ASSISTANT FOR A. DODWORTH'S PUPILS. 

NESBITT & CO., PRINTERS CORNER OF PEARL AND PINK STREETS NEW YORK. 

1878 ASSISTANT FOR A. DODWORTH'S PUPILS. 

NESBITT & CO., PRINTERS CORNER OF PEARL AND PINK STREETS NEW YORK. 

1878. 

Entered according to Act of Congress, in the year 1878, By ALLEN DODWORTH, In the Clerk's Office
of the District Court in the Southern District of New York. INTRODUCTION. 

With an experience of over thirty years, and an unceasing desire to profit by the experience
of others, it would be indeed strange had I not gathered some useful ideas pertaining to my occupation.
During that time, I have had more than twenty thousand pupils under my personal instruction-Individuals-Private
Classes-Family Class-Boys' and Girls' Schools-Boarding Schools-Day Schools-Military
Schools-and at the Military Academy of West Point, thus passing through all phases of teaching.

This experience abundantly proves that classes at my own establishment have very great advantages
over all others. They have a large and thoroughly ventilated room, a perfect floor, free from
the least dust; commodious dressing-rooms, good attendants, the best of music, and stimulation
of competition, the association of the two sexes; the natural ambit on for promotion, rarely
fails in bringing forward even those who may not be as favored by nature as others. 

Then, again, the education of my own family has taught me with what anxiety, and, at times, with
what uncertainty, parents trust their children to the guidance of teachers. This anxiety
is natural, and deserving the utmost respect; little can be said that will relieve it, and yet
it should be known what aims a teacher has, and upon what principles he bases his instruction.
I will briefly state mine: 

From the commencement of my career it has been my belief that instruction to children, in the
dancing school, should have for its objects-Strength, Agility, Gracefulness of Motion,
Ease of Manner and Politeness; not alone the ability to dance those dances in fashion at the
present time, but to move in the presence of others with composure and gracefulness; to learn
to associate with others, under pleasurable circumstances, without rudeness; to learn,
under these circumstances, how essential it is for our own happiness, that we practice mutual
forbearance, and that in our amusements we should never forget the golden rule. 

When it is said that these objects may be gained by attendance at a dancing school, it is only
asserting what experience has proven to be true. Under few other circumstances can as much
be accomplished, in this way, as when children are so happily exhilarated and stimulated by
the general tone of a well conducted class. 

I cannot refrain from confessing here, that when surrounded by so many children, whose minds
are so awake and susceptible to impressions-that the position I occupy fills me with very great
anxiety. In the first place, the responsibility that nothing shall be said or done that would
stain the pure mind of a child; and, secondly, that the opportunities thrown in my way, under
these favorable circumstances, of inculcating principles that would elevate the tone of
character of my pupils, shall not be lost. I feel that, did I fulfil all the duties of a dancing
teacher, and neglect these, then indeed my life had been a failure. 

It is, I believe, the experience of most teachers, that our ideas are far beyond what we accomplish.
I believe, also, that I may trust to the evidence of my patrons, that I may trust to the evidence
of my patrons, that although I may not have accomplished all that I could see before me, it has
not been without faithful and earnest effort to do so. ADVICE TO MY PUPILS. MANNERS. 

How few can resist the influence of agreeable manners; and, what is this manner? It may be simply
a word or a gesture. Yet those who mistakenly consider it an exhibition of independence to be
rude are influenced, and often subdued, by the kindly, good manners of another. Is it not manner
which gives us the first, and often the most lasting, impression of persons to whom we may be
introduced? Do we not all feel it in the effect of a kindly expression, or a gesture of attention?
Do not others feel as we do? Surely, then, that which adds so greatly to the pleasures of ordinary
intercourse is deserving of great attention; and yet, how few in reality study to cultivate
good manners . 

It is often supposed that it is the observance of certain fixed rules, but that is a mistake.
The rules of etiquette are valuable for the regulation of society: but good manners is an individual
virtue, which augments the pleasures of social intercourse an hundred fold. And still it may
be asked: "What is this great virtue?" The answer should be simply, Kindness . Surely, then,
I cannot too forcibly urge upon the attention of my young pupils the cultivation of this truly
" Christian grace ." TO THOSE WHO ATTEND THE AFTERNOON CLASSES. 

Upon entering the room make your salutation to your teacher. Never run, but always walk across
the room: and let your capability for refinement show itself in your walking. 

Do not leave the room without excusing yourself. It may not be necessary to ask permission,
but ordinary politeness requires that you should excuse yourself to your teacher. Do not leave
the room more than once during the afternoon. 

Return to the class room as soon as possible. 

Keep your seats while another class is receiving a lesson. 

To talk loudly is at all times in bad taste, during a lesson is exceedingly annoying, both to
teacher and pupils. 

Do not dance in the dressing rooms, as by so doing you annoy others. 

Make no engagements with each other for certain dances. 

It is better that young gentlemen should wear gloves, as the perspiration of the hands is liable
to stain the dresses of their partners. 

Never laugh at any awkwardness you may see; you yourself may at times require the protection
of this suggestion. 

At all times let there be an emulation of kindness to each other among the pupils. If nature has
denied gracefulness or ready imitation to any, do not allow that to be a cause for unkind ridicule,
but rather let your good nature prompt you to aid such, as it is they who require most assistance.
TO THE YOUNG GENTLEMEN OF THE EVENING CLASS. 

Nothing can be written that will greatly aid you in acquiring such dances as the Waltz. Galop,
or Polka. Those who understand the technicalities of the art have difficulty in clearly comprehending
a description of a new dance of that class; and if you could understand a description, it would
not enable you to dance them, as the ability to understand is very different from the ability
to execute. The best of instruction, in any art, is but a small portion of the work to be done.
Practice, practice, practice , is the lever of success. In this; as in all things else in this
world, "Only the diligent meet with success." 

I, therefore, recommend you, as quickly as possible, to throw aside all embarrassment, and
at once come to the determination that you cannot learn by receiving a few directions, but that
it will require from you a considerable amount of exertion and perseverance. Determine to
give that exertion, not fitfully but steadily, twice a week, full two hours each time; and at
the end of the term you will find that you have accomplished all that you should reasonably expect.
If, on the contrary, you enter the class, take your lesson, and then sit down to think about it,
the result will be anything but satisfactory, either to yourself or instructor. 

Remember that a dancing school is a place to which you come for the purpose of throwing aside
your awkwardness. But how can that awkwardness be thrown aside, if it is not well shaken ? 

Don't be afraid to ask each other to dance. He must be an unkind person who will not assist his
fellow pupil, especially as each in turn may receive assistance from another. Mutual assistance
should be characteristic with those who attend such a place. The success of all depends greatly
upon this mutual concession. 

It is a mistake to dance only with one person. Frequently change; dancing sometimes as gentleman,
again with the same partner as lady, then alone, so that you may learn to be self-reliant. If
you are doing wrong, the instructor will put you right. If you are doing nothing, there is nothing
to put right. 

It is better that all present take part in whatever lesson may be given, and none playing the
part of spectator, to the annoyance of those engaged. You will find, also, little additions
and variations made, from time to time, in the method of imparting the lesson, that will often
give a new light upon what to you may appear as a very old subject; and the exercise will always
assist in giving pliability and direction to the muscles. 

You are not required to attend in any particular form of dress, but the instincts of every gentleman
requires that your dress shall be cleanly, more especially the boots , and these ought to be
thin and elastic, suitable for the purpose. LANCERS, QUADRILLES, ETC. 

When you have taken a place, in a dance of this class which requires the co-operation of others,
do not change to another sett, unless it is understood that an exchange would be agreeable to
all-and then not without an apologetic motion of some kind. 

Remember , and feel also, that you have made a mutual engagement with the others, to be always
ready at the proper moment, to execute any part that may require your attention, and that it
is a serious breach of good manners, and consequently an unfortunate reflection upon your
"Savoir fair" to neglect this duty. 

When turning partners or others, do so in a manner indicating pleasure at the opportunity,
not as many do, with indifferent condescension. 

Understand , that you belong to the sett, not that the sett belongs to you. Be as cheerfully ready
to assist the others to execute a figure, as you expect them to be when you require their assistance.
A distinguished English author says, "Nothing more clearly indicates the true gentleman
than a desire evinced to oblige or accommodate , whenever it is possible or reasonable ; it forms
the broad distinction between the well-bred man of the world and the irreclaimably vulgar-vulgar,
not from their inferiority of station, but because they are coarse . 

There is no more common or absurd mistake than supposing that, because people are of high rank,
they can not be vulgar; or that, if people be in an obscure station they can not be well bred. We
have seen as many instances of vulgarity in a peer as could be found in a grazier; and have noticed
as many examples of a perfect freedom from the least taint of it in persons in humble life, as
could be desired in a duchess. Ordinary Quadrille. 

Each figure begins at the second strain of the music. The numbers on the right denote the number
of measures of music required for each movement. FIRST FIGURE. 

During the first four bars all make the salute to partners; at the second four bars all salute
at the corners. 

RIGHT AND LEFT.-Two opposite couples cross directly over, changing sides with partners after
passing opposite couple, 4 4 

BALANCE.-The opposite couples walk forward and back again, seven steps, passing to right
of opposite couple, 8 

LADIES' CHAIN.-Two ladies cross over giving right hand in passing, and turning opposite gentleman
with left hand, who receives the lady with left hand. Same movement back to places, 8 

BALANCE.-(As above). 8 SECOND FIGURE. 

FORWARD TWO. 4 4 4 4 

BALANCE.-(As above), 8 THIRD FIGURE. 

RIGHT HANDS ACROSS. 8 4 4 4 4 4 4 FOURTH FIGURE. 

FORWARD FOUR. 4 4 

4 4 4 4 4 4 FIFTH FIGURE. 

LADIES' CHAIN.-(Same as before), 8 

FORWARD TWO.-(Same as before), 16 

BALANCE.-(Same as before), 8 

ALL CHASSEZ ACROSS. Pass and repass partners, 8 Jig Figure. 

HANDS ALL ROUND, 8 

ALL LADIES TO RIGHT. 8 8 8 8 

HANDS ALL AROUND, 8 

ALL THE GENTLEMEN TO THE RIGHT. 8 24 

HANDS ALL ROUND, 8 

ALL CHASSEZ, 8 Cheat, or Coquette. 

FIRST COUPLE BALANCE TO RIGHT. giving both hands to opposite persons. Balance to next couple,
then to the fourth couple, and finally, balance and turn partners. 

THIRD COUPLE BALANCE TO RIGHT. 

SECOND COUPLE BALANCE TO RIGHT. 

FOURTH COUPLE BALANCE TO RIGHT. 

This figure derives its name from the privilege allowed after balancing, either turn the opposite
person, or make a feint to do so, and suddenly turning some other person, thus cheating the first.
Basket Dance. 

FORWARD TWO, 16 

BALANCE, 8 8 Virginia Reel. Or , SIR ROGER DE COVERLY. 

Danced with eight couples, in two lines, the ladies on one side and the gentlemen on the other,
facing inward. 

The top lady and bottom gentleman execute each figure, and are immediately followed by the
bottom lady and top gentleman, in the following order: 

Forward and back; forward and turn with the right hand; turn with the left hand; turn with both
hands; forward and dos a dos; forward and back. 

First lady then turns with the left hand every gentleman down the line, while her partner turns
every lady; between each one turn partner with right hand; when arrived at the bottom, return
to the head; separate from partner, lady passing down the outside of ladies' line, and gentlemen
passing down the outside of the gentlemen; all follow meeting partners at the bottom, and then
chassez up the centre, when first couple chassez down the middle, and takes position below
the last couple, when the figure commences with the new couple at the head. The Lancers. FIRST
FIGURE. 

Opposite couples forward and back, 4 

Same couples forward a second time, turn with both hands, and return to places. 4 

Cross over, first passing between second, 4 

Return to places, second passing between first, 4 

Balance at the corners (the four ladies balance to the gentlemen on their right, gentlemen
facing to the left to receive the balance), turn with both hands, and finish in places, 8 

Same for the other three couples. SECOND FIGURE. 

Opposite couples forward and backward, 4 

Leave ladies in centre, 4 

Chassez to right and left, 4 

Turn to place, 4 

All form two lines; forward and back, 4 

Forward and turn partners to places, 4 

In forming two lines first and second times, the two side couples separate from their partners,
and join each side of the head couples, forming two lines, four on a side; third and fourth times,
the head couples join the sides. THIRD FIGURE. 

Opposite couples forward and back, 4 

Forward a second time and salute (curtsey and bow), and return to places, 4 

Four ladies cross hands with their right, and so promenade round, while the gentlemen promenade
in the contrary direction, outside; change hands and return in opposite direction, or ladies
chain, 8 FOURTH FIGURE. 

Head couples visit the couple on the right, salute with bow and curtsey, 4 

Visit the couple on the left, and salute, 4 

Return to places, 4 

Right and left with opposite couple, 8 FIFTH FIGURE. 

Grand chain (or right and left all round), 16 

First couple turn round and face outward, 

Couple on right take place behind first, 

Couple on left behind third couple, 

Second couple behind all, 8 

All chassez across and back, gentlemen passing behind ladies, 8 

March round, ladies to left, gentlemen to right, meeting at the bottom, and coming up together,
8 

All eight forward and back (ladies on one side, gentlemen opposite), 4 

All forward and turn partners to places, 4 Waltzing. 

Count Alfred D'Orsay uses as his motto to a work * published about the year 1840 these words:

"Waltzing is the art of a gentleman, and never was taught or understood by a dancing master."

Perhaps true in his day and country, for certainly the English never excelled in this art, nor
do they at the present day, but it would be very untruthful to say that they were not gentlemen,
or that good teachers could not be found in England. The Count no doubt intended to say: " To waltz
well requires all the refinement of a gentleman, in addition to the best of instruction." He
further says: 

"The great thing is practice , both alone and with a partner. The beginner is too apt to think
the affair finished when he has learned the step. But practice is not more necessary in skating
than it is in waltzing. 

"By long and patient practice by himself, the pupil will, as in skating, imperceptibly attain
a gradual, but great improvement in power, rapidity, length and directness of step, smoothness,
and endurance, both muscular and vascular (wind). It is, indeed, with waltzing as with every
other accomplishment, mental or corporeal, 'wha does the utmost that he can, shall whiles
do mair.'" 

And again: 

"The pretending, or attempting in public, what we cannot perform, has no more unfortunate
feature about it, quam quod ridiculos homines facit. 

"One can scarcely conceive of the agonies which I have suffered in observing my countrymen
making themselves ridiculous by their attempts and failures in the art of Waltzing . But it
is quite impossible to imagine the martyrdom which I have endured in observing my country women
making themselves ridiculous in the same way. For their sake, then, I subject myself to the
reproach- 

'Turpe est difficiles habere nugas, Et stultus labor est ineptiarum;' 

and am contented to discuss the true principles of waltzing, since, on the true principle,
the more practice, the more perfect; but on false principles, the more practice, the less perfect."

Certainly. "With true principles, the more practice, the more perfect," but where shall we
find the "true principles?" Among those who simply pick it up-or with those who have made it
the study of a life? 

Most self-taught dancers fall into bad habits, as the self-taught in any art usually do fall,
not having profited by the experience and advice of those who have made it their study to know
the best. One unfortunate and radical misapprehension seems to take possession of all such
persons, that of mistaking expertness for gracefulness, as in music noise and execution often
takes the place of expression. Young persons pick up or learn from one another most of the dances
at present in use. They are satisfied to get about to the music, in their way, unconscious of
the existence of good taste in motion. Yet many of these persons have great influence in deciding
what we shall all dance in society, and are the first to pooh-pooh or sneer at anything they cannot
readily comprehend. But it is natural that it should be so, as self-taught people generally
begin and end with a large share of self-esteem. This egotism is usually accompanied by great
confidence and self-assertion, against which the more modest and timid care not to contend,
and so either yield their better judgment and follow what is insisted upon as the fashion, or
abandon the field. In this way ignorance often tramples upon knowledge, and is another example
of the success of impudence. To move gracefully is an art; to make steps, a trade. The first requires
intelligence, good taste and good teaching; the second, simply strong muscles and assurance.
We may see a hundred examples of the one to ten of the other; as, in music, many execute, but few
express. One may waltz in no better style than a plantation negro would dance a breakdown; another
may dance an Irish jig so gracefully that every motion shall be a study for a sculptor. It has
been correctly remarked that teachers cannot dictate to society. Certainly not in relation
to what dances shall be fashionable; but as to the manner of dancing, the teacher should have
everything to say. We may not dictate what people shall wear, but there are fixed laws which
tell us what colors harmonize, and how they should be blended. We may not dictate what music
may be used, but who is the authority for good taste and expression in rendering that music,
if not the cultivated teacher? It is true that society furnishes us with the best and worst examples,
and it is simply criminal in a teacher not to select the best and impart that to his pupils, and
worse than criminal not to educate himself by observation and good associations so as to be
able to recognize the best, and not be misled by passing kinks of fashion. HOLDING PARTNERS.

I cannot too strongly recommend the attention of my pupils to this subject, as it is the line
of demarcation between those who are "comme il faut" and others or, in plainer language, between
the thoroughbred and the vulgar. And if the observation of society waltzing in New York and
Europe for over forty years furnishes any proof whatever, it is that the way here described
is to-day as at the beginning adopted by all who may be noticeable for refined manners and movements.
THE BETTER WAY OF HOLDING. 

The gentleman approaches the lady by offering his left hand-one au fait will at the same time
make a slight inclination or half bow. The lady places her right hand in that of the gentleman,
who then extends his right arm in direct line to the side, the forearm bent so as to form an acute
angle. In this angle the lady will place herself, with the centre line of the person opposite
the line of the gentleman's right side, both persons on parallel lines, not forming an angle.
In this position each will be looking over the other's right shoulder, and by the lady turning
her head slightly to the left, the effect of the group will be greatly improved, and prevent
all possibility of taking each other's breath, which is rarely pleasant, and in the case of
a young man directly from the use of a meerschaum, is "positively horrid," as many ladies have
remarked. The lady, if not too short, places her left hand, hooked, upon the gentleman's right
shoulder, the fingers appearing in front. The right hand of the gentleman should rest very
gently upon the lady's back, as near the waist as possible, so as not to remove the upward pressure
of the elbow directly under the lady's shoulder, as this is the lady's support, and must be held
with sure, but gentle firmness. The hand on the back should rest very lightly, and on every possible
occasion slightly raised, so that the air may pass between, as in some cases the close contact
induces perspiration, and may leave its mark upon the lady's dress. Both persons should be
slightly bent forward, from the hips upward, so that the shoulders may be only three or four
inches apart, but the distance increasing downward; this leaves both parties free in their
limbs, so that any contact of person or knees may be avoided, and should be so avoided as a most
serious mistake. The gentleman's left hand holding the lady's right, should be extended downward
in a line with the body, the hands three or four inches distant from the person, the arms forming
a gentle curve from the shoulders downward. No weight is placed upon this arm; all the guiding
and changes must be governed by the elbow under the lady's arm. It will be found that this grouping
will be perfectly modest in appearance, no more contact of person occurring than in a lady taking
a gentleman's arm for walking. In conclusion, let it be remembered that purity of thought and
action may be as conspicuous in waltzing as in any other situation of life; that the gross waltz
grossly, the vicious viciously, the refined and innocent innocently and in a refined manner,
and that it is not reasonable to confound the abuse with the use. "The German." 

Known in Europe as the Cotillon . 

Knowing the Waltz, Galop and Polka, with some familiarity with the figures of the Lancers and
Quadrille, will enable any one to take part in this interesting and eminently social dance.

It would be well, however, for those unacquainted with it to take seats, say five or six couples,
to the left of the leader, an opportunity is then gained of seeing before attempting any of the
figures. 

The success of a German depends very greatly upon the Leader (Cavalier Conducteur). He selects
and introduces each figure; gives all instructions to the music. Designates the number of
couples required for the proposed figure; urges the tardy ones, signals those who occupy the
floor too long-in fact should be constantly on the alert to keep up the spirit of this charming
dance; but without prompt obedience and attention to the details of the figures, by the others
engaged, there will be neither life or spirit, where all should be animation and go. It is therefore
important that after each selection of partners, the couples take places with as little delay
as possible. After the figure is completed by each party, others may join in the general waltz,
which always follows, but under no consideration should any rise before that time, unless
called upon by the Leader. 

Let it be understood that 

Prompt obedience to the Leader, 

Attention to the details of the figures, 

No interference when others are engaged- 

Are "indispensable conditions" of the German. FORMATION. 

Seats are taken by all engaged, each lady on right of her partner. 

The Leader and partner's place is the head, from where all figures commence. 

Each figure is repeated, until all have been called upon, that is to say, should a figure require
two couples to commence, each group of two couples is called up by the leader in succession,
from right to left, and it is here where most of the delay occurs, as persons chatting with their
partners frequently forget that others are awaiting their movements. 

In cases where a large number is engaged, and a small figure introduced, it is permissable for
the Leader, after one party has executed a figure, to call upon two or three parties, thus obviating
the tedious waiting that would otherwise occur. 

The signal of the Conductor is clapping hands once or twice. 

Each party called upon by the Conductor, waltzes a short time, previous to the selection of
other partners. 

If the ladies would remember always to take the gentleman's right hand with their left , much
time would frequently be saved, as nearly every figure requires the lady to be on the right.

It would be a difficult task to describe all the figures, so many inventions and modifications
are introduced by our best Leaders, and yet a description of a few may give the key to all. A WORD
OF CAUTION. 

In dancing the German, it will be occasionally discovered, that a certain party or clique will
be constantly on the floor, and the others "allowed to do the sitting." This is accomplished
by an understanding between the parties. "You call me, I'll call you," and so they get most of
the dancing, to the exclusion of their friends. 

The caution I would give my pupils is, never to commit such a mistake . A little waltzing, more
or less, is not worth the sacrifice of self-respect. FIGURES OF THE COTILLON AS DESCRIBED IN
CELLARIUS' WORK "FASHIONABLE DANCING." 1. The Excursion . 

The first gentleman chooses two other ladies from the circle; his lady on her part chooses two
other gentlemen. They place themselves opposite to each other at a certain distance, and then
commence the waltz, each gentleman with the lady that happens to be opposite to him. 2. The Rounds
of Three . 

The gentleman takes two ladies, and the lady two gentlemen. Consequently they form two rounds
composed of three persons, who face each other. The two rounds turn very rapidly. At a signal
given, the gentleman passes under the arms of the two ladies, with whom he has just turned, and
springs towards his own lady, who on her part has been turning with the two gentlemen, and the
latter then rejoin their own ladies, and having faced them, reconduct them to their places
in waltzing. 3. The Chairs . 

The conductor places his partner in a chair in the centre of the room. He then takes two gentlemen
and presents them to the lady, who must choose one of them. He then makes the rejected gentleman
sit down, and presents two ladies to him that he may select one. The first gentleman retains
the rejected lady, and conducts her to her place in waltzing. 4. The Flowers . 

The conductor selects two ladies, and invites them in a low tone to name a flower. He presents
the two ladies to another gentleman, and names to him the two flowers, that he may choose one
of them. The second gentleman waltzes with the lady represented by the flower he has named,
and the conductor waltzes with the other lady. The partner of the first gentleman executes
the same figure with the two gentlemen she has chosen. 

An amusing change in this figure is made by the gentlemen selecting the names of animals. 5.
La Course Assise . 

Two chairs are placed back to back in the middle of the room. The gentleman and his partner then
take the one a lady, and the other a gentleman, whom they place in the chairs. The gentleman then
seeks two other ladies, whom he takes by either hand, and places himself opposite the lady he
has seated; his partner does the same with two gentlemen. At a signal given each takes the person
opposite-that is to say, the conductor takes the first lady whom he seated, and his partner
takes the corresponding gentleman; the two other ladies, chosen in the second place, take
in like manner for the waltz the gentlemen placed before them. 6. The Columns . 

The conductor leaves his lady in the middle of the room. He takes a gentleman, whom he places
back to back with his partner; he takes another lady, whom he places opposite to the gentleman
just chosen, and so on for the rest, till he has formed a column of four or five couples that he
takes care to terminate with a lady. At the signal given by clapping his hands, every one turn
round and dances with his opposite to his place. A double column may be formed. 7. The Cushion
. 

The first gentleman sets out, holding a cushion in his left hand. He makes the round of the room
with his partner, and leaves the cushion to his partner, which she must present to several gentlemen,
inviting them to kneel upon it. The lady should draw back quickly from the gentleman that she
means to mock, and let it fall before the one that she intends to choose. 8. The Cardes . 

The first gentleman presents to four ladies the four queens of a pack of cards, while his partner
presents the four kings to as many gentlemen, who rise, and seek the ladies of their colors.
The king of hearts waltzes with the queen, the king of spades with the queen of spades, &c. 9.
The Pyramid . 

Three couple. Every gentleman seeks another gentleman, and every lady another lady. The six
ladies from three unequal ranks. One lady alone forms the first rank, and represents the top
of the pyramid; two compose the second, and three the third. The gentlemen take each other by
the hand and compose a chain. The conductor leads the other gentlemen and passes, running,
behind the three last ladies. He enters the last rank, then the second, causing the chain of
gentlemen he conducts to wind about the ladies. When he comes in front of the lady placed at the
top of the pyramid, he claps his hands, and leads off in waltz the lady opposite to him. The other
gentlemen in like manner waltz or dance with their opposites. This figure may be executed by
five couples, by forming a fourth rank of ladies. 10. The Deceiver . 

Two or three couple. Every gentleman chooses a gentleman, and every lady chooses a lady. The
conductor alone chooses two gentlemen. The gentlemen form a line, and place themselves back
to back with the ladies, who form a parallel line. The conductor remains without the ranks,
and places himself in front of the ladies' line. He claps his hands and chooses a lady, at which
signal all the gentlemen turn round, and take for the waltz the ladies who happen to be behind
them. The gentleman, who finds himself without a partner in consequence of the conductor's
choice, returns to his place, unless he can find a compassionate lady in the circle who will
consent to waltz with him. 11. The Serpent . 

The gentleman leaves his partner in one of the corners of the room, her face turned towards the
wall, and then goes to choose three or four ladies whom he places behind his own, leaving a certain
distance between each of them. He then chooses as many gentlemen, himself included, as there
are ladies. He forms a chain with the gentlemen he has chosen, and after having rapidly promenaded
this chain he passes behind the last lady, then between each one, 'till he has regained his own.
He then claps his hands, and every gentleman dances or waltzes with his opposite. This figure,
which has a great analogy to the Pyramid , should be chosen by preference in all rooms of small
extent. Two or three columns may be formed by several couples starting at the same time. 12.
The Broken Round . 

The gentleman leaves his partner in the middle of the room and chooses two other gentlemen,
who form with him three hands round about the lady. The gentlemen turn very quickly to the left.
At a signal given the lady chooses a gentleman for the waltz, and the two other gentlemen return
to their places. Among intimate friends the two discarded gentlemen may waltz together about
the circle. 13. The Handkerchief . 

One couple. After the waltz or promenade the lady makes a knot in one of the four corners of a handkerchief,
which she presents to four gentlemen. He who hits upon the knot waltzes with her to her place.
14. The Change of Ladies . 

Two couple. After having made sundry circuits, they ought to approach each other, the gentlemen
changing the ladies without losing the step or the time. After having danced with each other's
lady, each takes back his own and regains his place. 15. The Hat . 

The gentleman leaves the lady in the middle of the room, and delivers to her a hat. All the gentlemen
come and form a circle about the lady, with their backs turned to her, and going very quickly
to the left. The lady places the hat on the head of one of the gentlemen, with whom she makes a tour
de valse. The other gentlemen return to their places. 16. The Scarf . 

This figure is the fellow to that of the Hat . A gentleman, with a scarf in his hands, keeps in the
middle of a circle formed by the ladies about him, and must fling the shawl on the shoulders of
the one with whom he chooses to waltz. Every gentleman should go to rejoin his lady and reconduct
her to her place. 17. The Ladies Seated . 

Two chairs are placed back to back in the middle of the room. The two first couple begin with the
waltz. The two gentlemen seat the ladies, and then choose two others, with whom they make the
tour of the circle, after which they again take their partners to reconduct them to their places
in waltzing or dancing. While the two ladies they have just quitted, sit down in their turn,
the two gentlemen execute the same figure, and so on for the rest. When all the gentlemen have
gone through the figure there remain upon their seats two ladies, whom their partners come
to liberate. This figure may be executed by three or four couple, by placing as many chairs in
the middle of the circle. 18. The Glass of Champagne . 

Three chairs are placed in a line, the two outer chairs being turned another way from that in
the middle. The first couple sets off; the gentleman seats his lady in the middle chair, gives
her a glass of champagne, and goes for two other gentlemen, whom he places on the other chairs.
The lady gives the champagne to one of the gentlemen to drink and regains her place with the other
in waltzing. 19. The Rejected Couples . 

The first gentleman kneels on one knee in the middle of the room. His partner chooses from the
circle several couples, which she presents to him, and which she refuses successively. The
couples form in a row behind the gentleman on his knee, who ends by choosing a lady, with whom
he waltzes or promenades and then brings back to her partner, who remains in front of the row,
and receiving his own lady, reconducts her to her place. The first gentleman reconducts each
lady in waltzing and when all the couples have disappeared he again finds his own lady, who had
sought refuge behind the column, whom he reconducts in her turn. 20. The Bouquets . 

Several nosegays are laid upon a table. The gentleman and his lady, each take a nosegay, which
they present, the gentleman to a lady, and the lady to a gentleman, to make a tour de valse . This
figure is repeated by all the couples. 21. The Presentation of Ladies . 

The gentleman kneels in the middle of the room; his partner chooses from the circle several
ladies, whom she presents to him, and whom he invites to place themselves behind him in a row
till he has taken one to dance or waltz with. This figure, which has great analogy to that of the
Rejected Couples (fig. 19), is better suited to rooms of small size. 22. The Moving Cushion
. 

The first gentleman seats his lady, and places at her feet a small cushion, before which she
successively leads several gentlemen, whom he has taken from the circle, inviting every one
to kneel upon the cushion, which the lady, in case of refusal, quickly draws back. The rejected
gentlemen place themselves in a line behind the chair of the lady, who indicates her choice
by leaving the cushion immovable before the gentleman with whom she chooses to waltz. 23. The
Ladies Deceived . 

The gentleman takes his lady by the hand, promenades about the circle, and approaches several
ladies pretending to invite them to waltz or dance. The moment the lady rises to accept his offer,
he turns away quickly to address himself to another, on whom he plays off the same game, till
he at last really makes a choice. The lady of the conductor dances or waltzes with the partner
of the lady who has been elected. 24. The Magic Hat . 

The gentleman gives to his partner a hat, which she presents to several ladies, requesting
them to place something in it. She afterwards presents the hat to several gentlemen, who take
out bone of the deposits, and seek the lady to whom it belongs, to urge her to make a tour de valse
or a promenade. This figure may be performed by several couples at the time. 25. The Phalanx
. 

Each gentleman chooses 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 her on his left; the two ladies give
each other their hands behind him so as to form the ancient figure known by the name of the Graces
. The lady of the conductor takes the same position with the gentleman she has chosen; the groups
range themselves one after another in the same manner, and keep so close as to form a phalanx,
which sets out with the pas de valse without turning. At a given signal the gentlemen, who are
between the two ladies, turn round with them, and each waltzes with his opposite. 26. The Mysterious
Cloth . 

All the gentlemen of the cotillon range themselves behind the cloth, which two persons hold
out displayed, so as to form a sort of screen, and place above it the ends of their fingers, which
the lady on the other side is to take, thus indicating her partner. * 27. The Gentlemen Deceived
. 

The five or six first couple start together, and place themselves in ranks two and two. The first
gentleman holds his lady by the right hand, and should not look at the couple placed behind him.
His lady chooses a gentleman among the other couples. The gentleman and that lady separate,
and advance tiptoe on either side of the column, in order to deceive the first gentleman at the
head of it, and endeavor to rejoin each other and waltz together. If the gentleman, who is on
the watch, is lucky enough to catch hold of his partner, he reconducts her, in waltzing, and
the gentleman, who follows, replaces him. In the contrary case, he must remain at his post till
he can lay hold of a lady. The last remaining gentleman waltzes with the first lady. 28. The Double
Cross . 

Four couple start together, and place themselves en moulinet (turnstyle fashion). * The gentlemen
all give their left hands, and hold their ladies by the right. Each lady calls a gentleman, who
comes and gives her his left hand; the new gentlemen in turn call upon other ladies, who in like
manner place themselves in rays, all the couples describe a tour in executing together the
pas de valse, then separate, and regain their place, by pairs. 29. The Grand Round . 

Four couples start together. Each gentleman chooses a gentleman, and each lady selects a lady.
A grand round is formed, the gentlemen holding each other by the hand on the same side, and the
ladies on the other. The commencement is made by turning to the left; then the conductor, who
should hold his lady by the right hand, advances without quitting it, and cuts through the middle
of the round, that is to say, between the last lady and the last gentleman. He turns to the left
with all the gentlemen, while his partner turns to the right with all the ladies. The conductor
and his lady having described a semi-circle reversed, meet again and waltz together; the second
gentleman takes the second lady, and so on with the rest, till the chain is exhausted. 30. The
Twin Circles . 

Four couple start together. Each gentleman chooses a gentleman, and each lady a lady. The conductor
places himself in the ladies' round, and his partner places herself in that of the gentlemen.
The two rounds turn to the left with rapidity: at a given signal the conductor selects a lady
to waltz with; his partner does the same with a gentleman; during this time the gentlemen extend
themselves in one line, and the ladies in another. The two lines advance towards each other,
and every one dances with his opposite. 31. The Deceitful Round . 

The conductor chooses three ladies, whom he places with his own at a certain distance from one
another, and as if for the game of Puss in the Corner. He then selects four gentlemen, and forms
with them a round which is intermingled with the square formed by the ladies. The five gentlemen
ought to turn with great rapidity, and at a given signal turn round and take the lady that is behind
them to waltz with. There is necessarily one gentleman victimized, who is condemned to return
alone to his place. 32. The Convent Porter . 

The conductor selects from the circle several ladies, whom he leads, as well as his own partner,
to an apartment adjoining the ball room, and of which the door remains ajar. Each lady names
in a low voice a gentleman, whom the conductor then calls upon aloud to come and make a tour de
valse with the lady that has summoned him. The conductor takes care to reserve one of the ladies
for himself. This figure may also be executed by the lady conductress, who should then imprison
the gentleman she chooses, and call the ladies pointed out by them. 33. The Mysterious Hands
. 

The conductor imprisons, in an adjoining apartment, several ladies besides his own, as was
explained in the preceding figure. Each lady passes a hand through the half open door. The conductor
leads forward as many gentlemen as he has chosen ladies, when they each take one of the hands,
and waltz with the lady so elected. The conductor has also the right of seizing one of the mysterious
hands. 34. The Handkerchief Chase . 

Three or four couple start. The gentlemen leave in the middle of the room their ladies, who should
each have a handkerchief in her hand. The gentlemen of the cotillon form a circle about them,
with their backs turned. The ladies toss their handkerchiefs into the air, and waltz with such
of the gentlemen as have the good luck to catch them. 35. The Stormy Sea . 

Two rows of chairs are placed with their backs to each other, as for the game, the name of which
has served to designate this figure. The first couple sets out. The conductor, if he has placed
twelve chairs in the middle of the room, selects six ladies, including his own, and seats them
in every other chair. He then selects six gentlemen, with whom he forms a chain that he conducts.
After having described a rapid course about the various parts of the room, and which he may prolong
or vary at pleasure, he finishes by closing around the chairs in which the ladies are. When he
seats himself, the other gentlemen should do the same, and each waltz with the lady who is at
his right. In this figure as in that of the Deceitful Round , one gentleman becomes a victim,
and must be content to return alone to his place. 36. The Four Corners . 

Four chairs are placed in the middle of the room at set intervals, to represent the four corners.
The first gentleman after having made his partner dance a tour de valse , seats her in one of the
chairs and takes the three next ladies to occupy the three other chairs. He stands in the centre
as for the game of Puss in the Corner. The ladies, still sitting, execute the changes, holding
each other by the hand, for the exchange of seats. When the gentleman can possess himself of
one of the chairs left vacant by any lady in the attempt to change places with her neighbor, he
waltzes or dances with her whom he has just dethroned. Another gentleman then places himself
in the centre of the circle, and another lady takes the vacant chair. When the last gentleman
has taken the place of one of the four last ladies, the partners of the three remaining should
reconduct them to their places in waltzing. Another. 

Two couple start. The first lady selects two gentlemen; the second lady one. The two gentlemen
each select one lady. The four ladies are placed in the four corners of the room. The five gentlemen
take hands in circle (hands round) in the middle of the room, going rapidly round to left; at
the usual signal, each gentleman hastens to secure one of the ladies, as one of the five must
resume his seat without a partner. General waltz follows. 37. The Bower . 

Four couple form a general circle in the middle of the room. When the circle is formed, the ladies
and gentlemen turn round, and find themselves back to back without letting go each other's
hands. Four other couple then start, and make a circle about the first, but without turning
round. In that position, and when they face each other, the gentlemen join hands above, and
the ladies underneath. The former then raise their arms high enough to form a circular passage,
that the ladies rapidly run through to the left without quitting each other's hands. At a given
signal the gentlemen lower their arms to stop the ladies, who waltz with the gentlemen before
whom they find themselves. 38. The Pursuit . 

Three or four couple set out. Every gentleman of the cotillon has the right to go behind each
couple and possess himself of the lady to dance or waltz with her. He should clap his hands to
announce his intention of substituting himself for her partner. This figure continues till
each gentleman has again got possession of his lady to conduct her to her place. To execute this
figure with all the animation required, it is necessary that as fast as each gentleman possesses
himself of a lady, another should replace him. The pursuit is one of the final figures of the
cotillon. 39. The Final Round . 

All the persons of the cotillon form a general circle. The conductor separates himself with
his lady from the circle, which should join again, and executes in the middle a waltz or a promenade.
He stops at a given signal, and his partner quits the circle, while he chooses a lady, with whom
he waltzes within it. He then in his turn quits the circle, and the lady he had chosen, takes another
gentleman, and so on for the rest. When there remain only two or three couple, a general waltz
is executed. The Final Round , like the Pursuit , is generally performed at the end of the cotillons.
40. The Endless Rounds . 

All the persons of the cotillon form a general round, and begin by turning to the left. The conductor
at a given signal quits the hand of his lady, who should be on his left, and continuing to turn
in the same direction, enters the round in forming a colimacon , while the last lady, whose hand
he has quitted, turns to the right to envelope the other circles that go on diminishing. When
they are quite close to each other, the conductor passes under the arm of one of the waltzers,
and waltzueses to get out of the circle every one following him without letting go their hands.
The conductor promenades at pleasure,and extends the line to reform the general round. All
the other couples perform a general waltz. This figure, like the two preceding, is generally
placed at the end of the cotillon. 41. The Windmill . 

Three couple start together. After a tour de valse , each gentleman chooses a lady, and each
lady a gentleman. All the gentlemen place themselves in moulinet, giving the left hand to each
other, and the right to the ladies, who themselves should hold them by the left. The first, third,
and fourth gentlemen, waltz in the intermediate space,while the other couples walk slowly.
At a given signal those waltzing form the moulinet, while the others waltz between. After two
or three changes of this kind, all join in a general waltz. 42. Changing Windmill . 

Three couple, choice of ladies and gentlemen, position of the moulinet as in the preceding
figure. At a given signal each lady advances to a gentleman, and waltz without quitting their
order in the moulinet. At a new signal they stop,but always in moulinet, to recommence with
the next lady, till each gentleman has recovered his own partner. General waltz for conclusion.
43. The Four Chairs . 

In the middle of the room are placed four chairs, arranged in the same way as for Puss in a Corner
. Four couple set off. in waltzing, and place themselves, each couple behind one of the four
chairs. At a given signal each couple waltzes about the chair, and then passes to the next, and
so on for the rest, always going to the right. 44. The Country Dance . 

Four couple place themselves in the middle of the room as for the quadrille. The first couple
waltzes about the couple on the right, and in the same way makes the round of the other couples.
The three other couple repeat the same figure. When all four have finished, all join in general
waltz. 45. The Handkerchief . 

Two couple start,the gentlemen, each holding with his left hand the end of a handkerchief and
high enough to pass under it at every circle that the handkerchief describes. They waltz 'till
the handkerchief is rolled up like a cord. 46. The Flying Scarfs . 

Two scarfs are crossed,and tied in the middle. Four couple place themselves so that each gentleman
takes with the left hand one of the ends of a scarf, being careful to hold it above his head. All
four couples waltz under these scarfs. 47. The Fan . 

Three chairs are placed in the middle of the room upon the same line. The two at the ends should
be turned opposite way to that in the centre, as in the figure of the Glass of Champagne . The gentleman
seats his lady upon the centre chair,and seeks two other gentlemen whom he places in the two
other chairs. The lady offers her fan to one of the gentlemen at her side, and waltzes with the
other. The gentleman with the fan must follow the waltzing couple, fanning them and hopping
about the circle. 48. Blind-man's Buff . 

Three chairs are placed on the same line in the middle of the room. The gentleman takes another
gentleman, whom he places in the centre chair, after having bound his eyes. The lady selects
another gentleman, whom she leads on tiptoe to one of the chairs by the side of the Blind-Man,
while she seats herself on the other. The first gentleman then invites the Blind Man to choose
the right or the left. If he indicates the lady he waltzes with her to her place; if, on the contrary
he points to the gentleman, he must waltz with him while the conductor waltzes with the lady.
49. The Gentlemen Together . 

The two first gentlemen each choose a gentleman to waltz with them, and the two ladies each select
a lady to waltz with them. At a given signal, the four gentleman stop and form a round, while the
ladies form another. Two ladies, in advancing to the gentlemen's circle, pass under the arms
of the other two ladies, and enter it, forming a round a l'envers when each gentleman waltzes
with the lady before whom he finds himself. This figure may be formed by three or four couple.
50. The Zigzags 

Eight or ten couple start together, and place themselves behind each other, couple by couple,
keeping a certain interval. Each gentleman should have his partner at his right. The first
couple sets out in waltzing,and passing zigzag through all the couples to the last. The second
couple then makes its way to the last, while the conductor is returning with his lady to the head
of the phalanx. The conclusion is by a general waltz. 51. The Undulations . 

The four first couple set out, forming a round. The conducting couple should be in the middle
of the circle, and waltz at pleasure, seeking to deceive the other couples, that ought to follow
all their movements without letting go hands. At a signal given, the next couple place themselves
in the middle, while the first resume their place in the circle, and the others successively
execute the figure. The conclusion is made by a general waltz. 52. The Two Lines . 

The first gentleman takes the first lady by the hand, and makes, walking,the tour of the room;
all the other couples ought to follow. The conductor forms with the other gentlemen a single
line, so that every one faces his partner. Every gentleman then, with his right hand, takes
the right hand of his lady, and makes her traverse in taking her place. The first couple sets
out waltzing, and goes up the line, and passes behind the line of the ladies; without ceasing
to waltz, it passes between the two lines, and again goes up, passing behind the ladies. Arrived
at the last, it stops, the gentleman remaining on the side of the ladies, and the lady on the side
of the gentlemen. Each couple successively executes the same figure, and the whole terminate
by a general waltz. The Two Lines are particularly performed at the end of the cotillons. 53.
The Crooked Lane . 

The conductor, walking and holding his lady's hand, and invites the other couples to follow
him. A general round is formed. Each couple must be careful to keep a certain distance. The gentlemen
place themselves before their ladies, so as to form with them a double round, the gentlemen
without, the ladies within. The conductor sets out with his partner, and waltzes found the
crooked lane formed by the two circles, till he has regained his place. He then quits his lady,and
takes his place in the ladies' circle, while the lady takes place among the gentlemen. Each
couple executes the figure in turn, and the whole concludes by a general waltz. This is one of
the final figures of the cotillon. 54. The Flying Hat . 

Two couple. The conductor holds behind him in his left hand a hat, with the open part upward.
The second gentleman holds in his left hand a pair of gloves, which he endeavors to fling into
the hat without ceasing to waltz. When he has succeeded, he takes the hat and gives the gloves
to another gentleman, who recommences the same. It may be imagined that among good waltzers
this figure gives rise to a multitude of turns and incidents. 55. The Figure of Eight . 

Two chairs are placed in the middle of the room at a certain distance from each other. The first
couple passes behind a chair without ceasing to waltz, and then passes behind the other so as
to describe a figure of eight. Each couple in succession repeats the same figure, which is one
of the most difficult to be executed. A gentleman who acquits himself perfectly may be reckoned
a consummate waltzer. 56. The Intermingling of Arms . 

Three or four couple. Each gentleman takes a lady, and each lady takes a gentleman,when a general
round is formed. They all advance and fall back together at four bars. They again advance, and
when near each other the gentlemen join hands above and the ladies below. The arms being thus
entwined, they turn to the left; the conductor lets go the hand of the gentleman on his left;
they extend themselves in a single line without quitting each others hands. When a straight
line is well formed, the gentlemen raise their arms, but still holding each other; the ladies
dance off, and the gentlemen pursue them. At a given signal all the ladies turn round and dance
with their partners, who ought to be behind them. 57. The Ladies' Moulinet . 

Two couple commence. Ladies select gentlemen, gentlemen select ladies. Form as for quadrille.
The four ladies cross right hands in the centre, going round, until past partners; they then
give left hands to the left hand of the next gentleman, making a turn entirely round that gentleman.
They cross hands again, repeating the movements, bringing them successively to each gentleman,
finally to their partners; then general waltz. This figure is changed by the gentlemen kneeling
on one knee. 58. The Little Rounds . 

The three or four first couple. Each gentleman chooses a gentleman, and each lady chooses a
lady. The gentlemen arrange themselves two by two, and the ladies do the same, facing them.
The two first gentlemen and the two first ladies circle one entire round to the left, when the
round is finished, the two gentlemen, without stopping, raise their arms to let the two ladies
pass underneath, and execute another tour with the two next ladies. The two first ladies turn
in the same way with the two new gentlemen who present themselves; each one follows till the
two first gentlemen have come to the two last ladies. When the two first gentlemen have made
all the ladies pass, they arrange themselves in line, and the two next gentlemen place themselves
on either side so that all the gentlemen form in one and the same line opposite to that which the
ladies have also formed on their side. The two lines advance towards each other during four
bars, and fall back during four bars, then rejoin, and each gentleman takes the lady who is before
him. General polka, or mazurka,for a finish. 59. The Double Moulinet . 

Two couple. Ladies choose gentlemen. Gentlemen choose ladies. Form as for quadrille. Four
ladies cross right hands and go half round, at the same time the four gentlemen pass half round
outside. At the half round all meet partners, to whom left hands are given, the gentlemen turn
the ladies to the outside, while they form the moulinet (cross hands). The ladies then pass
half round outside, while the gentlemen go half round inside, when the same change is repeated
as before, when all join in general waltz. 60. The X of the Gentlemen . 

Two couple. Each gentleman, without quitting his lady, chooses another, whom he should hold
with his left. The two gentlemen place themselves opposite one another at a certain distance.
They advance with their ladies during two bars, and in like manner fall back during two bars.
They advance once again, letting go the hands of their ladies who remain in their places. The
two gentlemen give each other their hands crossed at the elbows and make together a complete
tour, then give their left hands to their ladies in the same way, and make a tour with them. They
again make a tour together, giving each other the right arm, and recommence with the left arm
with the next lady on the right, and so on for the rest. When they have turned with the four ladies,
they each take two ladies -their own and the one they have chosen, and make a promenade at pleasure.
When they find themselves at the place of the lady they have chosen, they pass her under their
right arm,and continue the waltz with their partners. 61. The X of the Gentleman and his Lady
. 

The gentleman chooses two ladies, whom he takes with either hand, and his partner chooses two
gentlemen. The conductor and his partner face each other at a certain distance with the ladies
and gentlemen they have chosen. They advance and retire during four bars; then the conductor
and his lady toward each other, leaving the two other ladies and the two other gentlemen in the
places where they are. In advancing this second time by themselves, they give the arm to each
other crossed at the elbow. They make a complete round, after which the gentleman gives his
left arm crossed in the same way to the lady, whom he held with his right. The first gentleman
and his lady return to the middle to make together a tour of the left arm, and then do the same with
the other lady and the other gentleman. In finishing they should find themselves in the same
position they had at the commencement. All six advance and retire during four bars. They advance
a last time and each gentleman takes the lady facing him for general waltz. 62. The English Right
and Left . 

Two couple place themselves facing each other,and make the right and left very much lengthened.
The two gentlemen, advancing with their ladies, give each other the left arm crossed at the
elbow, and make a very rapid demi-tour to change the ladies. They recommence the figure to take
their partners again. 63. The Graces . 

The gentleman passes his lady to the left, changing hands. He takes another lady with the right
hand, and continues promenading between the two. When he finds himself at the place of the lady
he has chosen, he makes the two ladies pironette opposite each other, and takes them by the waist
to make them execute a tour sur place to the left. He returns the lady he has chosen to her partner,
making her pass under his arm and that of his lady, and continues the promenade to his place.
The gentleman to make the tour sur place should have his own lady by the left hand, and the other
by the right. When this figure is made in polka, instead of the tour sur place , you make the tour
du salon a trois , abandon the lady chosen when you pass before her place, and continue to promenade
with your own. 64. The Contrary Rounds . 

Three couple. The gentlemen place their ladies in a line, and take each other by the hands to
form a chain. The conductor passes to the left with the two others in front of the three ladies.
The gentlemen,when they come to the last, form a circle about her and turn to the left after having
made a complete tour. The conductor relinquishes the hand of the gentleman on the left, and
passes to the middle lady to form about her a round a l'envers with the other gentlemen. After
a tour in this way, the conductor again lets go the hand of the gentleman on the left and makes
a tour in the natural way about the third lady. He then draws after him the two gentlemen, who
have not ceased to keep up the chain, passes in front of the ladies as at the commencement of the
figure, and continues the promenade, passing behind the ladies. When each gentleman finds
himself in front of his own partner, the general waltz follows. 65. The Genuflexions . 

Departure of the two first couples. The two gentlemen kneel on one knee at a certain distance
from each other. In this position they make their ladies turn twice about them without letting
go their hands. After these turns, the two ladies cross the right hand and give the left to the
right of the other gentleman to make two turns in like manner. They cross a second time from the
right hand to recover their partners, who rise and promenade them to their places. The same
may be danced by four couple. 66. The Right and Left . 

Four couple place themselves opposite to each other, two couple on one side upon one line, and
two couple upon the other. In this position each couple makes a half right and left with its opposite,
then with each couple which was originally at its right. They repeat the half right and left
with the others, when all find themselves again in their original places. General waltz. 67.
The Double Pastourelle . 

Four couple place themselves as for quadrille. The two opposite gentlemen, still retaining
their partners, take with the left hand the two other ladies, who leave their partners in their
place. In this position the two gentlemen holding a lady with each hand, advance and retire
during four bars; they make their ladies cross in front of them, passing the lady on the left
under their right arms. The ladies pass to the two gentlemen at the sides to repeat the figure,
which is made four times in succession, and terminates by general waltz. 68. The Uninterrupted
Chains . 

Four couple. Each gentleman chooses a lady, and each lady chooses a gentleman. All the gentlemen
place themselves in line in front of the ladies, who are similarly arranged. The first gentleman
on the left gives his right hand to the right hand of his lady, and makes a complete tour with her,
afterwards gives his left hand to the left hand of the next lady. The conductor and his partner
give each other the right hand in the middle of the double figure, and separate to find the next
lady and gentleman, and so on for the rest up to the last couple. They then make a complete tour,
so that the lady finds herself on the side of the gentlemen, and her partner on that of the ladies.
When the conductor and his lady have reached the fourth couple, the second gentleman should
also set out, so that there should be an uninterrupted right and left between the gentlemen
and ladies. On the departure of the first couple,the second should take their place, and so
on for the rest. When all have executed the figure, each gentleman offers his hand to his partner
for a promenade. This dance may be executed by as many couple as please. Similar to Virginia
reel. 69. The Inconstants . 

Three or four couple, who arrange themselves in phalanx behind the conducting couple. The
first gentleman turns round giving his left arm crossed at the elbow to the left arm of the gentleman
behind him, with whom he changes place and partner. He goes on without interruption to the last
lady. When he reaches the last, the second gentleman, who is then at the head of the phalanx,
executes the same figure, and so on for the rest until every one has regained his place. The whole
terminates by a general waltz. 70. The Ladies Back to Back . 

Four couple form a general round. The ladies place themselves back to back, in centre, close
to each other; the gentlemen outside. At a given signal, and during four bars, the round is enlarged,
the gentlemen retiring, the ladies advancing; during four other bars, it is narrowed. The
round is developed for the first time; then they make a chain plate grand chain, beginning by
the right hand, 'till each has recovered his partner. Terminates with general waltz. 71. Four
Hands Round . 

Two couple. Each gentleman chooses a lady,and each lady chooses a gentleman. The gentlemen
form together four hands round at one end of the ball-room. Every one makes a tour to the left,
after which the conductor and the one he has chosen pass under their arms the two other gentlemen
to recover the two ladies, who do the same, and form a round with them. They make a complete turn
to the left, after which the two gentlemen elevate their arms to make a passage for the two ladies,
with whom they make another tour, while the two first execute the same round with the two other
gentlemen, which forms two four-hands round. The gentlemen raise their arms to let the ladies
pass under; the two first while advancing turn round, and form a line, which is soon joined by
the two others. The ladies should form a similar line on their side. When the four gentlemen
and the four ladies have met, they form the same round as at the commencement-that is to say,
gentlemen with gentlemen, and ladies with ladies. After a tour, they extend themselves in
two opposite lines, that advance towards each other, each gentleman resumes his lady, and
the whole terminates with a general waltz. 72. The Changing Triangle . 

Three couple. The gentlemen, without quitting their ladies, place themselves en moulinet
, giving each other the left hand, and going round in this position. At a given signal the first
gentleman turns about quickly, giving the left arm crossed at the elbow to the gentleman behind
him, with whom he changes his place and lady. He does the same with the next gentleman. When he
has arrived at the third,the second executes the same figure, and then the third. A general
waltz concludes. 73. The Chains in line . 

Four couple. Each gentleman chooses a gentleman, and each lady chooses a lady. The gentlemen
place themselves together two by two facing the ladies, who arrange themselves in the same
way. At a given signal, the two first gentlemen begin by the right hand a grand chain with the
two first ladies, and so on for the rest. The two last gentlemen find themselves with the two
first ladies. Conclude with waltz. 74. The Labyrinth . 

All form a general round, going to the left. At a given signal the conductor lets go the hand of
his lady, who is on his left, and while continuing to turn in the same direction, enters the circle,making
a colimacon , while his lady turns to the right to wind about the other circles that go on narrowing.
A circular space should be contrived to be able to extend themselves in waltzing. In this position
the conducting couple set out waltzing, and follow the passes of the labyrinth formed by the
general chain rolling on itself, 'til they have arrived at the last couple, to which the first
lady gives her hand to renew the circle. As each new couple arrives it places itself behind the
one previous. When all have arrived they conclude by a general waltz. The Labyrinth is one of
the final figures of the cotillon. 75 Right and Left Varied . 

Two couple. Ladies select gentlemen, gentlemen select ladies. Form as for a quadrille. Head
couples right and left, across and back, with couples at the right. Half ladies chain with same
couple-thus changing partners. All waltz entirely round the circle of the sett; head couples
right and left, with couples on left;half ladies chain with same couple. All waltz round again.
Head couples right and left with couples on the right; half ladies chain with same, all waltz
round. Head lastly right and left, with couple on the left Half ladies chain, which bring all
the ladies to partners, then general waltz. 76. The Basket . 

Two couple. The gentleman chooses two ladies, and places himself between them; the lady chooses
two gentlemen and does the same. They advance during four bars, retire during four others,
and advance for the last time. The gentleman,who holds the two ladies, raises his arms and makes
two gentlemen pass underneath, without letting go the hand of the lady of the first gentleman,
and give their hands to each other behind the latter. The two ladies, chosen by the first gentleman,
join hands behind the conductor's lady, which forms the basket. In this position they describe
a tour to the left, and at a given signal, without any letting go of hands, the gentleman in the
middle passes under the arms of the two other gentlemen, and the lady under the arms of two other
ladies. The six have then their arms entwined. At another signal they disengage their arms
and form an ordinary circle. They describe a round, and the gentleman, who is on the left of the
first lady, begins a grand chain-by the right hand, which continues till the first gentleman
has recovered his partner. 77. The Triple Pass . 

Setting out of the first two couple, who after their promenade, take hands four round to the
left. At a given signal the conductor and his lady, letting go each other's hands, pass under
the arms of the two others, and join hands again as soon as the tour is finished. The other gentleman
and his lady in their turn pass behind under the arms of the first couple, who once more repass
under the arms of the two others, and without letting go of each other's hands, extend themselves
to be again in circle. They make a round to the left, then general waltz. 78. The Reunion of Couples
. 

The first couple makes a promenade, after which it takes the second couple to form hands four
round. They make a half round to the left, after which the conductor takes the third couple,
with which they make a round of six persons. After a half round to the left, the conductor takes
successively the other couples. When he has arrived at the last, a general round is formed,
then grand chain half round, terminating with general waltz. 79 SIMPLE GRAND CHAIN. Three,
Four, Five, or Six Couple . 

Gentlemen select ladies. Ladies select gentlemen. Form grand round. Commence grand chain
by giving right hand to partner and continuing round until the partner is met on the opposite
side, when all join in general waltz. 80. THE ORDER OF THE GARTER. 

Gentleman places his partner in a chair, handing her two ribbons, say about a yard in length.
Two gentlemen are then presented; to each she gives one of these ribbons, and the one who first
succeeds in tying it just below the knee waltzes with the lady. The other returns to his seat.

Sometimes a handkerchief is used, and tied round the arm. 81. DOUBLE QUADRILLE. Four Couple
. 

Lady selects gentleman. Gentleman selects lady. Form as for quadrille, but double in this
manner: 

Inside head couples, half right and left, stopping in front of opposite couples. Sides the
same. Outside head couples pass under the arms of couples in front, and half right and left,
stopping in front of opposite couple. Sides the same. 

Each two ladies take hands, and each two gentlemen also, turning so that the ladies and gentlemen
stand face to face. All the four pair of ladies then pass entirely round the sett until they arrive
at the same place again, passing under the raised arms of each pair of gentlemen. All then take
ladies for general waltz. 82. THE BOWER. Six Couple . 

Ladies select gentlemen. Gentlemen select ladies. Form thus: 

Six lines, two couple in each line, all facing one way. At a signal, ladies Nos. 1 and 7 pass in
front of gentlemen Nos. 1 and 7, take hands and pass down between the two lines of gentlemen who
have taken hands and raised them so that the ladies pass under. The other ladies follow the first
two, who continue towards the end of the room, where they form a line, turning to face the gentlemen.
Immediately after the last two ladies have passed, the gentlemen walk forward to the opposite
side of the room, when they form line, turning to face ladies, and, if properly executed, each
gentleman will be opposite his lady, thus: 

6 5 4 3 2 1 7 8 9 10 11 12 

6 5 4 3 2 1 7 8 9 10 11 12 

All forward and take ladies for general waltz. 83. FAVORS OR DECORATIONS. 

Upon a table is placed a number of favors, decorations, bouquets, boutonierres, little presents,
mottoes containing paper costumes, or almost anything that will serve the purpose. 

The first commences by waltzing after which the lady selects a gentleman to whom she presents
one of these articles, and is immediately followed by a waltz; at the same time the gentleman
chooses a lady and presents a suitable article, which is also followed by a waltz. and so in succession
each couple the same. 84. THE UNDULATIONS. 

Ten or twelve scarfs are required. Ladies select gentlemen. Gentlemen select ladies. 

Five or six couple start, each couple having two scarfs. After the choosing of new partners
there will be one scarf to a couple. 

Ladies in a line on one side. 

Gentlemen in line opposite each lady and holding an end of the scarf. 

First couple commences by passing under the scarf and between the second couple, then outside,
and scarf over the third, and so under and over until the last couple is passed, when they take
places in line to allow them to pass. 

After the first couple has passed the third, the second commences the same, and so each couple
follows until the first couple arrives at the head again. Each couple so arriving at the head
commences the general waltz. 85. THE MOUSE TRAP. 

Four scarfs, say three yards in length, are provided. Two couple start. Lady selects gentleman.
Gentleman selects lady. 

Each lady takes the ends of two scarfs, standing in a square so that the scarfs are crossed. In
the centre there will be a space between the four scarfs. This is the trap. The four gentlemen
take hands in line and endeavor to pass under the scarfs from one side to the other. When one of
the gentlemen is caught in the trap, the figure ends and all join in general waltz. 86. THE GRAND
CHAIN DOUBLE. 

Three, four, or more couple. Gentlemen select ladies; ladies select gentlemen. Form a grand
round. At a signal from the leader, all commence a grand chain; at the next signal, swing round
with the one to whom the right hand is given at that moment, and commence a grand chain in the opposite
direction, giving left hand first; at another signal, swing round with left hand, and commence
a grand chain again in the direction taken at first, and thus changing as many times as the signal
may be given, until the signal is given to take partners, when each gentleman selects the nearest
lady. 87. STAR AND CIRCLE. 

Four couple commence. Each lady selects a gentleman, each gentleman a lady. Form two lines,
face to face; four couples in each line. The two middle ladies will cross hands round with the
two opposite middle ladies, first going entirely round, giving right hands, and return, giving
left hands; they will then all give right hands, each to another lady's left hand, thus forming
a star. 

The eight gentlemen will all join hands, and form a circle, between the first and second of each
two ladies. In this form the circle of gentlemen will pass round under the arms of the ladies,
while the ladies pass round in form of a star in the opposite direction. At the usual signal,
all take partners selected. 88. FLAG FIGURE. 

Having ten pair of flags, that is to say, two American, two French, two English, etc., etc.,
the leader will present one of each pair to a lady, and the other to a gentleman. After thus distributing
all, those gentlemen having flags will search for the lady having the corresponding one, with
whom he dances round the room. Each lady will then present her flag to another lady, and each
gentleman presents his to another gentleman. Then again there will be the same searching for
corresponding flags; and, after the dance round the room, the same distribution of flags.

Different pairs of colored ribbons may be used in place of flags. 89. MILITARY FIGURE. 

Same distribution of flags as in the previous figure; then form in four lines, an officer in
front of each, thus: 

In this form, march or dance round the room twice. Second time, each line turn in opposite directions-1st
to right, 2d to left, 3d to right, 4th to left. When at sides of the room, form the two lines into
one line, each line facing the other, when all advance and select corresponding flags. TIME
AND MUSICIANS. 

It is to be regretted that many of those who play for parties and balls know very little about
dancing, and are, therefore, scarcely conscious of the peculiar accent or time required for
our dances. At many good concepts we may hear the charming compositions of the Strauss brothers
played as though speed was the only expression of dance music-and we thus lose much that is good
and beautiful. With many of our pianists, this tendency to play fast is very marked, arising,
perhaps, from the natural defects of their instrument; as an example, it may be mentioned that
in passages or melodies of long sustained notes, which have been written with a view to orchestral
effect, the pianist is liable to anticipate the time on account of the non-sustaining power
of that instrument. This may be an explanation, but not an excuse. It is true, also, that much
of our dance music is composed and arranged for the use of orchestras engaged at public gardens
and such places, where effect and excitement are the great objects; and thus also seem to give
excitement and hurry to our home dancing. The lancers and quadrille are often played so fast
that the dancers can only run after the music. In this way we lose that composure these dances
should have, and the relief they ought to afford from those dances which require greater exertion.

Surely this ought to suggest to those who play for dancing as an occupation, that they do not
fulfill all their duties by simply playing the notes; they should learn to give the proper time
and true accent to each dance. Those who have enjoyed the pleasure of dancing to a good timist,
readily understand the importance of these remarks. It is a fact, however, that bad dancers
like quick time. 

It would be unjust not to acknowledge that we have leaders and pianists who conscientiously
strive to make themselves acquainted with all that belongs to their department, and the following
may be mentioned as a part of their experience: 

Four different couple may be seen dancing four different dances to the same waltz; each one
of these couples having a "specialty," insist upon exhibiting that "specialty," even when
the music is not suitable in time. 

Very soon "hop waltz" rushes to the leader and cries out "Faster, faster!" 

After a time "Redowa" expostulates with him for playing so fast. 

"Deux Temps," in an excited state, follows, wondering what he means by playing so dreadfully
slow 

Lastly comes "Boston," quite out of breath, faint, and, overcome by trying to keep up, implores
the leader, in mercy, to play a little slower. 

What is the unfortunate leader to do under such circumstances? The scene is a reality, and has
occurred many times. It may be noticed however, that the best dancers rarely complain; they
are equal to the emergency, and adopt such a step as will suit the time. May we repeat here, what
has been well said before: "Those who know least are most noisy in their knowledge." 

Programmes of dancing should always show what dance the music is intended for; the leader would
then know what time to take. It would also be understood that he was playing a time suitable for
the dance mentioned, and if some chose to use steps not suitable to that time, they would have
no cause to complain, but must accept the inconvenience as their own seeking, and not interfere
with those who desire to dance in accordance with the time. To a waltz we have five different
dances, viz.: 1. Boston; 2. Two step Boston; 3. Redowa, or Assembly and Double Glide Waltzes;
4. Deux Temps; 5. Hop waltz. Commencing with No. 1, the slowest, the time of each is a little quicker
than the preceding one, until, with No. 5, we may dance almost at any speed. We have also the trois
temps, polka mazourka, and polka redowa-each a little quicker than the other. The polka should
be about the time of a military quick-step. It is now becoming very general to use the redowa
step to the galop music-in that case the time must be a little slower than when the galop step
is used. 

In conclusion, and as the last advice of an old teacher to his pupils, carry into your dancing
all the conscientiousness deemed consistent with the character of a Lady or Gentleman . Let
your movements at all times express refinement and kindliness; in fact, the good sense of a
high toned, well-educated, moral character. In doing so, believe me most truly that you aid
in elevating the tone of your generation, and also aid in correcting the unjust prejudice that
still exists in the minds of many good people against our useful art. 

The word useful is here used with a full sense of its meaning and importance, for we sincerely
believe that "Our Good Father in Heaven" has given us this universal love of motion to music
for a purpose, as He has given us the love of pleasant sounds, the love of beautiful colors, and
the love of graceful out line, all to share in the elevation of the human race. And this love of
pleasant motions, called dancing, being so irresistible in the young, shows that it is designed
for their time of life, and that we older ones are not doing our full duty when we treat it as one
of the follies of youth, and do not make use of it, as a means of refinement, instead of allowing
it to degenerate into coarseness, when it is so evidently intended for a better purpose.