards of fifty years ago. It was danced by
eight persons, like the French Quadrille and English Cotillion. The NEW COTILLON, in its present
form, found its way from Germany into russia, and was thence conveyed to, and adopted with improvements
in Paris, where it is at this day the most fashionable dance of society. 

It reached London in A.D. 1842, where it holds a leading position among the best people of that
metropolis. 

In 1831, a gentleman who had just arrived from Germany, where he had practised the Cotillon,
and became very much attached to it, instructed a few friends in several of the figures, and
it was then introduced at a private party in the city of New York, and afterwards practised for
an entire season by the same select few of about twenty couples. It was not generally danced
in this country, however, for several years after. At the present time no fashionable soiree
dansante is considered perfect unless it closes with The Cotillon. In Europe, no grand reception,
public ball, or private soiree, is given without the concluding feature of the programme being
the Cotillon. 

A gentleman (who must be a good dancer, and well versed in the figures of the Cotillon) is selected
by the lady who gives the party to act as leader. The gentleman so selected should receive his
invitation within a sufficient time to enable him to prepare himself, and a few ethers who have
likewise received invitations, in a per,ion of the figures he may decide to select, as well
as instruct them in those which he may invent. 

The first part of the evening is usually spent in conversation and in dancing Quadrilles and
familiar Round Dances. 

After supper, which usually takes place about 11 or 12 o'clock, preparations are made for the
Cotillon. Chairs are placed around the room under the direction of the leader, leaving as much
space in the centre of the room as possible. Each couple should tie their chairs together with
a pocket handkerchief to denote that they are engaged. The leader, with his partner, takes
his place, (and that place represents the head of the Cotillon,) upon which all who desire to
be in the circle should take their seats in couples around the room, each lady to the gentleman's
right. All those not included in the Cotillon retire to the hall, or some corner of the room,
where they can observe what is going on without being in the way. 

It requires at least eight couples for a Cotillon; but the number may be extended to many more.
A good valser, with a practical knowledge of a fair proportion of the leading figures, would
not be at fault in any Cotillon, as all that could be invented would more or less enter into what
has been already introduced. 

No refusal to dance is permitted on the part of either lady or gentleman so long as they are included
in the charmed circle. 

The leader has absolute control of everything, and must be unconditionally obeyed. Even the
master and mistress of the house must not contravene the orders of this dictator. 

He directs the music (which plays during the continuance of a figure) when So commence and when
to cease, and chooses the figures to be danced. He ought necessarily let the simple precede
the more labor ate figures. 

The choice of figures can scarcely be submitted to precise rules, since it depends on particular
circumstances, which vary almost at every assemblage. Certain figures are especially appropriate
to intimate circles, and should only be admitted with reserve into assemblies composed of
strangers. 

The leading gentleman has also to see that all the requisites for a good Cotillon are at hand,
such as flags of different nationalities of various fancy designs, ribbons, boquets of flowers,
rosettes, masks, cards, hand-mirrors, fans, bandages for blindfolding, &c. He is to never
lose sight of the other couples; to warn, by striking his hands, the too tardy, or those who,
by prolonging their valse, occupy the floor too long. On him especially depends more or less
the animation and energy which preside over the whole. 

A Cotillon usually lasts a couple of hours, during which time several figures can be danced.
Cotillons, however, of four or five hours' duration have of late frequently taken place. The
figures can be executed to the music of the Redowa Valse, Polka, Polka Redowa, Deux Temps, Galop
or Mazourka . 

Many of the figures are so contrived that no one knows with whom he or she is going to close them.
One great interest of these figures is that their constant variety enables each gentleman
to dance with almost every lady. There is no rule when any particular figure shall be danced,
nor is it intended that the figures here explained shall be danced in rotation. The selection
is left to the gentleman leader. 

In parties of twenty, thirty, or more couples, it is customary for two or more sets to perform
one figure at the same time; otherwise, the figure would become tedious by its length. After
being seated, the couples are counted off by the leader, commencing with himself and lady as
No. 1. He counts to the right or the left, as he pleases; on many occasions the counting is dispensed
with. When the music commences, the leading couple set out with a Valse, Galop, or any other
of the "Round Dances" already mentioned, and the other couples immediately follow, after
which they all resume the seats which they at first occupied, and what may be called the first
figure is begun. 

Where the term Valse is used, it is to be understood as applying to any of the "Round Dances" designated
by the leader. 

I would particularly recommend attention to the choice of the music. A valse played too slowly
or too rapidly loses its prestige, whatever may be the zeal or talents of the dancers, and is
calculated in some degree to paralyze a valser already experienced, and to distress even valsers
of first-rate ability. One of the most celebrated leaders of the orchestra (Tolbecque) has
said that "a musician. to make people dance, ought always to have a Metronome at the end of his
bow." The object of an orchestra is not to show off itself, but to set off the valsers. In proportion
as the musician allows himself to be carried away by the movement of his own composition, does
he destroy all the harmony of party. 

The valse requires a floor rather slippery, as it permits the valsers to execute their course
with confidence and pleasure. 

It often occurs that a lady or gentleman, unable to obtain a partner, must remain outside the
circle; and ladies and gentlemen who enter the room after the circle is formed, and the figures
commenced, are likewise excluded. In the selection of ladies or gentlemen, which takes place
in the performance of many figures, it is allowable to choose from among those on the outside
of the circle; they must, however, on the conclusion of a figure, retire again to the outside.
FIGURES OF THE COTILLON. 1. LA COURSE (THE COURSE). 

After a Tour de Valse by the first couple, the leader quits his partner, and proceeds to choose
two other ladies from the circle; his partner, on her side, chooses two gentlemen. They place
themselves vis-a-vis to each other at a certain distance, then move forward and dance, each
gentleman with the lady who happens to be before him. This figure is performed by one, two, or
three couples, according to the dimensions of the room. 2. LA COURSE ASSISE (THE COURSE ASSIZE).

There are placed two chairs back to back. The first couple, after a Tour de Valse , the gentleman
and his lady proceed to take one a lady, and the other a gentleman, and cause them to sit upon the
chairs so placed. The gentleman then selects two other ladies, whom he takes by each hand, and
places himself in front of the lady whom he has just seated; his partner does the same with two
gentlemen. At a given signal, each dances with his vis-a-vis; the gentleman leader takes the
first lady he has seated, while his lady partner takes the corresponding gentleman. The two
other ladies chosen in the second place take equally the gentlemen placed before them. This
figure can be executed by two couples by placing four chairs instead of two. 3. LES CHAISES (THE
CHAIRS). 

After a Tour de Valse by the first couple, the gentleman leader causes his partner to sit on a
chair placed in the midst of the room. He subsequently takes two gentleman and presents them
to her, who must select one of the two. He then seats the gentleman refused, and proceeds to take
two ladies, whom he presents to him that he might also choose one. The first gentleman retains
the lady refused, and reconducts her, in dancing, to her place. This figure can be performed
by any number of couples. 4. LE ROND BRISE (THE BROKEN RING). 

After the Valse, the gentleman leaves his partner in the centre of the room, and proceeds to
select two gentlemen, who form with him a round of three about the lady. The gentlemen turn rapidly
to the left. At a given signal, the lady selects a gentleman to dance with, and the two gentlemen
return to their places. When this figure is performed among those who are intimate, the two
gentlemen left out perform a valse round the circle. 5. LES DAMES ASSISES-(THE LADIES SEATED.)

Two chairs are placed back to back in the middle of the room. The two first couples lead off. The
two gentlemen invite the ladies to sit on the chairs, and then proceed to select two other ladies,
with whom they make a tour round the circle: then they resume their respective ladies, to reconduct
them to their places, by dancing. While the two ladies, whom they have just quitted, seat themselves
in their turn, the two next gentlemen execute the same figure, and so on for the remainder. When
all the gentlemen have performed the figure, there remain two ladies seated on the chairs,
whom their partners proceed to liberate. This figure may be performed by three or four couples,
by placing three or four chairs in the middle of the circle. 6. LA CORBEILLE, L' ANNEAU ET LA FLEUR-(THE
BASKET, RING AND FLOWER.) 

The first couple advance, the gentleman holding in his hand a basket containing a ring and a
flower. After dancing one or two rounds he presents the basket to his partner and returns to
his place. The lady gives the basket to one gentleman, the ring to another, and the flower to
a third. The gentleman who receives the basket must dance alone, holding the basket in his hand,
the one who has the ring may choose a lady to dance with him, and the one who has the flower is to
dance with the lady who presented it to him. When they have danced several times round the room,
they resume their seats, and the next couples continue in rotation. 7. LA DOUBLE PASTOURELLE-(THE
DOUBLE PASTOURELLE.) 

The first four couples lead off, who place themselves as for a Quadrille. The first and second
gentlemen, keeping their partners, take by their left hands the other two ladies, who leave
their partners in their place. In this position the two gentlemen, holding a lady by each hand,
advance and retreat during four measures; they then make their ladies cross in front of them,
causing the one on the left to pass under their right arm. The same is repeated by the sides When
the ladies rejoin their respective gentlemen, who have remained in their places, and the figure
has been executed four times, it is finished by a Tour de Valse . 8. LES CERCLES JUMEAUX-(THE
TWIN CIRCLES.) 

Four couples lead off together. Each gentleman selects a gentleman, and each lady selects
a lady. The gentlemen form one circle, and the ladies another on the opposite side. The gentleman
leader places himself in the ladies' circle, and his lady in that of the gentlemen. Both circles
turn round rapidly to the left. At a given signal, the gentleman leader selects a lady to dance
with; his lady does the same with a gentleman. The remaining gentlemen form in one line, and
the ladies in another. The two lines advance towards each other, and each person dances with
their vis-a-vis. This figure can be executed with any number of couples. 9. LE ROND TROMPEUR-(THE
DECEIVING CIRCLE.) 

First couple lead off. The leading gentleman selects three ladies, whom he places with his
own lady at a certain distance from each other, as in the game of four corners. He then selects
four gentlemen, and forms with them a circle, which is inserted in the square formed by the four
ladies. The five gentlemen turn with rapidity, and at a given signal, wheel round and take the
ladies who happen to be behind them to dance with. There necessarily remains a gentleman victim,
who is condemned to return alone to his place. 10. LES PETITS RONDS-THE SMALL ROUNDS-(OR THE
ROUNDS MULTIPLIED.) 

Three or four couples lead off. Each gentleman selects a gentleman, and each lady a lady. The
gentlemen place themselves one couple behind the other; the ladies form in the same manner,
facing the gentlemen. The two first gentlemen, and the two first ladies, who are in the centre,
facing each other, perform the quadrille figure, called right and left, ( Chaine Anglaise
) they then hands four round to the left, and, without stopping, the two gentlemen raise their
hands, forming an arch, the two ladies pass under to the next couple of gentlemen, the gentlemen
to the next couple of ladies; the figure then repeated by four couples, and again repeated until
the first two gentlemen have passed the last two ladies. They then place themselves in line,
facing the other way; as the other gentlemen arrive, they place themselves in line, alongside,
forming one line of gentlemen, facing ladies, who at the same time have formed a line opposite
to them. The lines all forward and back, forward again, and each gentleman takes the lady who
is before him, and all perform a Tour de Valse , The same for the remaining couples. 11. LE TROMPEUR
(THE DECEIVER). 

Two or three couples set out. Each gentleman selects a gentleman, and each lady a lady. The gentleman
leader selects two gentlemen. The gentlemen form in line and place themselves back to back
with the ladies, who form a parallel line; the two lines must be about six feet apart. The gentleman
leader keeps himself out of the ranks, placing himself in the rear of the ladies' line. He claps
his hands and selects a lady. At this signal all the gentlemen and ladies turn round, and each
gentleman dances with the lady who is before him. The gentleman who finds himself without a
lady, in consequence of the choice of the gentleman conductor, returns to his place, unless
he finds in the circle some compassionate lady who consents to dance with him. 12. LES BOUQUETS
ET LES ROSETTES. 

A number of small bouquets and rosettes, with pins, are arranged in basket. After a Tour de Valse
by the first couple, they separate; the gentleman takes a bouquet and the lady a rosette. They
then choose new partners, to whom they present the bouquet and rosette, the lady attaching
the rosette to the gentleman's coat; they perform a Tour de Valse with their new partners. Repeated
by the others. 13. LES FLEURS (THE FLOWERS). 

After a Tour de Valse by the first couple, the gentleman selects two ladies, and the lady two
gentlemen; the gentleman (in a whisper) quests the ladies each to name a flower; he then presents
the two ladies to another gentleman, and desires him to choose one of two naming them to him;
he makes his choice and dances with the lady selected; the leader dances with the other lady.
The lady of the first gentleman performs the same figure with the two gentlemen chosen by her.
The gentlemen, instead of naming flowers, assume the title of some favorite drink, such as
lemonade, soda water, &c. This may be performed by two or three couples at the same time. 14.
LE MOULINET DES DAMES (LADIES' MOULINET). 

The two first couples lead off, each gentleman selects a lady and each lady a gentleman; they
all join hands in a grand round, and turn to the left during eight measures. The ladies place
themselves en moulinet by giving right hands, the gentlemen remain in their own places; the
ladies go around and turn partners with left hand; the ladies return to the moulinet, (cross
right hands), go once and a quarter round, and turn with the left hand the gentleman next to their
partner; they return to the moulinet again, and at each turn they advance beyond one gentleman,
until they regain the gentleman with whom they commenced. They finish with a Tour de Valse .
15. LES BRAS ENLACES (THE ARMS ENTWINED). 

Three or four couples lead off. After a Tour de Valse , each gentleman takes a lady and each lady
a gentleman. They then form a ring with all hands joined, forward and back, forward again, and
when near each other, the gentlemen join hands above and the ladies below, as in the basket quadrille;
they now all turn to the left, the leader drops the hand of the gentleman on his left, and all extend
into a straight line without quitting hands; then the gentlemen raise their arms to free the
ladies, who pass under and dance forward, pursued by the gentlemen. At a signal the ladies turn
round and dance with their gentlemen, who should be near them. 16. LA CORBEILLE (THE BASKET).

First couple lead off. The gentleman selects two ladies, and the lady two gentlemen; they all
forward and back (eight measures), forward again (four measures). The gentleman who holds
the two ladies raises his arms, when the two gentlemen pass under without letting go the first
lady's hand, and join their disengaged hands behind the first gentleman. The two ladies chosen
by the first gentleman take hands behind the first lady (which forms a basket); in this position
they all balance, and at a signal, without letting go of hands, the first gentleman passes under
the arms of two other gentlemen, and the lady under the arms of two other ladies. The six persons
then find themselves entwined by the arms; at a signal they let go of hands, and form in all hands
round, and turn to the left. 

Then is executed a Chaine plate (or Grand Chain), commencing with the right hand, the first
gentleman going to the right, the first lady to the left, which is continued until the first
gentleman has rejoined his lady by the right hand. Finish by a Tour de Valse . 17. LES QUATRE COINS
(THE FOUR CORNERS, OR PUSS IN THE CORNER). 

Place four chairs in the centre of the room, at a certain distance, to mark the four corners.
The first gentleman, after a Tour de Valse with his lady, seats her upon one of the chairs, and
brings forward the next three ladies to occupy the remaining chairs; he places himself standing
in the middle. The ladies who are seated perform the changes of the game, not by running, but
in holding hands to change seats, when a gentleman can seize a chair left vacant by one of the
ladies; in changing seats he dances with the lady he has dethroned. Then the next gentleman
takes the centre, and another lady the vacant chair. When the last gentleman has taken the chair
of one of the last four ladies, the gentlemen of the three remaining ladies must reconduct them
by dancing to their places. 18. LES QUATRE CHAISES (THE FOUR CHAIRS). 

Four chairs are placed in the middle of the room as for the four corners. Four couples lead off
and place themselves, each couple behind one of the four chairs. At a signal, each couple dances
round the chair in front of them, then round the next to the right, and so on until all have returned
to the place of starting. All should move at the same time to avoid collision; return to their
seats by a Tour de Valse . 19. LES COLONNES (THE COLUMNS). 

The leader and his lady perform a Tour de Valse . He then places her standing in the centre of the
room. He selects a gentleman, whom he places back to back with his lady; he then brings another
lady, whom he places facing the gentleman he has just selected, and in the same manner with the
others, until he has formed a column of five or six couples, which he must terminate by a lady,
himself facing the back of the last lady he has placed. At a signal, by striking his hands, each
one turns round and dances with his or her vis-a-vis . Two or three lines can be formed by starting
two or three couples. The columns can also be used as a final figure. 20. LES RONDS A TROIS (THE
ROUNDS OF THREE). 

The first couple perform a Tour de Valse . The gentleman selects ladies, and the lady two gentlemen.
They form two rounds of three persons each. The two rounds turn rapidly; at a signal the leader
passes under the arms of the two ladies with whom he has just performed the round, and moves towards
his own partner, who leaves her two gentlemen to meet him. The two gentlemen whom the lady abandons
dance with the ladies in front of them. 21. LES DAMES DOS-A-DOS (THE LADIES BACK TO BACK.) 

The first four couples lead off. The ladies place themselves back to back, the gentlemen facing
the ladies, all join hands, giving right hand to partner, left hand to the next person; they
then expand circle, close circle, expand circle again, grand chain and with partner finish
with a Tour de Valse . 22. LES ZIGZAGS (THE ZIGZAGS.) 

Eight or ten couples lead off; they then place themselves one couple behind the other, leaving
a sufficient space between each couple. The first couple lead off in a valse and pass in a zigzag
course between all the couples, and stop behind the last couple. The second couple follow and
so on to the last until the leader with his lady regains the head of the column. All finish with
a Tour de Valse . 23. LES CHAINES A QUATRE (THE CHAINS WITH FOUR.) 

Four couples lead off; they then place themselves facing each other, two couples on one line,
the other two opposite; each couple execute with their vis-a-vis a demi-chaine Anglaise (half
right and left) then turn partners; after which each couple face the couple on the same line
with them, and perform the half right and left and turn partners-with them-repeat the figure
with the next couples, until all have regained their places. Finish with a Tour de Valse . 24.
LES CHAINES CROISEES (THE CROSSED CHAINS.) 

Four couples lead off, and then place themselves as in the preceding figure. Each couple performs
with its vis-a-vis a complete Chaine Anglaise (right and left), then each couple face the couple
on the same line with them and performs a right and left; after which the leading couple makes
with the couple diagonally, a half right and left, and then the other two couples execute a half
right and left; repeat the right and left to regain places, and finish with a Tour de Valse . 25.
LE GRAND ROND (THE GRAND ROUND.) 

Four couples lead off. Each gentleman selects a gentleman, and each lady a lady; they form a
circle, the gentlemen holding each other by the hands on one side, the ladies on the other; they
turn to the left, then the gentleman leader who holds with his right hand his lady's left hand,
advances wish his lady and cuts the circle in the middle, between the last lady and gentleman;
he turns to the left with all the gentlemen, his lady turns to the right with all the ladies. The
leader and his lady after having described a half circle reversed, meet again and valse together.
The second gentleman takes the second lady and so on until the chain is exhausted. This figure
can also be executed by six, eight or more couples, according to the capacity of the room, and
the number of dancers present. It can likewise be used as a final figure by commencing with half
the number of couples in the circle. 26. L' X DES CAVALIERS (THE X OF THE GENTLEMEN.) 

The two first couples lead off. Each gentleman with his right hand, holding his partner by her
left hand, takes with his left band another lady; the two gentlemen with their ladies, place
themselves opposite each other; they all forward and back; the two gentlemen then forward
without the ladies, and take each other by the right arm crossed at the elbow, and make a complete
turn, and then in the same manner cross their left arms with their partners and turn them. The
two gentlemen advance again, and turn each other by the right arm; they then each turn by the
left arm the next lady at the right, and so on. When they have turned with the four ladies, the
gentlemen each take the two ladies they had at the beginning of the figure, and promenade until
they come to the selected ladies, places in the circle, where they cause them to pass under their
right arms to meet their partners, and then all finish with a Tour de Valse . 27. L' X DU CAVALIER
ET DE LA DAME (THE X OF THE GENTLEMAN AND HIS LADY.) 

First couple lead off. The gentleman selects two ladies, and the lady two gentlemen. The leader
and his partner, with the ladies and gentlemen selected, face each other; three on one side
and three on the opposite. They all forward and back, then the leader and his lady advance (leaving
the others in their places) and taking each other by the right arm crossed at the elbow, make
a complete turn; after which the gentleman gives her left arm crossed in the same manner to the
lady whom he held by his right hand, his lady does the same with the gentleman on her right. The
leader and his lady meet again in the centre, and turn by the right arms, they then turn by the
left arms with the other lady and gentleman, after which they face each other as in the beginning.
All six forward and back, forward again, and each gentleman performs a Tour de Valse with the
lady in front of him 28. LE PORTIER DU CONVENT (THE CONVENT PORTER.) 

First couple lead off. The leader selects from the circle a number of ladies, whom, including
his own, he leads into an adjoining room, the door of which he leaves ajar. Each lady in a whisper
names a gentleman, whom the leader calls upon aloud to come and dance with the lady who has selected
him; the conductor takes care to reserve for himself one of the ladies. This figure can likewise
be performed by the lady conductress, who must then imprison the gentlemen she has chosen,
and call upon the ladies these have named. 29. LES MAINS MYSTERIEUSES (THE MYSTERIOUS HANDS.)

First couple lead off. The gentleman imprisons in an adjoining room several ladies, his own
included, as pointed out in the preceding figure. Each lady glides her hand through the door
ajar. The leader then brings forward as many gentlemen as he has selected ladies. The gentlemen
take each, one of the projected hands, and dance with the ladies of their choice. The leader
may also choose one of the hands. 80. LE DRAP MYSTERIEUX (THE MYSTERIOUS SHEET.) 

Four couples lead off. Each gentleman selects a lady, each lady a gentleman. The eight gentlemen
place themselves behind a sheet, which is held by two persons. The gentlemen behind the sheet
or screen put up the extremities of their fingers; the ladies in front of the screen then select
their partners, by taking hold of the gentleman's fingers. All finish by a Tour de Valse . 31.
LE DOUBLE MOULINET (THE DOUBLE TURNSTILE.) 

Two couples lead off. Each gentleman selects a lady, and each lady a gentleman. They all form
a ring, and turn to the left; each gentleman turns in his place, causing his lady to turn around
him. The four ladies then form the Moulinet, by crossing right hands, and as they move around,
the gentlemen take a contrary direction, until each one has recovered his lady, to whom he gives
his left hand, and change places, the gentlemen forming the Moulinet in centre, by crossing
right hands. The ladies go round in a reverse direction to that which the gentlemen now take.
After the gentlemen have been twice in the centre, and twice outside, they take with their right
hands, the left hands of the ladies, and start off in a Tour de Valse . 32. LE MOULINET (THE TURNSTILE.)

Three couples lead off. Then each gentleman selects a lady, and each lady a gentleman. The gentlemen
place themselves in Moulinet, giving the left hand, and taking their ladies by the right hand;
the ladies giving the left hand. The first, third, and fifth couples valse in the intermediate
space, whilst the other couples move slowly around. At a signal, the valsing couples stop,
in order to change places with the other three couples, who perform the same figure. Finish
with a Tour de Valse . 33. LE MOULINET CHANGEANT (THE VARYING TURNSTILE.) 

Three couples lead off, then select new partners, and form in Moulinet, as in the preceding
figure. At a signal, the ladies each advance to the next gentleman, and valse with him, without
quitting their order in the Moulinet. At another signal, they stop dancing, in order to change
to the next gentleman, and so on, until each lady has recovered her partner. her. Finish with
a Tour de Valse . 34. LE MOULINET CHANGE (THE MOULINET CHANGED.) 

The first four or six couples lead off. The gentlemen cross left hands in Moulinet, taking with
their right hands the left hands of their ladies, and move entirely around. At a signal, and
without quitting the hands of the ladies, the gentlemen by turning backwards, place their
ladies in the centre, the ladies crossing right hands; in this position they all move around
again. At another signal, they change again, by the gentlemen turning this time in front, and
after a last turn, finish with a Tour de Valse . 35. LE HUIT (THE FIGURE EIGHT.) 

Two chairs are placed in the centre of the room, at a sufficient distance apart. The first couple
lead off in a valse, and pass around the chairs in such a manner as to describe the figure eight.
This is one of the most difficult figures to execute. The gentleman who performs it perfectly
is considered an excellent valser. Each couple in turn repeat the figure. 36. LES ECHARPES
VOLANTES (THE FLYING SCARFS.) 

Two scarfs are tied together in the middle, so as to form a cross. Four couples place themselves
as in the game of the ring. Each gentleman takes with his left hand one of the ends of the scarfs,
holding it above his head. Each couple valses in turning, taking care to keep at the same distance.
At a signal all resume their places. 37. LA CHASSE AUX MOUCHOIRS (THE HANDKERCHIEF, CHASE.)

Three or four couples lead off. The gentlemen place in the centre of the room their ladies, each
of whom should have a handkerchief in her hand. The gentlemen turn their backs to the ladies,
and form a circle around them, turning rapidly. The ladies throw their handkerchiefs in the
air and dance a Tour de Valse with the gentlemen who catch them. 38. LE MOUCHOIR (THE HANDKERCHIEF.)

First couple lead off. The lady makes a knot near one of the corners of a handkerchief. The leader
brings forward four gentlemen. The lady (concealing the knot) presents the corners of the
handkerchief the gentlemen, that they may choose; he who hits upon the knot, dances with her;
the remaining gentlemen retire to their seats or choose partners from the circle. 39. LE CHAPEAU
(THE HAT.) 

First couple leads off. The leader leaves his lady in the middle of the room, and gives her a hat.
All the gentlemen come forward and form a ring around the lady, turning their backs to her, and
turn rapidly to the left. The lady places the hat upon the head of one of the gentlemen, with whom
she takes a Tour de Valse . The other gentleman return to their seats. 40. LE CHAPEAU MAGIQUE
(THE MAGIC HAT.) 

First couple lead off. The leader gives his lady a hat, which she presents to several ladies,
who deposit in it some article, such as a glove, a key, a fan, &c. She then takes the hat to the gentlemen,
who each select one of the articles, and dance with the lady to whom it belongs. This figure may
be performed by several couples at the same time. 41. LA MER AGITEE (THE SEA IN A STORM.) 

Two rows of chairs (six in each row) are placed back to back. The first couple lead off. The gentleman
leader scats his lady on one of the chairs, and selects five other ladies, whom he also seats,
leaving a vacant chair beside each lady. He then selects six gentlemen, with whom he forms a
chain which he leads; after having described a swift course in several parts of the room, which
he may prolong or vary as he pleases; he finishes by forming a ring, all hands around the ladies.
When he takes a seat, the others do the same, and each gentleman dances with the lady on his right.
The gentleman without a lady returns to his seat. 42. LE MOUCHOIR ENTORTILLE (THE TWISTED HANDKERCHIEF.)

Two couples lead off, each gentleman holding in his left hand the end of a handkerchief, which
he must hold at a sufficient height to valse under; both couples continue valsing, until the
handkerchief is twisted like a rope. Several couples can perform this figure at the same time.
43. LE MIROIR (THE MIRROR.) 

First couple lead off. The leader seats his lady upon a chair in the centre of the room, and hands
her a small mirror; he then selects a gentleman and places him behind the chair. The lady looks
in the mirror, and if she rejects the gentleman behind her chair, wipes the mirror with her handkerchief.
The leader then brings another gentleman, and another, until the lady accepts. She then rises,
leaving the mirror on the chair, and they perform a Tour de Valse . The rejected gentlemen return
to their seats, or take partners from the circle for a Tour de Valse , 44. LA CORDE (THE CORD.)

Three couples lead off. They then separate, and each selects a new partner. The ladies go to
one end of the room, and the gentlemen to the other. The leader and his lady now take a ribbon,
or cord, and hold it across the room. The gentlemen in turn jump across this rope to get to their
partners. The gentlemen who are so unfortunate as to be tripped by the rope, are greeted with
considerable laughter. 45. LE COUSSIN (THE CUSHION). 

The gentleman leader (holding in his left hand a cushion)leads off with his lady, and after
performing a Tour de Valse , hands her the cushion, which she presents to several gentlemen,
inviting them to kneel upon it. The lady withdraws it quickly from the gentleman she intends
to deceive, and drops it in front of the gentleman she wishes to dance with. 46. LES CARTES (THE
CARDS). 

The first couple lead off. The leader presents to four ladies the four queens of a pack of cards;
his lady presents the four kings to four gentlemen. The gentlemen seek the ladies of their suit,
and dance with them. 47. LA PYRAMIDE (THE PYRAMID). 

Three couples lead off. Each gentleman selects a gentleman, and each lady a lady. The first
lady stands alone, and represents the head of the Pyramid. Two ladies stand behind the first
lady, and form the second row, and the three remaining ladies form the third row. The gentlemen
take each other by the hand and form a loose chain; the gentleman leader conducts them rapidly
behind the last row of ladies, winds around between the second and third rows, then between
the first and second rows, when he finds himself in front of his partner at the head of the Pyramid,
claps his hands, and leads her off in a Tour de Valse . The other gentlemen dance with the ladies
who are in front of them. This figure can be performed by five couples, placing a fourth row of
ladies. 48. LE SERPENT (THE SERPENT). 

First couple lead off. The gentleman leaves his lady in a corner of the room, her face turned
toward the wall; he then brings forward three or four ladies, and places them singly behind
his partner, leaving a sufficient space between them. He then selects as many gentlemen (including
himself) as there are ladies, with whom he forms a loose chain, and conducts them rapidly in
a course between the ladies (commencing with the last lady), until he reaches his own partner;
he then claps his hands, and each gentleman dances with the lady in front of him. 49. LE CHANGEMENT
DE DAMES (THE EXCHANGE OF LADIES). 

Two couples lead off. They then approach each other, and exchange partners without losing
step or time. After having danced with each other's partners, they retake their own and valse
to places. 50. L'ECHARPE (THE SCARF). 

First couple lead off. The leader stands in the centre of the room, holding a scarf; his partner
with all the other ladies, form a circle around him, and turn rapidly to the left, during which
he places the scarf upon the shoulders of one of the ladies, with whom he performs a Tour de Valse
. The other gentlemen then come forward, and dance with their ladies to their places. This figure
is the companion of the Hat. 51. LE VERRE DE VIN DE CHAMPAGNE (THE GLASS OF CHAMPAGNE). 

Three chairs are placed in a line, the middle chair turned in the opposite direction to the other
two. The first couple lead off. The gentleman seats his partner upon the centre chair, and hands
her a glass of champagne; he then brings forward two gentlemen, whom he seats upon the two other
chairs. The lady gives the glass of wine to one of the gentleman seated (who drinks it), and dances
with the other. 52. LE BERCEAU (THE BOWER). 

Four couples lead off. They form a circle in the middle of the room. They then, without quitting
hands, face outward. The four next couples come forward, and form a circle around the first
four couples, but without training themselves; in this position, when fronting each other,
the gentlemen take each other's hands above, and the ladies below. The gentlemen raise their
arms high enough to form a circular passage, through which the ladies, without letting go hands,
pass rapidly around to the left. At a signal, the gentlemen lower their arms to stop the ladies,
who dance with the gentlemen in front of them. This figure can be executed by any number of couples.
53. LE COLIN MAILLARD (BLINDMAN'S BUFF). 

Three chairs are placed in a line in the centre of the room. First couple lead off. The gentleman
leader selects another gentleman, and seats him on the centre chair after having blindfolded
him. The lady selects another gentleman, whom she leads on tip-toe to one of the chairs, the
lady seating herself on the remaining chair. The leader then invites the blindfolded gentleman
to select from the left or the right; the bandage is then removed. If he selects the lady, he dances
with her; if the gentleman, he dances with him, and the leader dances with the lady. 54. LE COLIN
MAILLARD A SIX (BLINDMAN'S BUFF WITH SIX). 

Six chairs are placed back to back in the centre of the room. Two couples lead off. The leader
places his partner on one of the centre chairs, and the second lady places her partner on the
corresponding chair at the back. The leading gentleman and second lady blindfold their seated
partners. The leader then very quietly brings forward a lady and gentleman, and seats them
one on each side of the first lady; the second lady does the same with the other side. The blindfolded
lady and gentleman are next requested to choose to the right or left; after they have made their
selections the bandages are removed, and the blindfolded party dances with the person so selected;
the others return to their seats in the circle, or select partners for a Tour de Valse . 55. LA
CROIX ETENDUE (THE EXTENDED CROSS). 

Four couples lead off. They then place themselves en moulinet . The gentlemen cross left hands,
and give right hands to partners. Each lady calls a gentleman, who gives her the left hand. These
last gentlemen call other ladies, to whom they give the right hand. All the couples describe
a circle, executing together the step of the valse; they then separate, and regain their seats
couple by couple. 56. LES CAVALIERS ENSEMBLE (THE GENTLEMEN TOGETHER). 

Two couples lead off. The two gentlemen select each a gentleman to valse with, and the two ladies
each a lady to valse with them. At a signal from the leader, the four gentlemen stop and form a
circle, and the ladies fern another circle, Two ladies advance towards the gentlemen's circle,
passing under the arms of the two other ladies, and enter the circle of the gentlemen, forming
a circle ( a l'envers ) in the reverse way to the gentlemen; at a signal each gentleman valses
with the lady in front of him. This figure can be done by three or four couples. 57. LE COUSSIN
MOBILE (THE MOVING CUSHION). 

First couple lead off. The gentleman seats his lady upon a chair in the centre of the room, and
places at her feet a cushion, before which he conducts successively several gentlemen, requesting
each to place one knee upon the cushion, which the lady quickly withdraws in the event of a refusal.
The rejected gentlemen form a line behind lady's chair. The lady makes known her choice by leaving
the cushion immovable before the gentleman she wishes to dance with. The partners of the rejected
gentlemen come and liberate them by performing a Tour de Valse to their places. 58. LES DAMES
REFUSEES (THE REJECTED LADIES.) 

First couple lead off. The gentleman kneels in the centre of the room; his partner selects several
ladies whom she presents to him, and whom he refuses, successively; these ladies place themselves
in file behind the kneeling gentleman, who at last accepts a lady to dance with. The rejected
ladies are liberated by their partners, who conduct them to their places in a Tour de Valse .
59. LES COUPLES PRESENTES (THE COUPLES PRESENTED.) 

First couple lead off. The gentleman presents himself on one knee in the centre of the room;
his lady selects several couples whom she presents to him, and whom he refuses, successively.
The couples form in columns behind the kneeling gentleman, who at last accepts a lady, with
whom he dances. He then reconducts the lady to her partner, who is standing at the front of the
column. This couple then valse to their places. The leading gentleman dances with each lady,
and finally conducts his own lady (who has remained behind the column) to her place. 60. LES
DAMES TROMPEES (THE LADIES DECEIVED.) 

The first couple lead off. The gentleman leads the lady by the hand around the circle and approaches
several ladies, feigning to solicit them to dance. The moment the lady rises to accept him he
suddenly addresses another, and plays the same game with several other ladies, until he has
made his choice. The lady of the gentleman leader dances with the partner of the lady on whom
the choice falls 61. LE CAVALIER TROMPE (THE GENTLEMAN DECEIVED.) 

Five or six couples lead off. They then place themselves in ranks of two, one couple behind the
other. The lady of the first gentleman leaves him, and seeks a gentleman from the column. While
this is going on, the first gentleman must not look behind him. The first lady and the gentleman
whom she has selected separate and advance on tiptoe on each side of the column, in order to deceive
the gentleman at the head, and endeavor to rejoin each for a valse. If the first gentleman is
fortunate enough to regain his lady, he dances with her; if not, he must remain at his post until
he can seize a lady, when the next gentleman takes his place. The last gentleman remaining dances
with the last lady. 62. LA PHALANGE (THE PHALANX.) 

Two couples lead off. Each gentleman selects two ladies, and each lady two gentlemen. The first
gentleman gives his right hand to the lady on his right, and his left hand to the lady on his left;
the two ladies take hands behind him to form the old figure called the Graces. The lady of the
leader places herself in the same way with her two gentlemen. The other groups place themselves
in a file in the same manner, and hold themselves near each other so as to form a phalanx, which
sets off executing the valse step without turning. At a signal from the leader, the gentlemen
who are between the two ladies turn half around with them, and each gentleman dances with his
vis-a-vis . This figure may be performed by three or four couples. 63. LA CONTREDANSE (THE QUADRILLE.)

Four couples lead off. They then place themselves in form of a Quadrille. The first couple valses
around the couple on the right, and makes in the same manner the turn around the other couples.
The three other couples repeat the same figure, after which they all finish with a Tour de Valse
. 64. L'EVENTAIL (THE FAN.) 

First couple lead off. The gentleman leader seats his lady upon a chair in the centre of the room,
and presents her with a fan. He then brings forward two gentlemen whom he introduces to the lady;
she gives the fan to one gentleman and dances with the other. The gentleman who receives the
fan must follow the dancing couple, fanning them at the same time. 65. LES ONDULATIONS (THE
UNDULATIONS.) 

Four couples lead off. They form a circle with the leading couple in the centre. The leading
couple valse at pleasure, and endeavor to deceive the other couples, who must follow all their
movements without dropping hands. At a signal, the next couple place themselves in the centre,
and perform the same play, while the first couple join hands in the round. The others execute
the figure successively. Finish with a Tour de Valse . 66. LE CHAPEAU FUYANT (THE FLYING HAT.)

Two couples lead off. The leader holds behind him by his left hand a hat, with the opening uppermost.
The second gentleman holds in his left hand a pair of gloves rolled up, which he endeavors to
throw in the hat without ceasing to valse; when he has succeeded, he takes the hat and gives the
gloves to the other gentleman, who performs the same game. 67. LA CHAINE ANGLAISE (THE ENGLISH
CHAIN.) 

Two couples lead off. They then place themselves, one couple facing the other, and execute
a Chaine Anglaise (right and left) lengthened out. The two couples forward, and the gentlemen
give each other the left arm crossed at the elbow, and make rapid half turns to change ladies,
and make with each other's lady a tour sur place . The gentlemen cross left arms again, and regain
their own partners. Finish with a Tour de Valse . 68. LES RONDS CONTRAIRES (THE ROUNDS THWARTED.)

Three couples lead off. The gentlemen place their ladies in line. The gentlemen take hands
and form a chain. The gentleman leader passes to the left, with the other gentlemen in front
of the ladies. The gentlemen having reached the last lady form a circle around her and turn to
the left after having made an entire round, the leader drops the hand of the gentleman on his
left, and passes to the lady in the centre in order to form about her a round a l'envers . After
a turn to the right in this manner, the leader again drops the hand of the gentleman on the left,
and makes a turn (to the left) around the third lady. He then conducts the gentlemen in chain
before the ladies, passes behind them, and again in front, when each gentleman finds himself
in front of his partner. Finish with a Tour de Valse . 69. LES GENUFLEXIONS (THE KNEELINGS.)

Two couples lead off. The two gentlemen each place one knee upon the floor, at a certain distance
from each other. In this position, (the gentlemen holding the ladies' left hands in their right,)
the ladies turn twice around their partners, after which the two ladies give right hand to each
other, and each passes ever to the other gentleman, when they turn as before with the left hand.
The two ladies give right hands again and rejoin their partners. The gentlemen rise, and finish
with a Tour de Valse . 70. LES GENUFLEXIONS A QUARTRE (THE GENUFLEXIONS WITH FOUR.) 

Four couples lead off. Then place themselves as for a (Quadrille. At a signal, the four gentlemen
each place one knee upon the floor, and the ladies (giving left hand to partners right) move
once around them. The ladies then cross right hands in the centre and go half around, then give
left hand to right hand of opposite gentleman and turn around him. They cross right hands in
the centre again, and, upon reaching partners, finish with as Tour de Valse . 

N. B.-This figure is sometimes performed in the following manner, viz: As soon as the first
two ladies have completed their traverse, the other two ladies set out and cross, while the
first two turn around the gentlemen. 71. LES CAVALIERS CHANGEANTS (THE CHANGING GENTLEMEN.)

Three or four couples lead off. Then range themselves in order, one couple behind the other.
The first gentleman turns round and gives the left arm, crossed at the elbow, to the left arm
of the gentleman who was behind him, with whom he changes place. He continues in this manner
to the last couple, then the second gentleman, being at the head, executes the same figure,
and so on for the rest until all have regained their places. Finish with a Tour de Valse . 72. LA
TRIPLE PASSE (THE TRIPLE PASS.) 

Two couples lead off. Then form a round of four. and turn to the left. At a signal, the gentleman
leader and his lady drop the hands of the other couple and pass under their arms. The round is
then re-formed, and the other couple pass under the arms of fhe first couple in the same manner,
the first couple pass under again, and without dropping hands re-form the round and turn to
the left. Finish with a Tour de Valse . 73. LES RONDS A QUATRE (THE ROUNDS OF FOUR.) 

Two couples lead off. Each gentleman selects a lady, and each lady a gentleman. The gentlemen
form a round of four at one end of the room, and the ladies form a round at the other end. The two
rounds turn to the left, after which the gentleman leader and the gentleman he has selected
pass under the arms of the two other gentlemen to meet the first lady and the lady she has selected,
who pass under in the same way. The two gentlemen and two ladies form a round and make an entire
turn to the left. The gentlemen then raise their arms to give passage to the two ladies and make
another round with them, whilst the first two ladies perform the same with the other two gentlemen,
thus making two rounds of four. The gentlemen raise their arms to allow the ladies to pass under.
The first two gentlemen turn round, advance and form a line, while the other two gentlemen soon
join them. The ladies form a similar line. The four gentlemen form a round again as at first;
the ladies do the same. After a tour to the left they form in two lines: the ladies on one side;
gentlemen opposite. They then advance towards each other, each gentleman re-takes his lady,
and finish with a Tour de Valse . 74. LE TRIANGLE CHANGEANT (THE CHANGING TRIANGLE.) 

Three couples lead off. The gentlemen (holding with their right hands the ladies left) place
themselves en moulinet , by giving left hands, and turn in this position. At a signal the leading
gentleman turns quickly and gives the left arm crossed at the elbow to the gentleman behind
him, with whom he changes both place and lady. He does the same with the next gentleman. When
he reaches the third gentleman, the second executes the same figure; then the third. Finish
with a Tour de Valse . 75. LES CHAINES EN LIGNE (THE CHAINS IN LINE.) 

Four couples lead off. Each gentleman selects a gentleman and each lady a lady. The gentlemen
place themselves two by two (in double file) facing the ladies, who take the same position.
At s signal the two first gentlemen begin by the right hand a flat chain with the two first ladies,
and so on for the rest, the two last gentlemen having for partners the first two ladies who reach
them through the chain. Finish with a Tour de Valse . 76. LES CHAINES DIVERSES (THE DIFFERENT
CHAINS.) 

Four couples lead off. They then place themselves in Quadrille form. The first and second couples
execute with the side couples on their right a Chaine Anglaise (right and left); after which,
demi chaine des dames (ladies half-chain) to change gentlemen; all turn new partners. The
figure is re-commenced by side couples leading to the right; third time, head couples lead
to the right; fourth time, sides to the right, which brings all to their original places. Finish
with a Tour de Valse . 77. LES DRAPEAUX (THE FLAGS.) 

It is necessary in this figure to have in readiness at least five or six duplicate sets of small
flags of various designs. These flags are usually twelve inches by nine, attached to a small
staff about two feet long. The leader takes a flag of each pattern, and his lady the duplicates.
They then perform a Tour de Valse ; after which the leader presents his flags to five or six ladies,
and his lady presents her flags to as many gentlemen. All those furnished with flags now stand
up and seek the owners of the corresponding ones, and finish with a Tour de Valse , waving the
flags as they dance. 78. LES MASQUES (THE MASKS.) 

A screen about five feet high and eight feet broad, or a large shawl may be used. There is also
required a number of comic masks, representing grotesque faces or heads of animals. Three
couples lead off; they then separate and choose other partners. The six gentlemen go behind
the screen, and their partners place themselves in front of it. After putting on the masks,
the gentlemen raise their heads above the screen, and the ladies in front choose partners from
the group; the gentlemen then come from behind the screen, and (with their masks still on) all
finish with a Tour de Valse . 79. LES CHAINES CONTINUEES (THE CONTINUOUS CHAIN.) 

Four couples lead off. Each gentleman selects a lady, and each lady a gentleman. The gentlemen
place themselves in line, and the ladies form a line opposite. The first gentleman on the left
gives right hand to the right hand of his lady, and performs with her a whole turn. He then gives
left hand to left hand of next lady, while his lady does the same with the next gentleman. The
gentleman leader and his lady again meet and turn with right hands. They then separate and seek
the next lady and gentleman-and so on to the last couple. As soon as the leader and his lady reach
the fourth couple the second should start, so as to keep up a continuous chain between the ladies
and gentlemen. When all have regained their original places in line, finish with a Tour de Valse
. This figure may be executed by as many couples as are deemed proper. FINAL FIGURES. 80. LA POURSUITE
(THE PURSUIT.) 

Three or four couples lead off. Each gentleman of the cotillon has the right to go behind any
of the dancing couples and take the lady to dance with. He should clap his hands to announce that
he means to substitute himself for her partner. This figure continues until each gentleman
has regained his lady to conduct her to her place. In order to give animation to the figure, as
soon as a gentleman seizes a lady, he should immediately be replaced by another. 81. LE ROND
FINALE (THE FINAL ROUND.) 

All form a general round. The leader and his lady separate from the circle (which immediately
re-closes,) and performs a valse in the centre. At a signal, he stops, and his lady passes out
of the circle. He selects another lady, with whom he also dances within the circle. He passes
out of the circle in his turn, and the lady selects another gentleman-and so on for the others.
When only two or three couples remain, all the couples finish with a Tour de Valse . 82. LE COLIMACON
(THE SNAIL) 

All form a general round and turn to the left; at a signal, the leader drops the hand of the lady
on his left, enters the circle, and continues moving to the left, forming a colimacon (snail,)
while the lady moves to the right, outside the circle. The leading gentleman and last lady each
draw the others after them. When they are entirely coiled, the leader, with the others, pass
under the arms of one or more couples to get outside; all follow without quitting hands. The
leader conducts the others around the room at pleasure, and ends by re-forming the general
round. All finish with a Tour de Valse . 83. LES DEUX LIGNES (THE TWO LINES.) 

First couple, with all the others following, promenade around the room. The leader, with the
other gentlemen, form a line; the ladies form a line opposite, each facing her partner. The
first couple start off in a valse, and pass down behind the line of ladies, and still valsing
pass between the two lines, and behind the ladies, line a second time; they stop below the last
couple, the gentleman on the ladies' side, and the lady on the side of the gentlemen. Each couple
in succession execute the same figure. Finish with a Tour de Valse . 84. L'ALLEE TOURNANTE (THE
WINDING ALLEY.) 

The leader (holding his lady by the hand,) promenades, inviting the other couples to follow
in their order. Two circles are then formed, one within the other, the ladies by themselves,
forming the inner circle, the gentlemen the outer one. The gentleman leader with his lady starts
off in a valse, and goes through the winding alley formed by the two circles, until he has regained
his place. He then exchanges places with his lady, she taking his place in the gentleman's circle;
he hers in the ladies circle. Each couple in turn perform the same figure. Finish with a Tour
de Valse , by all. 85. LE LABYRINTHE (THE LABYRINTH.) 

All the couples form a ring and turn to the left. At a signal, the leader quits the hand of the lady
to his left, and continuing to turn to the left, enters the circle forming a colimacon (snail,)
while the lady moves to the right outside the others. A circular space must be maintained in
order to valse within it. In this position the leading couple set out by valsing, and following
the windings of the labyrinth formed by the general chain coiled upon itself, until they arrive
at the last couple, and then take a place in the chain. As a new couple arrives, it takes its place
next to the last arrived. When all in turn have arrived, finish with a Tour de Valse . 86. LA DAME
A GAUCHE (THE LADY TO THE LEFT.) 

All the couples form a grand ring and turn to the left (four measures,) turn partners, each gentleman
leaving his lady to his left (four measures,) they all join hands again and turn to the left (four
measures,) all the gentlemen turn the ladies on their right and place them to the left. They
continue in this way until each gentleman has recovered his partner. All finish with a Tour
de Valse . 87. LA REUNION DES COUPLES (THE REUNION OF COUPLES.) 

The first couple make a short promenade, and then take the second couple to form a round of four.
They make a half turn to the left, then the leader drops the hand of the second lady, and turns
to the left, drawing the others after him to take up the third couple; a round of six is then formed,
and after a half turn to the left, the leader again drops the hands of the lady to his left, to take
up the fourth couple, and in the same manner until he has taken up all the couples, when a general
round is formed turning to the left (eight measures). Finish with a Tour de Valse . THE FIGURES
OF THE COTILLON, 

No. Page. 

1. The Course, La Course. 60 

2. The Course Assize, La Course Assise. 60 

3. The Chairs, Les Chaises. 60 

4. The Broken Ring, Le Rond Brise. 61 

5. The Ladies Seated, Les Dames Assises. 61 

6. The Basket, Ring and Flower, La Corbeille, L'Anneau et la Fleur. 61 

7. The Double Pastourelle La Double Pastourelle 62 

8. The Twin Circles, Les Cercles Jumeaux. 62 

9. The Deceiving Circle, Le Rond Trompeur. 62 

10. The Small Rounds, or the 

Les Petits Ronds. 63 

11. The Deceiver, Le Trompeur. 63 

12. The Boquets and Rosettes, Les Boquets et lea Rosettes. 64 

13. The Flowers, Les Fleurs. 64 

14. Ladies' Turnstile, Le Moulinet des Dames. 64 

15. The Arms Entwined, Les Bras Enlaces. 65 

16. The Basket, La Corbeille. 65 

17. The Four Corners, Les Quatre Coins. 65 

18. The Four Chairs, Les Quatre Chaises. 66 

19. The Columns, Les Colonnes. 66 

20. The Rounds of Three, Les Ronds a Trois. 66 

21. The Ladies Back to Back, Lea Dames Dos-a-Dos. 67 

22. The Zigzags, Les Zigzags. 67 

23. The Chains with Four Les Chaines a Quatre. 67 

24. The Crossed Chains, Les Chaines Croisees. 68 

25. The Grand Round, Le Grand Rond. 68 

26. The X of the Gentlemen, L'X Des Cavaliers 68 

27. The X of the Gentleman and 

L'X Du Cavalier, et de la Dame. 69 

28. The Convent Porter, Le Portier Du Convent. 69 

29. The Mysterious Hands, Les Mains Mysterieuses. 70 

30. The Mysterious Sheet, Le Drap Mysterieux. 70 

31. The Double Turnstile, Le Double Moulinet. 70 

32. The Turnstile, Le Moulinet. 70 

33. The Varying Turnstile, Le Moulinet Changeant. 71 

34. The Moulinet changed, Le Moulinet Change. 71 

35. The Figure Eight, Le Huit. 71 

36. The Flying Scarfs, Les Echarpes Volantes. 72 

37. The Handkerchief Chase, La Chasse aux Mouchoirs. 72 

38. The Handkerchief, Le Mouchoir. 72 

39. The Hat, Le Chapeau. 72 

40. The Magic Hat, Le Chapeau Magique. 73 

41. The Sea in a Storm, La Mer Agitee. 73 

42. The Twisted Handkerchief, Le Mouchoir Entortille. 73 

43. The Mirror, Le Miroir. 73 

44. The Cord, La Corde. 74 

45. The Cushion, Le Coussin. 74 

46. The Cards, Les Cartes. 74 

47. The Pyramid, La Pyramide. 74 

48. The Serpent, Le Serpent. 75 

49. The Exchange of Ladies, Le Changement de Dames. 75 

50. The Scarf, L'Echarpe. 75 

51. The Glass of Champagne, Le Verre de Vin de Champagne. 76 

52. The Bower, Le Berceau. 76 

53. Blindman's Buff, Le Colin Maillard. 76 

54. Blindman's Buff with Six, Le Colin Maillard a Six. 77 

55. The Extended Cross, La Croix Etendue. 77 

56. The Gentlemen Together, Les Cavaliers Ensemble. 77 

57. The Moving Cushion, Le Coussin Mobile. 78 

58. The Rejected Ladies, Les Dames Refusees. 78 

59. The Couples Presented, Les Couples Presentes. 78 

60. The Ladies Deceived, Les Dames Trompees. 79 

61. The Gentlemen Deceived, Le Cavalier Trompe. 79 

62. The Phalanx, La Phalange. 79 

63. The Quadrille, La Contredanse. 80 

64. The Fan, L'Eventail. 80 

65. The Undulations, Les Ondulations. 80 

66. The Flying Hat, Le Chapeau Fuyant. 80 

67. The English Chain, La Chaine Anglaise. 81 

68. The Rounds Thwarted, Les Ronds Contraires. 81 

69. The Kneelings, Les Genuflexions. 81 

70. The Genuflexions with Four, Les Genuflexions a Quatre. 82 

71. The Changing Gentlemen, Les Cavaliers Changeant. 82 

72. The Triple Pass, La Triple Passe, 82 

73. The Rounds of Four, Les Ronds a Quatre. 83 

74. The Changing Triangle, Le Triangle Changeant. 83 

75. The Chains in Line, Les Chaines en Ligne. 83 

76. The Different Chains, Les Chaines Diverses. 84 

77. The Flags, Les Drapeaux. 84 

78. The Masks, Les Masques. 84 

79. The Continuous Chain, Les Chaines Continuees. 85 

80. The Pursuit, La Poursuite. 85 

81. The Final Round, Le Rond Finale. 85 

82. The Snail, Le Colimacon. 86 

83. The Two Lines, Les Deux Lignes. 86 

84. The Winding Alley, L'Allee Tournante. 86 

85. The Labyrinth, Le Labyrinthe. 87 

86. The Lady to the Left, La Dame a Gauche. 87 

87. The Reunion of Couples, La Reunion des Couples. 87 COUNTRY DANCES 

Country Dances, says Sir John Weaver, I take to be an imitation of the Palilia, or feast of Pales,
goddess of shepherds among the Romans, which wore celebrated with song and dance, among the
shepherds in the fields, to drive away wolves and diseases from their cattle, or to implore
the fruitfulness of their cattle and grounds. These dances were made around heaps of burning
chaff, straw, or stubble called Palca.-Weaver's Essay, p. 105. 

The Country Dance, much practiced among the English, was thence transplanted into almost
all the courts of Europe, and it became in the most august assemblies the favorite amusement.

English Country Dances are now out of vogue in fashionable assemblies. They belong to a ruder
age than the present, and a blither and merrier style of manner than that which prevails in the
fashionable world at present, 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 modern festivity. In illustration of this we may quote the commencement of Tom Moore's
ballad called "Country Dance and Quadrille," in which he introduces the two dames battling
for victory at the King's Head Inn in a country town. The victory at last is given to Country Dance,
and she has one glorious triumph in her own native air. 

"One night the nymph called Country Dance (Whom folks of late have used so ill, Preferring a
coquette from France, That mincing thing, Mamselle Quadrille,) 

"Having been chased from London down To that most humble haunt of all She used to grace-a country
town- Went smiling to the New Year's ball. 

"'Here, here at least!' she cried, 'though driven From London's gay and shining tracks Though
like a Perl cast from heaven I've lost, forever lost. Almack's; 

"'Though not a London Miss alive Would now for her acquaintance own me, And spinsters, e'en
of forty-five, Upon their honors ne'er have known me; 

"'Here, here at least, I triumph still, And spite of some new dandy Lancers, Who vainly try to
preach Quadrille, See naught but true blue Country Dancers. 

"'Here still I reign, and fresh in charms, My throne like Magna Charta raise 'Mong sturdy free
born legs and arms, That scorn the threaten'd Chaine Anglaise , 

"'Twas thus she said as 'mid the din Of footmen and the town sedan, She 'lighted at the King's
Head Inn, And up the stairs triumphant ran." 

To her astonishment, however, she there met the nymph Quadrille, with whom she had a vehement
quarrel, in the true Homeric style. The victory was hers; for she proved to the girls that Country
Dance was more favorable to love and marriage than Quadrille was. 

"She ceased-tears fell from every Miss, She now had touch'd the true pathetic; One such authentic
fact as this Is worth whole volumes theoretic. 

"Instant the cry was 'Country Dance,' And the maid saw with brightening face The steward of
the night advance, And lead her to her birthright place. 

"The fiddles which awhile had ceased Now tuned again their summons sweet; And for one happy
night at least Old England's triumph was complete." 

At what precise period English Country Dancing was first introduced, is not certain. In the
sixteenth and seventeenth centuries, great rivalry seemed to exist among the teachers of
dancing, which caused the introduction of a great variety of curious figures and tunes. In
Waylette's Collections, a book published in the year 1749, may be found quite a number of the
figures alluded to. In some of the music books of that, and even of a later period, the same figures
are to be found. 

The following are some of the extravagant movements introduced into the figures:-brush hands-clap
hands-strike hands across-snap fingers-double hands-lead about your partner-foot and
elbow-beckon your partner-strike feet against the ground-stamp four times-give three jumps-give
a little jump-hold up finger-put hats over your eyes-slide out of your places-slip up-slip
down-fall back and slide in-pull your partner-walk to the wall-peep three times-cast up and
kiss your partner-peep down and up-hold up finger-trot half and gallop half up and down-advance
four steps, nod and retire-dart with your fingers-first man go about the woman, and point your
fingers-change places with one woman, and act the cobbler-cross over and act the cobbler again-the
leading couple make a pass at each other-hit your right elbows together, and then your left-turn
your partner till the end. 

In many of the Northern and Eastern States, the following are a portion of the country dances
still in vogue. RUSTIC REEL. 

Each gentleman has two partners; form, one trio opposite the other . 

Each gentleman chassez out with right hand lady opposite, and back; chassez out with the left
hand lady opposite, and back; all forward and back; pass through to the next trio. TEMPETE.

Form in two lines of six or eight couples on a side . 

First two couples down the centre (one couple from each line), four abreast; couples part at
the bottom and up abreast, and each turn around opposite the next couple that was below them
on starting-four on each side-right and left-ladies chain with the same couple-balance four
hands round (on each side), same four down the centre, etc. MONEY MUSK. 

First couple join right hands and swing once and a half round; go below second couple (the first
lady goes below second gentleman on the outside; first gentleman at the same time goes below
and between second and third ladies;) forward and back six; first couple swing three-quarters
round; first gentleman goes between second couple (on the inside), first lady goes between
third couple (on the inside); forward and back six; first couple swing three-quarters round
to place (below one couple); right and left four. OPERA REEL. 

First couple balance down the centre to the foot of the set; second couple balance down the centre
to the foot of the set; four right and left at the foot; both couples up the centre; first couple
down the outside, and remain at the foot. FORE AND AFTER, OR A STRAIGHT FOUR. 

Music-Charley Over the Water . 

Two couples stand in a direct line (partners facing each other .) 

All balance, straight right and left, or Highland chain, (this repeated two or three times);
a lady and gentleman stop in the centre and balance; straight right and left; other couple the
same; repeat at pleasure. POP GOES THE WEASEL. 

First couple down the outside, back; down the centre, back; swing three hands once and a half
round with second lady, (first couple raise their hands); second lady passes under them to
place; first couple swing three hands with second gentleman, (first couple raise their hands);
second gentleman passes under to place. CHORUS JIG. 

First couple down the outside, up; down the centre, up, (cast off) swing contra corners; balance
and turn to places. 

HULL'S VICTORY. 

DEVIL'S DREAM. 

LADIES' TRIUMPH. 

HEWITT'S FANCY. 

PORTLAND FANCY. 

TWIN SISTERS. 

CIRCASSIAN CIRCLE. 

CAMPTOWN HORNPIPE. 

ETC., ETC., ETC. INDEX. 

Introduction . 

Utility and Sanitary Advantage, 3 

Ball Dress, 15 

The Ball Room, 16 

Etiquette, 16 

Glossary of French Terms, 26 

The Five Positions, 23 

Gentlemen,-The Bow, 23 

Ladies.-The Courtesy, 23 

The French Quadrilles, 23 

Steps Formerly Used in Quadrilles, 24 

Form of the Quadrille of Four Couples, 25 

Double Quadrille, 26 

Quadrille Francaise, (or First Set), 27 

Quadrille Sociable, 30 

Basket Quadrille, 30 

Cheat or Coquette, 30 

Jig No. 1, 31 

Jig No. 2, 31 

Star Figure, 31 

Gavotte, 32 

March Quadrille, 32 

Minuet 33 

Waltz Quadrilles, 34 

Quadrille-Nine Pin, 34 

Description of the Figures of the Quadrille Mazourka, 35 

Lanciers Quadrille, 37 

Caledonian Quadrille, 38 

Prince Imperial Quadrille, 39 

Les Varietes Parisiennes Quadrille, 41 

Spanish Dance, 43 

The Figure called The Graces, 44 

Sir Roger de Coverly or Virginia Reel, 44 

The Polonaise, 46 

The Valse, 46 

The Hungarian Valse, 46 

The Valse a Trois Temps, 47 

The Polka, 47 

The Polka Valse, 43 

The Polka Step, 49 

The Step of the Polka Redowa, 50 

The Galop, 50 

Step of the Schottisch, 51 

Redowa Valse 51 

Valse a Deux Temps, 51 

Mazourka, 53 

Polka Mazourka, 53 

Step of the Varsovienne, 54 

La Coska, 54 

Step of the Danish 54 

La Esmeralda 55 

Valse a Cinq Temps, 55 

Step of the Cinq Temps, 55 

Valse Les Patineurs, (The Skaters), 56 

Step of the Valse Les Patineurs, (The Skaters), 56 

Valse L'Americaine, 56 

The Cotillon, 57 

Figures of the Cotillon, 60 

Index to Figures of the Cotillon, 88 

Country Dances, 91 

MUSIC. 

Valse Les Patineurs . 

Valse La Coska .