PROF. M. J. KONCEN'S QUADRILLE CALL BOOK AND BALL ROOM GUIDE. Prof. M. J. KONCEN'S QUADRILLE CALL BOOK AND Ball Room Guide. TO WHICH IS ADDED A SENSIBLE GUIDE TO ETIQUETTE AND DEPORTMENT. IN THE BALL AND ASSEMBLY ROOM. LADIES TOILET, GENTLEMAN'S, DRESS, ETC. ETC. AND GENERAL INFORMATION FOR DANCERS. Containing all the Latest Novelties, together with old fashioned and Contra Dances, giving plain directions for Calling and Dancing all kinds of Square and Round Dances, including the most Popular Figures of the "GERMAN." ST. LOUIS: PRESS OF S. F. BREARLEY & CO., 309 Locust Street. Entered according to Act of Congress, in the year of 1883, by MATHIAS J. KONCEN. in the Office of the Librarian of Congress, at Washington, D. C CONTENTS. Preface 5-6 Etiquette of the Ball Room 7-10 Etiquette of Private Parties 10-12 Etiquette of Introduction 12-13 Ball Room Toilets 13-14 Grand March 15-17 On Calling 17 Explanation of Quadrille Steps 17-20 Formation of Square Dances 21-22 Plain Quadrille 22-23 The Quadrille 23-25 Fancy Quadrille Figures 25-29 Ladies Own Quadrille 29-30 National Guard Quadrille 30-32 Prof. Koncen's New Caledonia Quadrille 32-33 Prairie Queen Quadrille 33-35 Prince Imperial 35-38 Irish Quadrille 39-40 London Polka Quadrille 40-42 Empire Quadrille 42-44 Montibello Quadrille 45-46 Masonic Quadrille 46-48 Caledonians 48-49 Glide Caledonians 49-50 Lawn Tennis 50-53 Harlequin 53-54 Surprise Quadrille 54-57 Le Pollo 57-59 Waltz Quadrille No. 1 59-60 Waltz Quadrille No. 2 60-61 Lancers 61-62 Saratoga Lancers 63-64 Glide Lancers 64-65 Prof. Koncen's Carnival Lancers 65-67 Waltz Lancers 67-68 Normandy Lancers 68-69 Royal Lancers 70-72 Minuet Lancers 72-74 Centennial Lancers 74-75 Parisian Varieties 76-77 ROUND DANCES 77 78 Positions in Dancing 79-80 Waltz 80-81 Glide Waltz 81 New Five Step Waltz 82 Double Glide Waltz 82 Waltz in Double Time 82 Spanish Waltz 82 Boston Dip 82 Mazourka 83 La Russe 83 Hop Waltz 83 Knicker bocker Waltz 83 Society Waltz 83 Newport Waltz 84 Deux Temps Waltz 84 Redowa 84-85 Sicilienne 85 Danish Dance 85 Zulma L'Orientale 85 Gorlitza 86 La Zingerilla 86 Wave 86 La Belle or Rockaway 87 Society and Ripple 87 Polka Mazourka 87 Varsovienne 87-88 Schottische 88-89 Military or Skip Schottische 89 La Kaska 89 Union Dance 89 La Ozariene 90 La Carlowitzka 90 Bohemian or Heel and Toe Polka 90 Xylaphone Polka 91 Polka 91 Kinckerbocker 91 Redowa 91 Polka Redowa 91 Redowa Glissade 92 Azalea 92 La Cascarilla 92 Racquet 92 Double Racquet 93 Three Step Galop 93 Galop 93 Harvard 93 Esmeralda 93 The Esmeralda 94 Telephone or Rye 94 Alsation 95 THE GERMAN 95-114 CONTRA DANCES 115 Virginia Reel 115 Polka Contra Dance 116 Money Musk 116 Pop Goes the Weasel 116 Portland Fancy 117 Swedish Dance 117 Sicilian 118 La Tempete 119 Flower Girls Dance 119 Circasion Circle 120 Triumph 120 Merrie England 120 Tempest 121 Spanish Dance 121 Scotch Reel 122 Camptown Hornpipe 122 Rustic Reel 122 French Terms used in Dancing 123-125 PREFACE. There is scarcely any person who pretends the slightest acquaintance with good society, who does not recognize the necessity of learning the polite art of dancing. There are but very few persons now-a-days who oppose Dancing, and that class are those who oppose anything that makes life cheerful. It is the natural desire that we all wish to be respected loved and admired, and there is no person who is more miserable than the one who believes himself to be disliked, by the society in which he is thrown. In order to receive this appreciation and affection, one must be worthy of it. Wealth nor influence will not bring it. It is the individual himself that wins the friendship and admiration of his associates. A good hearted person will always conduct themselves so as to command respect. Etiquette is not an art requiring the study of a lifetime, therefore its absolutely necessary that every person should study the "Laws of Etiquette." The law cannot punish a person for discourteous behavior, but society can by refusing to recognize them and cause him or her to change their manners. Young men and ladies upon first entering society are made to feel keenly their ignorance of the many forms, which they are expected to conform. No allowance is made for the inexperience of young men and ladies, and any awkwardness or social blunder is sharply criticised. A great many, however, are debarred from the amusement by not knowing "how to dance." Either bashfulness, lack of time or opportunity has prevented them from attending dancing school. For the benefit of that class, I have gotten up this book, at a great expense of labor and money. Dancing besides the amusement forms a part of the physical education. As it gives relief in certain diseases, and cures others, promotes the harmony of society and it is a most requisite accomplishment for all. It has been the earnest aim of the author to embody in these pages the latest novelties. He has spared no pains to attain this object, and offers the work to the public with the hope that it will meet the needs of all classes of the American people. Even those who are posted in the "Polite Arts" under certain circumstances are at a loss to know just what to do. To all, such a book explaining simply and plainly the rules recognized by the best society is quite an assistance. Respectfully, Prof. M. J. Koncen . St. Louis, Mo. ETIQUETTE OF THE BALL ROOM. At a ball it is absolutely necessary to have a conductor or a committee, who are usually distinguished by a badge or rosette. The committee superintends the dance, and any gentleman desiring to dance with ladies apply to them for introduction. A gentleman who escorts a lady to a ball after entering will immediately lead her to the entrance of the ladies dressing room. He without further delay proceeds to the gentleman's cloak room. After the lady has deposited her cloak, etc., and gives her hair a finishing touch and gloves herself, the lady proceeds to the parlor and waits for the gentleman. After the gentleman has deposited his hat and overcoat with the man having charge of the cloak room, he adjusts his tie and gives his hair a finishing touch and gloves himself, he then immediately proceeds to his lady in the parlor, and escorts her to the ball room. The gentleman will dance first with the lady he accompanies to the ball, but will not dance with her too often, and he should provide her with a partner whenever she desires to dance. Do not engage in any long or confidential conversation in a ball room. Do not wait until the music has commenced before selecting your partner, and lead her to the place in time to commence with the other dancers. A gentleman should not stand as though he were afraid of his partner, but he should make himself as agreeable as possible. The Ladies' Dressing-room is a place into which no gentleman should ever presume to look; to enter it would be an outrage not to be overlooked or forgiven. The gentleman who dances with a lady in the last dance before supper, conducts that lady to the supper room, attends on her while there, and escorts her back to the ball-room. When the Quadrilles are being formed, if you should accidentally occupy another couples place, upon being informed of the fact you should apologize and secure another position. The usual form of asking a lady to dance is: May I have the pleasure of Dancing this Quadrille with you? or, shall I have the honor of dancing this set with you? or, shall I have the pleasure? or, will you give me the pleasure of dancing with you. To accept is easy enough-thank you is sufficient. To decline with delicacy, and without giving offence is more difficult:-thank you, I am engaged. You may request her to name the earliest dance for which she is not engaged; and when she will honor you with the next dance. When you conduct your partner to her seat thank her for the pleasure she has conferred upon you, and do not remain too long conversing with her. Ladies should take especial care not to accept two partners for the same dance; nor should a gentleman ask a lady to dance with him more than twice during the same evening. If he is intimate with a lady he may dance with her four or even five times. When a lady has accepted, the gentleman offers his right arm, and leads her to the place on the floor. At a public ball if a gentleman without a proper introduction, asks a lady to dance she should positively refuse. A gentleman should endeavor to entertain the ladies who dance with them with a little conversation, or something more novel than the weather, or the size of the room or the wax on the floor. And in round dances they should be particularly careful to guard them from collisions. Finally let no gentleman presume a ball room introduction, it is given with a view to one dance only, and will certainly not warrant a gentleman in going further than asking a lady to dance a second time, out of the ball room such an introduction has no force whatever. If those who have danced together meet next day in the street or the park, the gentleman must not venture to bow unless the lady chooses to favor him with some marks of recognization. If he does how he must not expect any acknowledgment of his salutation nor take offence if it is withheld. If a lady refuses to dance with you bear the refusal with becoming grace, and if you perceive her afterwards dancing with another gentleman seem not to notice it, for in these matters ladies are excepted from all explanations. While dancing a lady should consider herself engaged to her partner, and not to be at liberty to flirt between the figures-and the lady should recollect that it is the gentleman's part to lead hear and, it is her duty to follow his directions. Even those persons who are familiar with the rules of the Fashionable Society are often the worst offenders. When a lady is standing in a Quadrille though not engaged in dancing, a gentleman not acquainted with her partner should not under any circumstance converse with her. If you are wise you will not ask a lady to join in a Waltz or any other Round Dance in which you are not thoroughly posted, as it is an unpardonable offence. At public balls a programme of dancing is given to the guests on their arrival, and this example should be followed all times and places. Never forget an engagement, it is an offence that does not admit of excuse except when a lady commits it, and then a gentleman is bound to take her word without a murmur. Whoever is admitted into a company of ladies and gentlemen, is supposed to be, for the time being on an equality with all present, and should be treated with equal respect. Great care should be given to prevent the appearance of awkwardness and bashfulness. Assume a modest confidence and all will pass smoothly. Should a gentleman be obliged to pass through an assembly of ladies where he cannot do so without disturbing them as he is compelled to pass in front. It is only common politeness for him to apologize for disturbing them. While promenading should you meet friends or acquaintances, its only necessary to salute them the first time of passing, to salute at every round would be tiresome and improper; if you have anything to say to them join them at once. When dancing with a lady to whom you are a stranger be careful in your conversation, saying as little as possible without being considered unsociable, be mild in your deportment, lead your partner gently through the dance, and take her carefully by her hand; at the end conduct your partner to her seat and politely bow and retire. In Waltzing, a gentleman should exercise the utmost delicacy in holding his lady. If you cannot dance do not attempt to Waltz at all as a gentleman is more conspicious in this dance than any other Dance smoothly and gracefully, do not jump, sway or caper your body. At a ball when announcement of the manager, all should immediately take positions on the floor, but no positions should be taken by any of the couples until the signal is given. Contending for head or side positions in a Quadrille indicates a quarrelsome disposition altogether out of place. If you cannot secure the head take the sides and show that you are a gentleman. Nothing is more vulgar than the habit of beating time with your hands or feet in a ball room, as it displays the lack of deportment. Any person who posesses self respect will not smoke, chew tobacco or spit on the floor. Never forget the ladies are to be taken good care of, they are entitled to the places of distinction, and to have the best seats in the house, and are to your courteous protection. Never repeat in society any scandal that you have heard, you may give your own opinion but never repeat the opinion of others. Never loose control of temper or pretend to notice a slight. Do not give hints, speak frankly or not at all, and use good English words. When you go to a sociable or ball you should not go to enjoy yourself, but you should go to enjoy others. If others enjoy you cannot help from enjoying yourself. Under no circumstance should a lady parade a ball room alone or enter it unaccompanied. A gentleman who escorts two ladies to a ball may in the absence of friends address a stranger and offer him a partner prior to asking his name to an introduction. When a gentleman is waiting on a lady at a ball or party he should dance the first set with her, and may introduce a friend or exchange partners or dance again as circumstances may dictate. In ascending a staircase with ladies go before them or by their sides. A lady should never leave a ball room unattended; a gentleman seeing a lady with whom he is acquainted should promptly offer to escort her, and the lady on her part should accept the offer with thanks. It is very impolite and insulting for a couple while dancing in a Quadrille to Waltz around or inside of the next set. ETIQUETTE OF PRIVATE PARTIES. It is in the party or ball room that society is on its very best behavior, everything there is regulated according to the strict code of good breeding; and as any departure from this code becomes a grave offence. It is indispensable that the Etiquette of the ball room be thoroughly mastered. At a private party or soiree, the lady of the house will linger near the door at least till supper time or till all have arrived to welcome her friends with a smile, an inclination of the head or a grasp of the hand, or a passing remark according to degrees of intimacy. The head of the house and his son should be on hand, so as to be able to introduce his or their friends on there arrival, it is not absolutely necessary that the daughter should assist in the reception ceremony. On entering in a private ball they at once proceed to pay their respects to the lady of the house, they may then recognize the presence of such friends as they find around them. A programme of dancing is presented to the guests upon their arrival. In any case the dances should be arranged before hand to avoid confusion, and have them printed on cards, the number of dances on one side and the engagements on the other; a pencil should be attached by a ribbon, and a gentleman should always provide himself with a gold or silver pencil case. It is the lady of the house who gives a party or ball, the invitations should be in her name, and the replies addressed to her. The invitations should be sent out two weeks before time, but a fortnight will answer. Use white note paper and envelope of the best quality, and they should be written in hand writing as follows: City, February 5th, 1883. Mrs - requests the pleasure of Mr -'s company at an evening party on Wednesday, February 16th. An answer will oblige. "Dancing." An answer should be returned within a day or two. Mr - has much pleasure in accepting Mrs -'s polite invitation for Wednesday, February 16th. At private parties introductions are not considered necessary, as you are invited by the host is a guarantee of your respectability. If a lady meets a gentleman who seems to be desirious of becoming acquainted with her, there should be no hesitation on her part in meeting his advances without an introduction. At private parties it displays bad taste by dancing exclusively with the same partner, by doing so they exclude others from desirable company. We may ask a lady to join us the second time in a dance, we should not manifest preferance for anyone particular, but be ready to dance with whoever we meet. At private parties introductions are obtained through any member of the family. The hostess should secure first-class music, as a good floor and music is one of the principle features of dancing. A refreshment room is absolutely necessary as nothing should be handed round in the ball room; provided with plenty of Lemonade, Tea, Coffee and Cakes. Supper should be laid in a separate room, if provided at home let it be, if on a liberal scale and substantial fare, such as Ham, Roast Turkey, etc. The fashion is coming in of giving Hot Soups, and it is very pleasant; nothing on the table should be carved, meats should be cut before hand. A lady should certainly not drink more than one glass of Champagne, and gentlemen should be careful in this respect, as nothing is more contrary to the usages to modern society than any appearance of over drink. Never spit on the floor or carpet as it displays the lack of good raising. Parties of this kind should be left quietly, if the party is small it is permissable to bow to the hostess; but if the company is large say 20 or 40 couple this is not necessary unless indeed you meet her on your way from the room, avoid making your departure so as not to break up the party, as you have no right to hint by your ways that the entertainment has been kept up long enough. ETIQUETTE OF INTRODUCTION. In making introductions, act in a graceful and easy manner, it will serve to set your friend at ease. It is common among a certain class of persons to introduce their friends to everybody they meet, this is wrong, great care should be taken in introducing gentlemen to each other, and still greater care in the introduction of gentlemen to ladies. As a rule gentlemen should not be introduced to each other until their wishes are ascertained by the person making the presentation. No gentleman should be introduced to a lady without previously asking her permission. In introducing a person you assume a sort of social responsibility for the person you introduce. By introducing a man of bad reputation to a lady, you do her a positive wrong, and his association with her is an injury to her reputation. In making introductions, you introduce a gentleman to a lady. A young lady may be introduced to an old gentleman, (beauty thus paying tribute to age) Introduce an inferior to a superior; an ordinary person to a distinguished one, and a young man to an old one. If the names are not understood, they may be asked. In making the presentation, bow and say to each as the name is spoken, Miss - allow me to introduce to you my friend Mr. -, Mr -, Miss - The custom of shaking hands upon being introduced is the rule in America. If a hand is offered it is rude to reject it. Generally however, a bow is necessary at an introduction. A gentleman should always lift his hat at an introduction to another gentleman or to a lady on the street. A person making a visit to your house should be introduced to every caller. In introducing members of your family you should mention the name say; my father, Mr -, my daughter, Miss -, your wife should be introduced simply, Mrs -. Upon introducing strangers it is well to add some pleasant remarks, which will serve to put them at their ease and start the conversation. It is proper upon being introduced to a person to say! I am happy to meet you, Mr -; or I am glad to make your acquaintance. A gentleman should always offer his services to a lady in need, whether he knows her or not; he should approach her, raise his hat bow and ask permission to assist her; a true lady will always accept such an offer with frank courtesy. Her acceptance does not give the gentleman any claim to her acquaintance, nor oblige her to recognize him afterwards without a formal introduction. If more than one person is to be presented to you mention the name only once, but call the name of each of the others distinctly, bowing to each as their names are mentioned, say; Mr - allow me to introduce Mr -, etc., etc. In visiting the house of a friend, should you find there a person who seems desirious of making your acquaintance, you may meet his advances half way without impropriety. His presence in your friends house is a guarantee to you that he is a proper person for you to know. If when walking in the street with a friend and you meet another it is improper to introduce them. If you meet a lady who desires to stop and speak your friend should stop with you, and he may be introduced in a formal manner; but such introduction does not warrant him in considering himself the lady's acquaintance. BALL ROOM TOILET. LADIES. The fashion is so capricious and so imperative in the matter of dress that it is impossible to give advice or instructions of permanent value upon this subject. Fashion is so variable that statements which are true to-day may be out of style next season. Still there are laws by which fashion is regulated and controlled. There are certain principles in dress, approved by good taste and common sense. Ladies should remember that men look to the effect of dress in setting off the figure and countenance of a lady rather than to its cost. Few men form estimates of the value of ladies' dress, this is a subject for female criticism. Beauty of person and elegance of manners in woman will always command more admiration from the other sex than costliness of clothing. A lady in dressing for a ball or party has first to consider the delicate question of age, and next that of her position. As everything about a ball room should be light, gay, and the reverse of depressing. It is permitted to the elderly ladies who do not dance to assume a lighter and more effective style of dress than would be proper at the dinner table or opera. In having dressed made long, care should be taken that they should not be so long as to touch the floor, for in that case they are likely to be torn before the evening has half expired. It is almost impossible to dance if the dress sweep the floor without such an accident, except with a very careful and accomplished partner. Young ladies should wear dresses of light material, the lighter the better. Tarlatane Lace or the finest Muslin, and all similar fabrics are available. Flowers are the proper ornaments for dress. There is no restriction in colors, except that they should be chosen with reference to the wearer. A blonde appears to most advantage in delicate hues, such as light blue and pink, white are similar colors. The brunette should on the contrary, select rich and brilliant colors. All the accessories of the toilet-gloves, flowers, shoes, fans, and the opera cloak, should be neat and clean. Inattention in this matter spoils the effect of the most impressive toilet. GENTLEMEN'S DRESS. The attire in which a gentleman can present himself in a ball room admits of so little variety, that it can be described in a few words. He must wear a black dress coat, black trousers and a black vest, and a black or white necktie and kid gloves, and patent leather pumps. This is imperative, the ball suit should be of the very best cloth and of the latest style as to cut. The vest should be cut low, so as to disclose an ample shirt front. Small gold or diamond studs may be used with effect. Much display of jewelry is a proof of bad taste. A handsome watch chain with perhaps the addition of a few costly trifles suspended to it, and a set of shirt studs, are the only adornments of this kind that a gentleman should wear. Perfume should only be used for the handkerchief, and should be of the very best and most delicate character. GRAND MARCH. THE SERPENTINE. All march once around the hall. The leader steps in front of his partner, and leads the way up the center, as each couple turns to go up the center, each gentleman steps into single line ahead of his partner, forming by degrees the whole into single file. When the first gentleman reaches the top of the room, he leads the way to the right entirely around the Hall, each round passing inside the former, describing a serpentine track toward the center. As soon as the inner coil becomes small the leader turns quickly to the left and retraces his steps between the coils, until he marches between the coils entirely out of them. He continues until all the coils are unwound, and then each gentleman retires a step to the left of his partner, and the march is continued in column until all the couples have fallen into regular order again. BY PLATOONS. The leader march up the center of the hall. As they reach the top the first couple passes around to the right, the second couple to the left, the remaining odd couples in their order to the right, and the even couples following to the left, all thus march down the hall until they meet in the middle at the bottom. There they turn up the center again four abreast; arriving at the top the first four wheel around by the right, the second four wheel around by the left, and so on in succession, each division marching down its side of the room. When they meet at the bottom they march up the center again, eight abreast At the top of the room the first and third eight wheel to the right, and the second and fourth wheel to the left, each following eight wheeling right and left alternately down the sides of the hall, meeting at the bottom, and marching up the center sixteen abreast, thus forming full lines. At the top of the room all halt, odd lines facing to the right, the even lines to the left, the gentlemen step up by the side of their partners, and the front line marches in couples to the right, the others following and finish as "in column." IN COLUMN. The first couple march around the hall until the leader reaches the bottom left hand corner, then instead of turning at right angles up the side of the room, the first couple must file to the right and march in a line parallel with the advancing couples, but in an opposite direction across the ball room; as each couple arrives at the same corner, they file to the right and follow their leader. When the leader has got across the ball room the first couple files to the left and marches straight across and back again, and so on; forming a serpentine line of march backward and forward across the ball room until the top of the room is reached. In order to make this effective, it requires a large number of couples so that there will be at least four lines constantly passing each other in opposite directions. When the first couple reach the top of the ball room they lead the march around the room again until all the couples are following them in regular column. IN SINGLE FILE. The leader heads the line of march up the middle of the ball room, in reaching the top he turns to the left and his partner to the right; the gentlemen all follow him and the ladies his partner. When the leaders reach the bottom they pass to the left of each other, the gentlemen marching around the room on the outside, the ladies on the inside and in the opposite direction, when the first gentleman meets his partner at the top of the room, they march together again around the room followed by the other couples. THE ARBOR. All march around the hall in regular line, the first couple join right hands, stop! and raise their hands, forming an arch, the second couple pass underneath the arch; the gentleman first and form another arch and so on, each couple passing through the arches ahead of them in turns until one continuous arch has been formed. The first couple now in the rear then pass through and out at the front end of the Arbor followed by each rear couple in rotation until the arches have all disappeared. If the number of couples are large the first couple can follow the last couple at once under the arches. At the end of the march the leader stops, gives a signal for the music to play a Waltz, and leads off with his partner followed by the other couples. ON CALLING. In regard to "Calling Off" would say that it does not matter who does it, providing he is thoroughly drilled in all the figures of the different varieties of Quadrilles, as the leader of the orchestra usually calls off, who is supposed to understand his business thoroughly. 1. He should ascertain by experiment what pitch of voice is most perfect. 2. Let him enunciate every word distinctly. 3. Speak loud so as to be heard by every one. 4. And be careful to call on time. 5. Do not call an instant sooner or later than is necessary, but keep correct time with the music, and he will fill the position. EXPLANATION OF QUADRILLE STEPS. Promenade .-The four couples following each other, go to the right to the place of their vis-a-vis. All Promenade .-Cross hands with partners and move in a circle to the right to places. Half Promenade .-Cross hands with partners and move in a circle to opposite place. Allemand .-All gentlemen take four steps towards lady of right hand couple, who advances to meet him; he swings her half round right hands joined, he then advances four steps towards his partner who comes to meet him, and swings her with left hand to place. Chassez .-Slide the foot directly sideways, (the right foot to the right or the left foot to the left) and draw the other foot close up to it, repeating the same successively once to each beat of the music. Chassez All .-Ladies chassez four steps to the left and back, at the same time the gentlemen chassez four steps to the right and back behind their partners. Chassez to Partners .-Partners face each other; each take three steps forward, passing one another on right side, then three steps backward again and turn partners in places with both hands. Chassez Across .-Each lady makes four steps to the left, passing across in front of her partner, at the same time each gentleman makes three steps to the right, bring left foot up. All make a short step forward and back in half time, all make three steps sideways, back again to first position and make two short steps to finish. Cross Over .-When a couple cross over each partner proceeds in a straight line across and faces around, occupying the place exactly opposite to that from which they started, so that the gentleman who was on the left of his lady when he started finds himself on her right after they have crossed over. Cross Right Hands .-This movement requires four persons, the two opposite persons join right hands, and the two other opposite also join right hands. In this position all make four steps to the left, stop! drop right hands, turn around and cross left hands; in this position all make four steps to the right, back again to places. Dos-a-dos .-First gentleman and opposite lady advance, passing each other right side, step across to the right, back to back without turning around and pass each other left hands to places. Balance .-Partners cross hands and Promenade to the right to opposite couples place, taking eight steps and return in the same manner. Balance All in Place .-Slide the right foot forward, draw the left foot in front of the right in third position, slide the left foot sideways and bring the right foot in front of the left in third position, repeat to place. Balance to Partners .-Performed by each couple. Partners face each other, make three short steps to the right and stop, three steps back again to the left and stop, join hands and turn once around to places. Balance to Corners .-Each gentleman turns towards the lady on his left, executes three short steps and stops, then three to the left and stops, turns her with both hands and returns to his place. Swing Corners .-Commence with the left foot, walk four steps towards the lady on the left, take waltz position and swing around, return four steps back to places. Turn Partners .-Each gentleman takes his partner with both hands and they turn once around to the right. Turn Corners .-Each gentleman walks four steps to the lady on their left, join right hands and turn around to the right, walk four steps back to places and turn partners with left hand. Balance All .-All join hands, ladies backs towards the centre the round becomes small, then large, turn partners to places. Forward and Stop .-Begin with the right foot, take three steps forward and bring the left foot up behind the right, remain so until further orders. Forward and Back .-Commence with the right foot, take three steps forward and draw the left foot behind the right; begin with the left foot take three steps backward and draw the right foot in front of the left. Forward and Ladies to the Center .-Partners join hands and advance four steps, retire four steps to places; advance again four steps, each gentleman swings his partner half around in order to face him, she remains and he retires to his place. Ladies to the Center .-Same as Forward and Ladies to the centre. Ladies to the Right .-Each lady takes four steps to the right, in front of the right hand couple she then executes four steps in front of the gentleman on her right then turns him once around with both hands and remains to his right side taking the place of his partner. Gentlemen to the Right .-Each gentleman performs the same movement with the lady of the couple on his right, same as ladies to the right. Ladies Chain .-Executed by too opposite couples at the same time. The opposite ladies cross over, giving each other right hands in passing; each lady joins left hands with opposite gentleman and swings half round, repeat, swinging partners with left hand to place. Half Ladies Chain .-The opposite ladies cross over giving each other right hands in passing, each lady joins left hands with opposite gentleman and swinging half round and remain standing to the right of opposite gentleman. Ladies Grand Chain .-The four ladies cross right hands in the center, turn half round, drop right hands and each lady joins left hands with opposite gentleman turning him half round in place, again cross right hands turn half round and swinging partners in places. Grand Chain .-The partners of each couple turn facing one another and join right hands; the gentlemen all go around to the right and the ladies to the left. Each gentleman in starting passes his partner on her right and drops her hand, joins left hand with next lady who advances to meet him, and passes her on the left and drops her hand; joins right hands with next lady, passes her on her right and drops her hand, join left hands with next lady and join right hands with partners to places. Right and Left all Round .-Same as Grand Chain. Right and Left Half Round .-Same as "Grand Chain." All stop at the saluting point half way around, (the other way is called), each gentleman salutes his partner and join right hands with her and both swing half around so as to face in the opposite direction, and then left and right back again to places. This is also called Half Grand Chain. Right and Left . -The two couples cross over, each gentleman touching right hands with opposite lady in passing. As he drops the passing ladies right hand he joins left hand with his partner, both turning half around into opposite couples place-Repeat back to places. Half Right and Left .-The two couples cross over and occupy opposite couples place. Right Hands Across and Left Back Again .-Opposite couples cross over, the ladies inside; each lady touching right hands with opposite gentleman in passing. All face around and return, each lady joining left hands with opposite gentleman whose hand she retains; she then crosses her right hand over her left and joins right hands with her partner. Hands Around .-All join hands in a ring and swing around one entire revolution. Hands All Around .-All the couples in the Quadrille join hands forming a ring and swing entirely around in a circle and back to places. Face Outward .-The first couple join hands and promenade to the right, entirely around the inside of the Quadrille ending with their faces outward, with backs to the opposite couple. The third and fourth couples fall in column facing same as first couple. Form a Star .-The four couples take four steps forward, the four ladies cross right hands in the center and joining left hands with their partners. Form a Basket .-The gentlemen raise their arms over the ladies' heads, and bring them down (hands still joined) in front of the ladies. FORMATION OF ALL SQUARE DANCES. The set is composed of eight persons, four gentlemen and four ladies; two couples to form the top and bottom, and two to form the sides. The gentlemen place themselves on the left of their partners as shown in the diagram MUSIC. Before commencing a Quadrille designate your position, then you have an established rule for the others. The couple facing the music is always the first couple, opposite the first is the second couple. The third couple is on the right hand of the first. The fourth couple stands on the left of the first. The first and second are designated the head couples, and the third and fourth the side couples. All square dances are generally performed by four couples with the exception of the ROYAL LANCERS, this is danced by eight couples in a set, (see diagram) and several others. Quadrille music is divided into eight bars for each part of the figure; two steps should be taken in every bar, every movement thus invariably consists of eight or four steps. When all the couples are in order the music commences by first playing eight bars of introductory music, during which time the partners of each couple salute one another. Each gentleman first bows to his partner, then to the lady of the couple on his left; each lady courtesies first to her partner and then to the gentleman of the couple on her right. When standing for a Quadrille the feet should be placed in the third position or as nearly so as possible. The arms should hang naturally, the head be erect, the countenance have a cheerful cast and the chest brought forward. The feet should be seldom raised and then but slightly, as the present style of dancing does not require it. People now generally walk through a Quadrille, as steps are quite gone out of fashion. PLAIN QUADRILLE. FIRST FIGURE. Introduction, 8 bars Head Couples: Right and left, 8 bars 8 bars 8 bars 8 bars Side Couples: The same once, 8 bars SECOND FIGURE. Introduction, 8 bars Head Couples: Forward and back, 4 bars 4 bars 4 bars 4 bars All: Promenade, 8 bars Side Couples; The same twice, THIRD FIGURE. Introduction, 8 bars First Couple: To the right four hands half round, 4 bars Head Couples: Right and left, 8 bars 8 bars 8 bars Repeat four times each couple to the right in turn, FOURTH FIGURE, Introduction, 8 bars 8 bars 32 bars 16 bars All: Chassez, 8 bars 8 bars 8 bars THE QUADRILLE. FIRST FIGURE. Introduction, 8 bars Head Couples; Right and left, 8 bars 8 bars 8 bars 8 bars Side Couples: The same twice. SECOND FIGURE. Introduction, 8 bars Head Couples: Forward two, 4 bars 4 bars 4 bars 4 bars 4 bars 8 bars Side Couples: The same twice, THIRD FIGURE. Introduction, 8 bars Head Couples: Right hands across, 4 bars 4 bars 4 bars 4 bars 4 bars 4 bars 4 bars 4 bars Side Couples: The same twice. FOURTH FIGURE. Introduction, 8 bars Head Couples: Forward and back, 4 bars 4 bars 4 bars 4 bars 8 bars 4 bars 4 bars 25 Repeat. Side Couples: The same twice. FIFTH FIGURE. Introduction, 8 bars Head Couples: Forward and back twice, 8 bars Cross over ladies inside, 4 bars Chassez, 4 bars Cross over to place ladies inside, 4 bars Balance all, 8 bars Repeat. Side Couples The same twice. FANCY QUADRILLES. The Fancy Quadrille figures are single figures, that are sometimes substituted in place of the second or fifth figure of the Quadrille. THE BASKET FIGURE. This is generally danced to Life let us Cherish. First Four: Forward and Back, 4 bars Cross Over, 4 bars Chassez to the Right and Left, 4 bars Cross Back to places, 4 bars All: Balance, 8 bars Ladies: Forward and Back, 4 bars Forward again and join hands. 4 bars Gentlemen: Hands Around, 8 bars Form Basket, (see page 20). Balance: All, 4 bars 4 bars Side Four: The same twice, gentlemen instead of ladies in center. STAR FIGURE. Four Ladies: To center and back, 4 bars Four Gentlemen: Repeat, 4 bars Ladies: Cross right hand half around turn to the left, 4 bars 4 bars Gentlemen: Right hands to partners. All: Balance, 4 bars 4 bars THE MARCH FIGURE. First Couple: Promenade, facing outward, 8 bars All: Fall in column, All: Columns on the floor fall in line of March-Pause in music. All: Four steps backward, 4 bars Head Couples: Forward two and back, 4 bars 4 bars Each Couple: Repeat, 16 bars All: Forward and back, 4 bars 4 bars THE CHEAT FIGURE. First Lady: Balance to the right swing or cheat 8 bars 8 bars 8 bars 8 bars 8 bars JIG FIGURE. Commence with a pause of the music. Hands: All around, 8 bars All: Ladies balance to the right four times, 32 bars All: Promenade, 8 bars All: Gentlemen to the right four times, 32 bars Hands; All around, 8 bars SOCIABLE FIGURE. Head Couples: Right and left, 8 bars Side Couples: Repeat, 8 bars Ladies: To the right turn and change partners, 8 bars All: Promenade, 8 bars Head Couples: Ladies chain, 8 bars Side Couples: Ladies chain, 8 bars All: Ladies to the right, 8 bars All: Promenade: 8 bars Head Couples: Four hands round to left and reverse, 8 bars Side Couples: The same, 8 bars Ladies To the right, 8 bars All: Promenade, 8 bars Head Couples: Right hands across, half round and reverse, 8 bars Side Couples: Repeat, 8 bars Ladies: To the right, 8 bars All: Promenade, 8 bars All: Chassez and disperse. THE CAVOTTE FIGURE. Introduction: 8 bars Head Couples: Ladies chain, 8 bars Side Couples: Forward and back, 4 bars Forward and change partners, 4 bars First Lady: Forward and back twice, 8 bars First Gentleman: Forward and back twice, 8 bars First Couple: Right hands across, 4 bars 4 bars 4 bars 4 bars All: Forward and back, 4 bars 4 bars Repeat four times. THE MINUET FIGURE. Introduction: 8 bars Head Couples: Forward and back, 4 bars 4 bars Side Couples: Forward and back, 4 bars 4 bars All: Ladies chain, 8 bars Side Couples: Forward and back, 4 bars 4 bars THE LADIES OWN QUADRILLE. FIRST FIGURE. Introduction, 8 bars Head Couples: Right and left, 8 bars 8 bars 8 bars 8 bars Side Couples: The same once. SECOND FIGURE. Introduction, 8 bars First Couple: Lead to the right bow at each crossing 8 bars Same Couple: Right and left, 8 bars Chassez: Right and left with next couple, 16 bars Chassez: Repeat to next couple, 16 bars THIRD FIGURE, Introduction, 8 bars First Lady: Balance with right hand gentleman and turn any gentleman she chooses, 8 bars 8 bars 8 bars FOURTH FIGURE. Introduction, 8 bars First Lady: Turn right hand gent with right hand 4 bars 30 Turn next gent with left hand, 4 bars Turn next with right hand, 4 bars Turn partner with left hand, 4 bars All: Promenade, 8 bars Repeat four times Each lady to the right in rotation. FIFTH FIGURE. Introduction, 8 bars First Couple; Face out all fall in line, 8 bars Chassez: Accross and back, 8 bars Balance: And turn partners to places 8 bars First Lady: Balance to partners and turn any gent she chooses, 24 bars Second Lady: Repeat and each lady in turn, 32 bars All, Balance and turn partners to places 8 bars Promenade all. 8 bars NATIONAL GUARD QUADRILLE. FIRST FIGURE. Dedicated to National Guard (NORTH). Introduction: 8 bars All: Balance to partners, 4 bars Turn partners to places, 4 bars Head Couples: Forward and back, 4 bars Lead to the right and salute, 4 bars Cross right hands and turn, 4 bars Cross left hands and return, 4 bars Side Couples: Repeat the entire figure once. SECOND FIGURE. To National Guard (SOUTH). Introduction: 8 bars All: Balance to partners and turn, 4 bars Head Couples: Forward and back, 4 bars 4 bars Side Couples: Forward and back, 4 bars 4 bars Four Ladies: To the center back to back, 4 bars 4 bars Side Couples: Repeat the same. THIRD FIGURE. To National Guard (EAST.) Introduction: 8 bars All: Promenade, 8 bars 4 bars 4 bars 4 bars 4 bars 2 bars 2 bars 4 bars Side Couples: Perform the whole figure once FOURTH FIGURE. To National Guard (WEST) Introduction: 8 bars Head Couples: Forward and back, 4 bars 4 bars Head Couples: Forward and back, 4 bars 2 bars 2 bars All: Forward and back, 4 bars All: Forward again, head couples stop face partners; sides repeat to places, 4 bars Side Couples: The same once, FIFTH FIGURE. To United States Army. Introduction: 4 bars Four Ladies: Change places to the right and all salute, 4 bars 4 bars All Ladies: Pass to next on right and all salute 4 bars 4 bars Ladies: Pass to the next and salute, 4 bars 4 bars Ladies: Pass to places and salute, 4 bars 4 bars Cross Over: First couple between second, 4 bars Return: Second couple between first, 4 bars 4 bars Return: Fourth couple between third, 4 bars All: Turn corners with right hand, 4 bars 4 bars Coda: All: Forward and salute, vis-a-vis, 4 bars 3 bars Prof Koncen's New Caledonia Quadrille FIRST FIGURE. Introduction, 8 bars Head Couples: Cross right hands around, 4 bars Left hands back, 4 bars All: Balance to corners and turn, 8 bars All: Waltz, 16 bars Side Couples: The same twice. SECOND FIGURE. Introduction: 8 bars All: Forward and back, 4 bars 4 bars All: Ladies to the right turn new partners 4 bars All: Waltz, 16 bars THIRD FIGURE. Introduction. 8 bars All: Forward and back, 4 bars 4 bars All: Balance to corners and turn, 8 bars All: Waltz, 16 bars FOURTH FIGURE. Introduction 4 bars First Couple: Face out, all fall in line, 4 bars 4 bars All: Forward and back. 4 bars 4 bars All: Balance to partners in line 4 bars All: Turn partners to places 4 bars All: Waltz, 16 bars PRAIRIE QUEEN QUADRILLE. FIRST FIGURE. Introduction: 8 bars Head Couples: Forward and back, ladies half 8 bars Side Couples: Forward and back, ladies half chain, 8 bars All: Forward and back, circle half round, 8 bars Grand: Right and left, promenade to place with partners, 8 bars All: Waltz, 16 bars Side Couples: The same once. SECOND FIGURE. Introduction: 8 bars Head Couples: Forward and back, lead to the right salute, 4 bars Leave ladies with side gentleman and first two gentlemen change places, 4 bars Forward Six: Six hands half round, seperate, 8 bars First Two: Gentleman forward and back, 4 bars Take ladies to place, 4 bars All: Polka Redowa, 16 bars Side Couples: The same once. THIRD FIGURE. Introduction: 8 bars Four Ladies: Forward and back, 4 bars Forward cross right hand giving left to partner's left, 4 bars Promenade in a star to place, 8 bars First Couple: Lead to the right salute, change ladies; to second change ladies; to third change ladies, to place all salute, 8 bars All: Balance and swing, 8 bars All: Polka, 16 bars The entire figure is executed four times, each couple leading to the right in rotation. THIRD FIGURE. Introduction, 8 bars First Couple: Forward lady in center gent retire 4 bars Second Couple: Forward lady in center, 4 bars Third Couple: Forward lady in center, 4 bars Fourth Couple: Forward lady in center, 4 bars Four Ladies: Hands around back to back one turn to the right, 4 bars Four Gents: Forward extend the circle, 4 bars All: Balance as they stand, 8 bars This figure is performed four times each couple leading off in turn. FOURTH FIGURE. Introduction: 8 bars First Gent: Swings opposite lady with right hand, 2 bars 2 bars 2 bars 2 bars 16 bars All: Forward swing partners, 8 bars 8 bars All; Galop 16 bars PRINCE IMPERIAL. The first eight bars of music are employed by the gentlemen saluting first their partners, then salute the lady on their left. FIRST FIGURE. Introduction, 8 bars Head Couples: Lead to the right and salute 4 bars Take side ladies and go opposite 4 bars Ladies: Grand chain without gentlemen, 8 bars All: Chassez to the right and elft turn partners Head Couples: At opposite places, 8 bars Head Couples: Repeat as they stand, Side Couples: The same. SECOND FIGURE. Introduction, 8 bars First Gent: And opposite lady forward and back 2 bars 2 bars First Lady: Cross under turn second gentleman with left hand 4 bars Head Couples: Forward and back, 4 bars Head Couples: Ladies half chain, 4 bars All Chassez: And turn corners with right hands 4 bars 4 bars THIRD FIGURE. Introduction, 8 bars First Couple: Forward lady in center gent retire 4 bars Second Couple: Forward lady in center, 4 bars Third Couple: Forward lady in center, 4 bars Fourth Couple: Forward lady in center, 4 bars Four Ladies: Hands around back to back one turn to the right, 4 bars Four Gents: Forward extend the circle, 4 bars All: Balance as they stand, 8 bars FOURTH FIGURE. Introduction, 8 bars Head Couples: Forward and back, 4 bars Forward: First and second ladies to sides, 4 bars 4 bars 4 bars Two gents: Forward and back, 4 bars 4 bars Four Hands: Round half right and left to places, 4 bars Head Couples: Repeat gentlemen to the left, Side Couples: The same twice. FIFTH FIGURE. This figure commences with a pause of the music. Four Ladies: To the right four times, 16 bars Head Couples: Forward and back, 4 bars 4 bars 4 bars 4 bars THE IRISH QUADRILLE. FIRST FIGURE. Introduction, 8 bars 8 bars 4 bars 4 bars All: Right and left all around, 16 bars All: Ladies: Cross right hands around, 4 bars 4 bars Balance: All to partners, 4 bars 4 bars All Ladies: Grand chain: 8 bars All: Promenade, 8 bars Side Couples: The same once, SECOND FIGURE Introduction, 8 bars First Couple: Lead to the right, 4 bars 4 bars 8 bars 8 bars Six Hands: Around to places in center, 8 bars THIRD FIGURE. Introduction: 8 bars First Couple: Forward and back, 4 bars 4 bars 4 bars 4 bars 4 bars FOURTH FIGURE. Introduction: 8 bars Head Couples: Lead to the right and salute, 4 bars 4 bars 4 bars Ladies: Half chain, 4 bars All: Forward and back, 4 bars Forward: Again and turn partners to place, 4 bars Side Couples: Execute the whole figure twice. FIFTH FIGURE. Introduction: 8 bars Four Ladies: Lead to the right, 8 bars All: Promenade, 8 bars 8 bars All: Right and left all around, 16 bars Ladies: Grand chain, 8 bars Repeat the entire figure the gentlemen leading to the right. LONDON POLKA QUADRILLE. FIRST FIGURE. Introduction: 8 bars Head Couples: Forward and back, 4 bars 4 bars 8 bars 4 bars 4 bars 4 bars 41 Promenade back again, 4 bars Repeat, Side Couples: The same twice, SECOND FIGURE. Introduction: 8 bars First Couple: Polka in front of opposite couple, 8 bars First Gent: Swing opposite lady with right hands round, 4 bars Swing left hands back again, 4 bars First Couple: Polka to place, 8 bars Repeat four times, each couple leading off in rotation. THIRD FIGURE. Introduction: 8 bars First Couple: Polka to the right, 8 bars Right hands around, 4 bars Left hands back, 4 bars Polka four turns to place, 8 bars Head Couples: Half promenade, 4 bars Polka two turns to place, 4 bars Repeat four times each couple the same in turn. FOURTH FIGURE. Introduction: 8 bars First Couple: Polka four turns to the right, 4 bars Back to place again, 4 bars All: Join hands and ladies pass to the right, 8 bars In performing this movement after joining hands all the ladies drop both hands and execute a polka step to the right, passing in front of the gentleman on her right and stand by his side, all join hands again and so on in rotation until all have resumed their proper places. All Couples: Polka round and to places, 8 bars Second Couple: Repeat, the gentlemen going four times to the right, 8 bars Side Couples: Execute the same in turn. FIFTH FIGURE. Introduction: 8 bars All: Hands around to the left, 8 bars 8 bars First Lady: Cross over, Polka four steps backward, the gentleman following facing her, 4 bars First Gent: Polka four turns round, the lady following him, 4 bars First Couple: Polka four turns round, 8 bars EMPIRE QUADRILLE. FIRST FIGURE Introduction: 8 bars Head Couples: Advance forward, 2 bars 2 bars 4 bars Balance: And turn partners, 8 bars 16 bars Side Couples: Repeat the same. SECOND FIGURE. Introduction: 8 bars First Lady: And second gentleman advance passing round each other and stop, 4 bars The Lady: Waltzes around gent to same place, 4 bars The Gent: Waltzes around lady to same place, 4 bars Same Two: Cross right hands around, facing partners, 4 bars 4 bars 4 bars Balance: And swing your partners, 8 bars Side Couples: Repeat the entire figure the same. THIRD FIGURE. Introduction: 8 bars First Lady: And second gent cross hands and turn half around, 4 bars Drop: The left hand and chassez one step 2 bars Cross: Left hand, drop the right chassez, 2 bars 8 bars Return: And dance the same with your own partner, 16 bars FOURTH FIGURE. Introduction, 8 bars First Couple: Cross over to second couple gentleman swings his partner to the right of second lady, 4 bars First Gent: Hands around to the left with two ladies, 4 bars 4 bars 2 bars 4 bars Two Ladies: Form an arch and cross over to opposite side, gentleman passes under and stands on the right of second gentleman, 4 bars Ladies: Dance back to places, 4 bars All Chassez: To the right and left, 4 bars 2 bars 2 bars Side Couple: The same once. FIFTH FIGURE. Introduction: 8 bars First Couple: Cross over to second couple, 4 bars 4 bars Cross: Left hands all around, 4 bars First Couple: Form an arch, second couple pass through to the center back to back, 4 bars 4 bars All Balance: And turn partners to place, 8 bars Side Couples: The same twice. SIXTH FIGURE. Introduction: 8 bars All: Promenade to the left, 4 bars 4 bars All: Promenade to the right, 4 bars 4 bars First Lady: And opposite gent repeat (figure 2) 32 bars 16 bars Second Lady: Repeat second figure, 32 bars LAST FIGURE. Introduction: 8 bars All: Promenade to the left, 4 bars 4 bars All: Promenade to the right, 4 bars 4 bars First Couple: Forward and Back, 4 bars Forward Again: Gentlemen change places, 4 bars First Couple: Forward and back, 4 bars 4 bars Second Couple: Forward and back, 4 bars 4 bars Head Couples: Forward and back, 4 bars Forward Again: Change partners, 4 bars Salute: Promenade to seats. MONTEBELLO QUADRILLE. FIRST FIGURE. Advance. Introduction: 8 bars Four Ladies: To the right and salute all around, 16 bars Head Couples: Half right and left, 8 bars Side Couples: Forward, half right and left, 8 bars All: Join hands forward and back twice, 8 bars 8 bars Side Couples: The same once. SECOND FIGURE. The Attack. Introduction: 8 bars Head Couples: Forward ladies half chain, 8 bars 8 bars All: Balance to partners and swing, 8 bars All: Chassez across salute corners, 4 bars All: Swing partners, 4 bars Head Couples: Forward half right and left, 8 bars THIRD FIGURE. The Cross Charge. Introduction: 8 bars Four Gents: Cross right hands in center, left hand to partners left-balance, 4 bars 4 bars 8 bars All: Balance and swing to place, 8 bars 8 bars All: Balance to corners and swing, 8 bars All: Promenade with own partners, 8 bars FOURTH FIGURE. The Defeat. Introduction, 8 bars First Couple: Forward, leave lady in center 4 bars 4 bars 4 bars 4 bars Four Ladies: Join hands, circle to the right, 4 bars Four Gents: Join hands with ladies, 4 bars All: Balance and swing, 8 bars Four Ladies: Forward and back, 4 bars Four Gents: Forward and back, 4 bars All: Join hands, forward twice, 8 bars FIFTH FIGURE. General Charge and Victory. Introduction: 8 bars Head Couples: Half right and left, 4 bars Side Couples: Half right and left, 4 bars Head Couples: Cross back, 4 bars Side Couples: Cross back, 4 bars First Couple: To the right change ladies all around 8 bars All: Balance and swing, 8 bars March: All march arm in arm to the right, 8 bars MASONIC QUADRILLE. FIRST FIGURE. Introduction: 8 bars All: Swing partners with right hands, 4 bars 4 bars First Couple: Promenade between opposite couple, 4 bars 4 bars All: Chassez: 4 bars 4 bars All: Join hands forward twice, 8 bars Four Ladies: In center face partners, 4 bars 4 bars Repeat: Four times (finish) all swing partners and corners, 8 bars SECOND FIGURE. Introduction: 8 bars Head Couples: Forward and back, 4 bars 4 bars 4 bars 2 bars 2 bars 4 bars All: Balance to corners and turn, 8 bars Repeat: Four times (finish) all join hands forward and salute, 8 bars THIRD FIGURE. Introduction: 8 bars All: Salute corners and turn partners, 8 bars First Couple: Lead to the right and salute, 2 bars 2 bars 2 bars 2 bars Head Couples: Right and left, 8 bars All March: Arm in arm, 8 bars Repeat: Four times (finish) all salute and turn partners, 8 bars FOURTH FIGURE. Introduction: 8 bars Head Couples: Gentlemen change place, 4 bars 4 bars All: Right and left, 8 bars All: Forward and turn ladies to place, 8 bars All: Balance to corners and turn, 8 bars Side Couples: Repeat (finish) all gallop around the hall. Side Couples: The same once. THE CALEDONIANS. FIRST FIGURE. Introduction, 8 bars Head Couples: Cross right hand half around, 4 bars 4 bars 8 bars 8 bars 8 bars Side Couples: The same twice, SECOND FIGURE. Introduction, 8 bars Head Couples: Forward and back, 4 bars 4 bars Four Ladies: Balance to the right 8 bars All: Promenade, 8 bars Side Couples: The same twice. THIRD FIGURE. Introduction, 8 bars Head Couples: Forward and back, 4 bars 4 bars 4 bars 4 bars All: Balance to corners, 8 bars All: Join hands, forward and back, 4 bars 4 bars Side Couples: The same twice. FOURTH FIGURE. Introduction, 8 bars Head Couples: Forward and back, 4 bars 4 bars Four Ladies: Advance to the right, 4 bars Four Gents: Advance to the left, 4 bars Four Ladies: Advance to the right, 4 bars Four Gents: Advance to the left, 4 bars All: Promenade to place, 8 bars Side Couples: The same twice, FIFTH FIGURE. Introduction: 8 bars First Couple: Promenade (round side) 8 bars 4 bars 4 bars All: Balance and turn partners, 8 bars All: Right and left half round, salute 8 bars All: Promenade to places, turn partners 8 bars All: Chassez and turn corners, 8 bars THE GLIDE CALEDONIANS. FIRST FIGURE. Introduction: 8 bars Head Couples: Right hands across, 8 bars All: Balance and turn partners, 8 bars All: Waltz, 16 bars SECOND FIGURE. Introduction: 8 bars Head Couples: Forward and back, 4 bars 4 bars Ladies: All to the right, 8 bars All: Waltz, 16 bars THIRD FIGURE. Introduction: 8 bars Head Couples: Forward and back, 4 bars 4 bars All: Balance at corners, 8 bars All: Waltz, 16 bars Side Couples: The entire figure twice. FOURTH FIGURE. Introduction, 8 bars First Couple: Promenade (inside), 8 bars Four Ladies: Advance forward and back, 4 bars Four Gents: Advance forward and back, 4 bars All: Balance to partners, 8 bars All: Waltz, 16 bars LAWN TENNIS. NEW QUADRILLE. FIRST FIGURE. Measuring the Ground. Introduction: 8 bars Head Couples: Forward, separate face partners, 4 bars 2 bars 2 bars Head Couples: Forward to the right and back, 4 bars 4 bars Head Couples: Forward to the left and back, 4 bars Forward and change ladies, 4 bars 4 bars 4 bars Side Couples: The same once. SECOND FIGURE. The Varied Chains. Introduction: 8 bars Head Couples: Right and left with side couples on their right, 8 bars 4 bars 4 bars All: Balance at corners and turn, 8 bars Head Couples: Right and left with side couples on their left, 8 bars 4 bars 4 bars All: Balance at corners and turn, 4 bars THIRD FIGURE. The Rounds. Introduction: 8 bars Head Couples: Right and left around, 8 bars All: Forward and back, 4 bars 4 bars 8 bars 4 bars 4 bars Head Couples: Hands around with side couples and form two lines, 4 bars 4 bars 52 Hands round ladies (the two gentlemen on each side hands around the lady and change places, 4 bars All: Turn partners with right hand to place 4 bars The entire figure is repeated by the head couples which will bring them to their original place. Side Couples: The same twice. FOURTH FIGURE. The Double Pastourelle. Introduction: 8 bars Head Couples: Forward six and back, the side couples swing their ladies to head couples, gentlemen return to their places forward six and back, 4 bars Ladies on the left pass under, first two gents form an arch, ladies on the left pass under, ladies on the sides, 4 bars Head Couples: Forward six and back, 4 bars Ladies on the left pass under, 4 bars Side Couples: Forward six and back, 4 bars Ladies on the left pass under to original place, 4 bars Four Ladies: Forward and back, 4 bars Four Gents: Forward and back, 4 bars All: Balance to partners and turn, 8 bars Side Couples: The same once. FIFTH FIGURE. The Net. Introduction, 8 bars All: Forward and back, 4 bars First couple face out all wheel into line 4 bars First couple chassez to the right, 2 bars Dechasse to the left, 2 bars All: Turn partners to place, 4 bars All: Promenade half round, 4 bars Turn partners with both hands, 4 bars Turn corners with right hands, 4 bars Turn partners with left hands, 4 bars Promenade: To places, 4 bars Turn partners, 4 bars The entire figure is repeated four times, each couple chassez and dechassez in turn. Coda: All salute partners. THE HARLEQUIN QUADRILLE. FIRST FIGURE. Introduction: 8 bars Ladies: Grand chain, 8 bars All: Promenade, 8 bars Swing. Partners with the right to places, 4 bars Repeat left hands back again, 4 bars Side Couples: The same once. SECOND FIGURE. Introduction: 8 bars Head Couples: Lead to the right and salute, 4 bars Four hands round to places, 4 bars Head Ladies: Forward and back, 4 bars Dos-a-Dos, 4 bars Head Gents Forward and back, 4 bars Dos-a-Dos, 4 bars Chassez: Across and turn corners, 4 bars Cross back and turn partners, 4 bars Side Couples: The same once. THIRD FIGURE. Introduction: 8 bars Head Couples: Forward and back, 4 bars Forward and halt, 4 bars Balance to center and turn partners, 8 bars Four hands around, 4 bars Turn partners to places, 4 bars Head Ladies: Forward and back, 4 bars 4 bars Head Gents: Forward and back, 4 bars 4 bars Head Couples: Balance, 4 bars 4 bars Side Couples: The same once. FOURTH FIGURE. Introduction, 8 bars Balance: All and turn corners, 8 bars All Ladies: Cross right hands around and back, 8 bars Gentlemen: Cross right hands all around, 8 bars Hands: All around, 8 bars Gentlemen: Backs towards the center and balance all, 4 bars 4 bars FIFTH FIGURE. Introduction, 8 bars All: Promenade, 8 bars First Couple: Face out all fall in line, 4 bars Forward: March down the center ladies to the left, gents to the right, 4 bars March: Up the sides in lines again, 4 bars Two. Middle couples four hands round, 4 bars 4 bars THE SUPRISE QUADRILLE. FIRST FIGURE. Introduction, 8 bars First Lady: Balance to right hand couple, 4 bars 4 bars The Three: Balance to next couple on the right, 4 bars 4 bars The Five: Balance to next couple on the right, 4 bars 4 bars All: Balance and turn partners, 8 bars SECOND FIGURE. Introduction, 8 bars Head Couples: Lead to the right, 4 bars All: Chassez and form in two lines, 4 bars 4 bars 4 bars 4 bars 4 bars 4 bars All: Forward and turn partners to place, 4 bars Side Couples: Repeat precisely the same. Head Couples: Lead to the right, brings the couples in the following position as shown in Diagram No. 1, thus: Chassez: Facing as in diagram No. 1, :-X[???] A Gentleman. C[???] A Lady. Pointers indicate the way to place 56 Half right and left in line. They are now standing in two lines, and the half right and left movement is executed as they stand, at the end all turn and face in the following postion as shown in diagram No. 3. The same movement is then performed as they now stand, ending in line, precisely the same as shown in Diagram No. 2. THIRD FIGURE. Introduction: 8 bars All: Right and Left around, 16 bars Salute to corners, salute to partner, 8 bars Right and left around, 16 bars Balance to corners, turn partners, 8 bars First Four: Forward to center, 2 bars Side Four: Seperate and chassez to head couples places, 4 bars Forward to the center, 4 bars Head Couples: Seperate and return to places, 4 bars Repeat the last eight bars to places, Repeat, Side Couples: The same twice. FOURTH FIGURE. Introduction: 8 bars First Couples: Balance to the right hand couple, 4 bars Four hands around, 4 bars Right and left with next couple, 8 bars Ladies chain with next couple, 8 bars All: Balance and turn partners, 8 bars This figure is danced four times, each couple leading off in rotation. FIFTH FIGURE. Introduction, 8 bars First Couples: Forward and back, 4 bars Cross over, 4 bars Four Ladies: Join hands, chassez inside, 4 bars 4 bars Two Gents: Join hands, chassez inside, 4 bars 4 bars All: Balance and turn partners, 8 bars Ladies: To the center and back, 4 bars 4 bars 8 bars Gentlemen: To the center and back, 4 bars 4 bars Ladies: All quickly to seats. LE POLO. NEW FRENCH QUADRILLE. FIRST FIGURE. La Promenade. INTRODUCTION: 8 bars PROMENADE: All half round, 4 bars HEAD COUPLES: Forward and back, 4 bars HEAD COUPLES: Half right and left to place, 4 bars SIDE COUPLES: The same, 4 bars 8 bars 8 bars SECOND FIGURE. La Corbeille. INTRODUCTION: 8 bars ALL: Hands all around, 8 bars 2 bars GENTLEMEN: Promenade round and turn partners, 2 bars 4 bars LADIES: Promenade round and turn partners, 4 bars 4 bars THIRD FIGURE. Les Petits Ronds. INTRODUCTION: 8 bars HEAD COUPLES: Ladies change places, 2 bars SIDE COUPLES: Gentlemen change places, side gentlemen change places and give the left hand to their lady and the right hand to the lady on the right, in order to form a great round, the gentlemen with their backs turned to the middle of the Quadrille, 4 bars BALANCE: The rond becomes small then large, 4 bars PROMENADE: They keep together and return to place, 4 bars BALANCE: The gentlemen perform with their ladies a little rond in their place and finish turning their backs to the center of the Quadrille, 4 bars BALANCE: They perform a rond with the new lady on their left, 4 bars Last rond with the fourth lady to finish in places, 4 bars FOURTH FIGURE. La Nouvelle Pastourelle. INTRODUCTION: 8 bars HEAD COUPLES: Forward and back and give their ladies to the gents on their right and return to place, 8 bars SIDES: Forward six and back, as they go backwards the first two gents advance forward and back and ladies to head couples, 8 bars HEADS: Forward six and back, side gents advance forward and back, 8 bars 8 bars SIDE COUPLES: The same once. FIFTH FIGURE. Le Polo. This figure commences with the music. ALL: Hands round to left formed by the four couples who turn to their left in dancing the gallop, 8 bars FORM BASKET: The ladies take each other by the hand and form a rond in the middle of the Quadrille the gents pass their arms over the arms of ladies and give each other the hand in front of the ladies, in this position they gallop to the left, 8 bars PROMENADE: When arrived at their place the gents hold up their arms, the ladies pass under and place themselves back to back in the middle of the rond the gents go on turning, 4 bars PROMENADE: When the gents comes each to his lady they put their right arm round the lady and perform with her a tour sur place, 4 bars MOULINET: The gents without leaving their ladies form with the left hand a monlinet and turn in dancing the gallop with their lady, 8 bars WALTZ QUADRILLE. No. 1. FIRST FIGURE. Introduction: 8 bars Head Couples: Right and left, 8 bars All: Waltz, 16 bars Head Couples: Ladies chain, 8 bars All: Waltz, 16 bars Side Couples: The same SECOND FIGURE. Introduction: 8 bars Head Couples: Forward two, 8 bars 8 bars All: Waltz, 16 bars Side Couples: The same twice. THIRD FIGURE. Introduction: 8 bars Head Couples: Forward four, 4 bars 4 bars All: Waltz, 16 bars Side Couples: The same twice. FOURTH FIGURE. Introduction: 8 bars All: Join hands forward and back, 4 bars 4 bars All: Waltz, 16 bars FIFTH FIGURE. This figure commences with a pause in the music. All: Right and left half around, 8 bars All: Waltz, 16 bars Head Couples: Forward two, 8 bars 8 bars All: Waltz, 16 bars Side Couples: The same. All: At the close salute, 8 bars WALTZ QUADRILLE. No. 2. FIRST FIGURE. Introduction: 8 bars Head Couples: Right and left, 8 bars 8 bars 8 bars All: Waltz, 16 bars Side Couples: The same once. SECOND FIGURE. Introduction: 8 bars Head Couples: Forward two, 8 bars 8 bars All: Waltz, 16 bars Side Couples: The same twice. THIRD FIGURE. Introduction: 8 bars Head Couples: Right hands around, 4 bars 4 bars 4 bars Half Promenade: To opposite places, 4 bars All: Waltz, 16 bars Side Couples: The same twice. FOURTH FIGURE. Introduction: 8 bars Head Couples: Balance to the right, 4 bars 4 bars Ladies: Grand chain, 8 bars All: Forward and back, 4 bars 4 bars All: Waltz, 16 bars Head Couples: Repeat ending with own partners again. Side Couples: The same twice. THE LANCERS. FIRST FIGURE. Introduction: 8 bars Head Couples: Forward and back, 4 bars 4 bars 8 bars All: Balance to corners and turn, 8 bars Side Couples: The same twice. SECOND FIGURE. Introduction: 8 bars Head Couples: Forward and back, 4 bars 4 bars 8 bars Side Couples: Seperate form two lines forward all, 4 bars 4 bars Side Couples: The same twice. THIRD FIGURE. Introduction, 8 bars Head Couples: Forward and back, 4 bars 4 bars 8 bars Side Couples: The same twice. FOURTH FIGURE. Introduction, 8 bars Head Couples: Lead to the right salute, 4 bars 4 bars Head Couples: Salute partners, 4 bars Head Couples: Right and left, 8 bars Side Couples: The same twice. FIFTH FIGURE. This figure commences with a pause of the music. All: Right and left all around, 16 bars First Couple: Face out all fall in line seperate, 8 bars All: Forward and back twice, 8 bars First Couple: March down the center and back, 8 bars All: Forward and back, 4 bars Forward and turn partners to places, 4 bars Last Time: All right and left all around, SARATOGA LANCERS. -o- FIRST FIGURE. Introduction, 8 bars Head Couples: Forward to the right and back, 4 bars 4 bars Head Couples: Cross over inside, return outside, 8 bars All: Balance to corners, 8 bars SECOND FIGURE. Introduction: 8 bars All: Forward and back, 4 bars Forward ladies in the center, 4 bars All: Chassez, 8 bars All: Promenade, 8 bars THIRD FIGURE. Introduction: 8 bars All: Forward and back, 4 bars 4 bars 8 bars FOURTH FIGURE. Introduction: 8 bars Head Couples: Lead to the right salute, 4 bars 4 bars Head Couples: Return to place salute partners, 4 bars 8 bars Head Couples: Lead to the left salute, take lady back to her place salute, 4 bars 4 bars Head Couples: Right and left across and back, 8 bars Side Couples: The same once. FIFTH FIGURE. This figure commences with a pause of the music. All: Right and left half around salute, 8 bars 8 bars First Couple: Face out form two lines, 8 bars All: Chassez, 8 bars March Ladies to the right gents to the left, 8 bars 4 brrs 4 bars GLIDE LANCERS. FIRST FIGURE. Introduction, 8 bars Head Couples: Forward and back, 4 bars 4 bars Cross Over: First couple inside, return outside, 8 bars Head Couples: Waltz, 19 bars All: Balance to corners and turn 8 bars Side Couples: The same once. SECOND FIGURE. Introduction, 8 bars Head Couples: Forward and back, 4 bars 4 bars 4 bars All: Ladies to the right, 2 bars All Waltz: With new partners, 19 bars Side Couples: The same twice. THIRD FIGURE. Introduction: 8 bars Head Couples: Forward and back, 4 bars 65 Forward and salute, 4 bars Head Couples: Waltz, 19 bars Ladies chain, 8 bars Side Couples: The same once, FOURTH FIGURE. Introduction, 8 bars Head Couples: Lead to the right and salute, 4 bars Lead to the left and salute, 4 bars Head Couples: Waltz, 19 bars Right and left, 8 bars Side Couples: The same once. FIFTH FIGURE. This figure commences with a pause of the music. All: Right and left around, 16 bars First Couple: Waltz, Second couple seperate 18 bars First Couple: March down the center and back, 8 bars All: Forward and back, 4 bars Forward, turn partners to places, 4 bars Repeat, Side Couples: The same twice. Last Time: All right and left around. Coda: All chassez and Promenade. PROF. KONCEN'S CARNIVAL LANCERS. FIRST FIGURE. Introduction: 8 bars Head Couples: Lead to the right salute, 4 bars Return to places, 2 bars Lead to the left salute, 4 bars Return to places, 2 bars All: Promenade, 8 bars All: Waltz, 16 bars Repeat. Side Couples: The same twice, SECOND FIGURE. Introduction: 8 bars All: Forward and back, 4 bars 4 bars All: Chassez and turn partners, 8 bars Four Ladies: To the right, 4 bars All: Polka with new partners, 16 bars THIRD FIGURE. Introduction: 8 bars All: Forward and back, 4 bars 4 bars 4 bars Four Gents: Forward extend the circle, the four gents give their right hands to their partners right, left hands to lady on their left, 4 bars All: Balance and turn partners to places, 8 bars All Waltz, 16 bars FOURTH FIGURE. Introduction: 8 bars All: Forward and back, 4 bars Four Ladies: Cross right hands round, left hands back, 8 bars All: Balance to corners and turn, 8 bars All: Promenade, 8 bars All: Esmeralda (or Polka), 16 bars Side Couples: The same twice. FIFTH FIGURE. This figure commences with a pause of the music. All: Right and left all around, 16 bars First Couple: Face out form two lines, 8 bars All: Chassez, 8 bars First Couple: Form an arch, 4 bars 4 bars 8 bars First Couple: March down the center to place, 4 bars All: Forward and back, 4 bars 4 bars All: Waltz, 16 bars THE WALTZ LANCERS. FIRST FIGURE. Introduction, 16 bars Head Couples: Forward and back, 8 bars 8 bars Head Couples: Waltz, 16 bars All: Waltz, 16 bars Side Couples: The same once. SECOND FIGURE. Introduction: 16 bars Head Couples: Forward and back, 8 bars 8 bars Head Couples: Waltz, 12 bars Side Couples: Seperate and form two lines with head couples, 4 bars 8 bars All: Waltz to places, 8 bars Side Couples: The same once. THIRD FIGURE. Introduction: 16 bars Head Couples: Forward and back, 8 bars 8 bars All: Waltz, 16 bars Side Couples: The same once. FOURTH FIGURE. Introduction: 16 bars Head Couples: Waltz to the right, salute, 8 bars 8 bars Head Couples: Waltz, 8 bars All: Waltz, 16 bars Side Couples: The same once. FIFTH FIGURE. This figure commences with a pause of the music. All: Waltz, 16 bars First Couple: Face out, form two lines, 16 bars 8 bars 8 bars First Couple: Waltz down the center and back, 16 bars 8 bars Forward again, 8 bars All: Waltz, 16 bars THE NORMANDY LANCERS. FIRST FIGURE. Introduction: 8 bars Head Couples: Right and left to opposite place, 4 bars 4 bars Head Couples: Cross with side couples to the right, 4 bars 4 bars 4 bars 4 bars Side Couples: Perform the same twice. SECOND FIGURE. Introduction: 8 bars Head Couples: Ladies half chain, 4 bars All: Salute partners, 4 bars All: Balance, 4 bars Head Couples: Ladies half chain to places, 4 bars Head Couples: Right and left with side couples, 4 bars 4 bars Side Couples: The same twice. THIRD FIGURE. Introduction: 8 bars Head Couples: Half promenade to opposite place, 4 bars 2 bars Head Couples: Cross right hands and give left hands to partners left, 2 bars 4 bars Side Couples: The same twice. FOURTH FIGURE. Introduction: 8 bars Head Couples: Forward and salute, 4 bars 4 bars Head Couples: Ladies chain to the right, 8 bars Side Couples: Execute the entire figure twice. FIFTH FIGURE. Introduction, 8 bars Ladies: Grand double chain, 16 bars First Couple: Face out and all fall in line, 8 bars All: Promenade first and third couples to the left, fourth and second couples to the right, 8 bars Four Ladies: To the center and salute, 4 bars 4 bars All: Promenade to places, 4 bars All: Turn partners in places, 4 bars THE ROYAL LANCERS. The Royal Lancers is to be danced by eight couples in a set eight ladies and eight gentlemen as shown in diagram. FIRST FIGURE. Introduction: 8 bars First Two: Ladies and opposite gents forward and back, 4 bars Forward again, turn opposite with both hands, and back to places, 4 bars Head Couples: Cross over, first couple inside, 4 bars 4 bars All Ladies: Balance with gent to their right, 4 bars 4 bars SECOND FIGURE. Introduction: 8 bars First Two: Couples forward and back, 4 bars 4 bars 4 bars 4 bars Head Couples: Forward and back, 4 bars Side Couples: Forward and back, 4 bars THIRD FIGURE. Introduction: 8 bars First Two: Ladies and opposite gentlemen forward and back, 4 bars 4 bars First and Third: Couples lead to the right, ladies chain at corners, 8 bars 16 bars FOURTH FIGURE. Introduction, 8 bars First Two: Couples lead to the right and two side couples lead to the left salute, 4 bars Four Couples: Face around cross over and salute, 4 bars All: Chassez across, 4 bars 8 bars FIFTH FIGURE. This figure commences with a pause of the music. Eight Ladies: Cross right hands around salute partners, 8 bars 8 bars Two First: Couples promenade ending in places facing outwards, 4 bars Side Couples: Fall in columns two columns facing different ways, 4 bars All: Chassez across and back, 8 bars March: Ladies to the right, gents to the left form in lines facing each other, 8 bars All: Forward and back, 4 bars 4 bars THE MINUET LANCIERS. FIRST FIGURE. Introduction, 8 bars First Four: Lead to the right and salute, 4 bars 4 bars 4 bars All: Turn partners, 4 bars 8 bars Side Couples: The same twice. SECOND FIGURE. Introduction: 8 bars All: Forward and back, 4 bars 4 bars All: Chassez, 4 bars 4 bars 2 bars 2 bars All: Promenade, 8 bars Side Couples: The same twice. THIRD FIGURE. Introduction, 8 bars All: Forward and back, 4 bars 4 bars 8 bars Side Couples: The same twice. FOURTH FIGURE. Introduction: 8 bars First Four: Lead to the right and salute, 4 bars 4 bars 4 bars All: Forward and back, 4 bars 4 bars Side Couples: The same twice. FIFTH FIGURE. Introduction: 8 bars All: Salute commence with grand square, 4 bars 4 bars 4 bars 4 bars 4 bars All: Turn partners to places, 4 bars 4 bars All: Fall in line, 4 bars All: Chassez, 8 bars March: Ladies to right and gents to left form 8 bars All: Forward and back, 8 bars Turn partners to places, 4 bars Repeat. Side Couples: The same twice. THE CENTENNIAL LANCERS. This is a modification of the "Plain Lancers," by which eight couples can be placed in a sit, by adopting this method of dancing in double sets a great deal of space can be gained. (see royol lancers) FIRST FIGURE. Introduction, 8 bars Head Couples: Forward and back, 4 bars Forward and turn opposite, 4 bars Cross over inside, 4 bars Return outsite, 4 bars All: join hands all forward and back, 4 bars Turn partners to places, 4 bars Repeat. Side Couples: The same twice. SECOND FIGURE. Introduction: 8 bars All: Join hands forward and back, 4 bars All: Forward leave ladies in center, 4 bars Salute, 4 bars Chassez and turn partners, 4 bars All: Hands all around, 8 bars Repeat. Side Couples: The same twice. THIRD FIGURE. Introduction, 8 bars All: Join hands forward and back, 4 bars All: Forward and salute, 4 bars 8 bars Side Couples: The same twice. FOURTH FIGURE. Introduction, 8 bars Head Couples: Join hands lead to the right salute, 4 bars 4 bars 4 bars Head Couples: Cross over, 2 bars Side Couples: Cross over, 2 bars Head Couples: Return to places, 2 bars Side Couples: Return to places, 2 bars Side Couples: The same twice. FIFTH FIGURE. This figure commences with a pause of the music. All: join hands forward and back, 4 bars 4 bars All: Forward and back, 4 bars 4 bars First Couple: Face out, The first couple joins hands and promenades to the right in the center of the set and returns to their orriginal place facing outward, 4 bars 4 bars All: Forward and back twice, 8 bars March: In couples one couple to the right, the other to the left marching down the middle of the set, 8 bars All: Join hands in couples forward and back 4 bars 4 bars THE PARISIAN VARIETIES. FIRST FIGURE. Introduction, 8 bars First Couple: Lead to the right salute, 2 bars 2 bars 2 bars 2 bars Head Couples: Right and left across and back, 8 bars All: Waltz. 19 bars SECOND FIGURE. Introduction: 8 bars First Gent: And opposite lady forward and back and face partners, 4 bars 4 bars First Gent: And opposite lady forward again, 4 bars 4 bars All: Polka, 16 bars THIRD FIGURE. Introduction: 8 bars First Gent: Lead four ladies in center, the gent commences by giving his left hand to the lady on his left and leads her in the center, 2 bars 2 bars 2 bars 2 bars Four Ladies: Join hands facing partners turn to to left, 7 bars All: Waltz, 17 bars FOURTH FIGURE. Introduction: 8 bars First Couple: Forward and turn with both hands round, 4 bars 2 bars 2 bars First Gent: And opp. lady forward and back, 4 bars 4 bars All: Redowa, 16 bars FIFTH FIGURE. Introduction: 8 bars Head Couples: Forward and back, 4 bars 4 bars All: Forward and back, 4 bars 3 bars Balance: All in Waltz steps, 4 bars 4 bars 4 bars 4 bars All: Waltz, 18 bars Coda: (Last time), four ladies in center salute partners. ROUND DANCES. The great principle of dancing is to glide smoothly and gracefully with perfect ease. The gentleman places himself in front of his partner a little to her right, his right foot is placed between those of his partner. He encircles her waist with his right arm and holds her right hand with his left extending it straight downward with perfect ease. The lady's left arm should rest lightly and gracefully upon her partners right shoulders, while the right arm should be extended nearly straight downward and should avoid leaning her head upon his shoulder both turning their heads slightly to the left and looking over each others right shoulders and avoid jerkey movements. A gentleman should regulate a proper and a respectable distance between himself and his partner. If he draws the lady too close he empedes the freedom of his action, and on the other hand he should not stand to great a distance from her which would prevent his rendering her sufficient support. A gentleman being at all times responciable for the guidance of his lady. Therefore he should avoid coming in contact with other couples. A lady should entirely abandon herself to the guidance of her partner and obey the slightest motion indicating a change of direction as the success of the dancers entirely depends upon the partner moveing in concert. The lightness and elasticity which are peculiar excellence of successful waltzers can only be acquired by practice, but avoiding as much as possible that appearance of laborious effort, the pupil will more rapidly attain the proficiency which he desires." In all round dances the gentleman commences with his left foot first standing in the third position the right foot front. The lady begins with her right foot standing in the third position the left foot front. THE FIVE POSITIONS IN DANCING. A season passed in attaining a knowledge of the steps and dancing is superfluous, particular the first position is absolutely necessary to be learned correctly; as it gives the key and is the starting point of all the rest. The following descriptions illustrate the five positions in dancing: Place the feet with the heels touching, so as to form the sixth part of a circle, the body must be kept erect and without stiffness, and the movements being made by the feet alone. Throw the weight of the body on the left foot. Glide the right foot directly to the right; the toe pointing and resting on the floor, the heel raised and the instep curved. Draw the heel of the right foot against the hollow of the left foot. The right foot is extended in the direction of the right, stand with nearly the whole weight on the left foot, with your right toe touching the floor. Draw the heel of the right foot up to and touching the toe of the left foot. THE WALTZ. The waltz is the foundation of all round dances, and in order to dance it gracefully you should reverse to every four bars of music, this renders it easy to turn in any direction that the fancy may suggest, standing in the third position the right foot front commencing thus: Slide the left foot in the direction of the left fourth position, (count one.) Slide the right foot up to the left place, the right toe to the heel of the left in the fifth position, (count two.) Slide the left foot behind the right in the third position, (count three.) Slide the right foot in the direction of the right between your partner's feet in the fourth position, (count four.) Slide the left foot to the right, place the left toe to the heel of the right in the fifth position, (count five.) Slide the right foot between the left in the third position (count six.) The lady executes the same movements, commencing with 4, 5, 6, while the gentlemen performs 1, 2, 3, and the lady re-commencing with 1, 2, 3, while he executes 4, 5, 6. THE REVERSE BACKWARD. Slide the right foot directly backward, (count one.) Slide the left foot up to the right in the third position, (count two.) Slide the right foot backward, (count three.) THE REVERSE FORWARD. Slide the right foot directly forward, (count one.) Slide the left foot behind the right in the third position, (count two Slide again the right foot directly forward, (count three.) When the gentleman reverses backward with his right foot, the lady reverses forward with her left, when he reverses forward she goes backward. THE GLIDE WALTZ. Glide backward with the left foot one step, bending the knees, (count one.) Draw the right foot straight back of the left and straightening the knees, (count two.) Finish the turn by drawing the left foot up to the right, (count three.) Glide the right foot forward and bending the knees, (count four.) Glide the left footin front of the right and raising on both toes turning half around, (count five.) Finish the turn by drawing the right foot up to the left, (count six.) THE REVERSE. To the reverse there is no change of steps necessary; the gentleman commencing with his left foot first gliding backward. The lady commencing with her right foot forward. While the lady executes 4, 5, 6, 1, 2, 3, the gentleman executes 1, 2, 2, 4, 5, 6, and so on alternately. THE NEW FIVE-STEP WALTZ. Glide the left foot forward, (count one;) draw the right foot close to the left, springing on it and raise the left foot pointing to the floor, (count two;) glide the right foot forward, (count three;) glide the left foot forward between your partner's feet turning to the right, (count four;) glide the left foot and bring the right foot in front of the left and turn half around, (count five.) THE DOUBLE GLIDE WALTZ. Glide backward with the left foot, (count one;) draw the right foot to the left, (count two;) glide backward with the left, (count three;) glide the right foot to left, (count four;) draw the left foot backward, (count five.) Glide forward with right foot, (count one;) draw left foot to right, (count two;) execute waltz step with right foot forward, (count 3, 4, 5.) There is a slight rest between counts tow and three, which fills up the six counts in the music. THE WALTZ IN DOUBLE TIME. Slide the left foot in the direction of the left, (count one;) chassez the left foot with the right, remembering not to turn, (count two;) draw the left foot behind the right, slide directly forward and finish the turn, (count three.) THE SPANISH WALTZ. Slide the left foot directly backward, (count one;) pass your right foot behind the left, (count two;) slide the left foot backward, (count three;) slide the left foot forward, (count four;) pass the left foot forward, (count five;) draw the right foot up to the left turning on the ball of both feet, finishing the turn with the right foot forward, (count six.) THE BOSTON DIP. The Boston Dip at one time was a very popular dance for the time being, but now-a-days danced but very seldom, its movements being very vulgar and ungraceful. The step of this dance is similar to the glide waltz, each glide being performed by bending the knees considerable, which causes the body to dip at entervals. THE MAZOURKA WALTZ. Slide the left foot directly forward and spring on it twice, (count one;) slide the right foot directly forward and spring on it twice, (count two;) hop on each foot in succession striking the heels together, then glide to the side, (count three;) but this movement is seldom used now, the dancers generally finish with the old waltz step. Repeat the same movements continuously. LA RUSSE. Glide with the left foot two steps in the direction of the left and execute one glide and a glisse. Glide two steps with the right foot in the direction of the right and perform one glide and a glisse. A glisse is a half glide. THE HOP WALTZ. Spring from the right foot to the left drawing the left foot directly back to the right, (count one;) draw the right foot behind the left heel turning on both feet, (count two;) complete the turn drawing the right foot in the third position, (count three;) spring from the left foot up on the ball of the right, drawing the right foot forward in the fourth position, (count four;) draw the left foot in front of the right turning on both feet, (count five;) complete the turn by drawing the right foot in the third position, (count six.) THE KNICKERBOCKER WALTZ. Waltz, step half round commencing with left foot, (count one;) waltz step half round with right foot, (count two;) waltz step half round with left foot, (count three.) THE SIDE MOVEMENT. Glide the right foot directly sideways, (count one;) draw the left up to the right, (count two.) Glide the left foot sideways, (count one;) draw the right foot close to the left, (count two.) THE SOCIETY WALTZ. Slide the left foot in the direction of the right, (count one;) slide the right foot in the direction of the left, (count two;) and raise the left foot in the air, (count three.) Repeat with right foot, etc. THE NEWPORT. In commencing rest the whole weight of the body on the right foot, the toe of the left pointing to the floor. Slide on the right foot in the direction of the left, the left toe pointing to the floor, (count one;) slide again on the right foot, the left toe pointing to the floor, (count two;) slide the left foot forward, the weight of the body resting on the left foot, (count three.) REPEAT THE ABOVE, SLIDING WITH THE LEFT FOOT THUS: Slide the left foot in the direction of the right, the right toe pointing to the floor, (count one;) slide again on the left foot, the toe of the right pointing to the floor, (count two;) slide the right foot forward, the weight of the body resting on the right, (count three.) Re-commencing above and so on alternately. THE GITANA WALTZ. Slide the left foot forward, (count one;) hop on the left and raising the right turning half around, (count two;) slide the right foot forward, (count three;) hop on the right, raising the left, turning half round, (count four;) then perform the polka mazourka step with the left foot, (count five;) commence the slide step and hop with the right foot, (count six;) then hop on the left foot, (count seven;) execute with the right foot the polka mazourka step, (count eight.) Repeat the same movements continuously. THE DEUX TEMPS. The movements to this dance are the same as that of the galop, being danced to waltz music, (3-4 time,) and the galop to 2-4 time. In order to perform this dance correctly you must avoid raising your feet from the floor and glide with grace and perfect ease. First movement: Slide the right foot directly forward, (count one.) Second movement: Draw the left up in the third position, (count two.) Third movement: Slide the left foot directly forward, (count three.) Having finished this step with the right foot, commence again with the left foot by sliding directly backward. THE REDOWA WALTZ. Commencing with the knees bend, glide the left foot forward, the left foot receiving the weight of the body, at the end of the glide, (count one;) draw the right foot partially behind the left, straightening the knees, the right foot receiving the weight of the body, (count two;) place the left foot behind the right, and with a spring change the weight from the right to the left, (count three.) Repeat gliding the right foot forward and using the right foot for the left, and vice versa; then glide the right foot forward and bear upon it, (count one;) bring the left foot behind the right, bearing on the right, (count two;) place right foot behind the left, and spring the weight from left to right, (count three.) THE REVERSE FORWARD. Gentleman steps two steps forward with the right foot. The lady steps two steps backward with left foot. THE REVERSE BACKWARD. Gentleman steps two steps backward with the right foot. The lady steps two steps forward with left foot. THE SICILIENNE. Hop on the right foot and bring the left foot behind, (count one;) hop again on the right and draw the left in front, (count two;) hop on the right and extend the left in front, the toe pointing to the floor, (count three;) hop on the right foot, bring the left in front of the right, (count four;) slide three steps forward with the left foot, (count five;) turning half around and drawing the left foot in front, (count six.) Re-commencing with the right foot, THE DANISH DANCE. Step with the left foot in the second position, (count one;) draw the right foot in the third position, (count two;) execute the above four times, counting eight. The movement being made sideways to the left then, take eight short galop steps to the right. Repeat the same once, then dance the waltz or schottisch, (16 bars.) ZULMA L'ORIENTALE. The gentleman as usual commences with his left foot first, and executes two polka steps, and the lady begins with her right foot in the following manner: Place the point of the left toe in the fourth position, (count one;) draw the heel of the left foot in the hollow of the right, (count two;) glide the left foot forward. THE GORLITZA. The step of the Gorlitza is divided in two parts, the first part occupying eight bars of music, the second part occupying sixteen bars of music. Slide one polka step to the left and turn half around, (count one;) glide right foot in direction of right, (count two;) draw the left foot up behind the right, (count three;) glide with right foot with left foot in front, (count four;) hop on right foot, the left raised in front, resting on left, drawing it behind right, (count five;) glide right foot in the direction of the right, finishing with left foot in front, (count six;) glide with right foot the left in front, drawing the left behind the right, (count seven;) glide with right foot in direction of the right, resting right foot in front, turning around, (count eight.) SECOND PART. Perform Polka Mazourka step with the left foot, turning half around, (count one;) polka mazourka step with the right foot, (count two;) drawing the left behind the right, (count three;) glide the right foot in the direction of the right, resting with the right foot in front, (count four;) commencing polka mazourka step with the right foot turning half around, (count five;) polka mazourka step with the left foot in the direction of the left, (count six;) and resting on the right foot behind, (count seven;) glide with the left foot drawing it behind the right, (count eight.) Re-commencing above, etc. LA ZINGERILLA. MUSIC IN 3-4 TIME. Glide the left foot directly sideways, (count one;) draw the right foot close behind the left in third position, (count two;) hop on the right, same time pass the left behind the right, (count three;) hop again on the right foot and bring the left in front to third position. (count four;) slide the left foot forward, (count five;) hop on the left foot, turn half around and bring the right foot in front to third position. [count six.] Re-commencing above, and so on. THE WAVE. Commence with three long galop steps in the direction of the left foot, draw the right foot close up to the left rest, and hold the left foot in the air. Commence above, etc. LA BELLE OR ROCKAWAY. The gentleman steps directly backward with his left foot, (count one;) and passes his right foot directly backward, (count two;) again step backward with the left foot, (count three;) then perform three waltz steps counting thus: One, two, three, four, five, six; one, two, three, Re-commencing above and so on alternately from right to left. THE SOCIETY AND RIPPLE. Glide the left foot in front of the right bending both knees, (count one;) draw the right foot up close to the left, (count two;) glide forward with the left foot, (count three;) glide the right foot in front of the left, bending both knees, (count four;) draw the left foot up to the right, (count five;) glide forward with the right foot, (count six.) THE POLKA MAZOURKA. The Polka Mazourka is of Polish origin, and is a very graceful dance. It's composed from the polka and mazourka step, the figures was some years ago used as a stage dance and it is quite a favorite for the old folks. Slide the left foot forward to the left, (count one;) draw the right foot up to the left, at the same time raise the left foot extending it pointing the foot down, (count two;) bring the left foot back close to the right, at the same time springing on the right without touching the left'on the floor, (count three;) slide the left foot forward, (count four;) draw the right foot up to where the left was raising the left foot in front, (count five;) fall on the foot raising the right foot behind at the same time turning half around, (count six.) Then commence with the right foot instead of the left, as in No. 1, and so on the mazourka part being executed, forward without turning, then turn half around. The gentleman commences some as the waltz position, beginning with the left foot, lady commencing with her right foot. THE VARSOVIENNE. The Varsovienne was some years ago a very popular dance, but now-a-days danced but very little, as it is too slow to suit the popular taste. The music is divided in two parts, making in all sixteen bars. FIRST PART. Pass the left foot towards the left, followed by the right in the rear twice, (count one;) repeat second bar, (count two;) as you are turning execute one polka step, (count three;) and draw the right to the front and wait one bar, (count four.) Repeat the above with the right foot consequently reversing the order of the feet throughout the set. SECOND PART. Commence with the left foot and execute one polka step to the left and turn partners, (count one;) slide the right foot to the front and wait one bar, (count two;) polka step right foot towards the right and turn partners, (count three;) left foot to the front and wait one bar, (count four.) Execute three polka Redowa steps, with the left foot, (count one;) draw the right foot to the front and wait one bar, (count two;) repeat commencing with the right foot, (count three.) THE SCHOTTISCHE. The Schottische was shortly introduced after the Polka, and has been for some time past the Dancing Amusement of America; it is still the favorite of the Germans. This dance, however, like the Varsovienne and many others, are too slow in movement to suit the popular taste; the step of the Schottische is divided into two parts. FIRST PART. Slide the left foot directly sideways, (count one;) draw the right foot up to the left, (count two;) again glide the left foot sideways, (count three;) draw the right up to the left, (count four;) repeat the same movement with the right foot counting one, two three, four. SECOND PART. Draw the right foot straight back to the heel of the left, the toe 2of the right pointing to the floor, (counting one, two, three;) glide the left foot sideways, (count one;) draw the right close to the left, (count two;) draw the left foot straight back to the heel of the right, the toe of the left pointing to the floor, (count three.) Glide the right foot sideways, (count one;) draw the left foot up to the right, (count two;) draw the right foot straight back to the heel of the left, the toe of the right pointing to the floor, (count three;) glide the left foot directly sideways, (count one;) draw the right to the left, (count two;) draw the left foot straight back to the heel of the right, the toe of the left pointing to the floor, (count three.) Commencing above again at first part, and so on. THE MILITARY OR SKIP SCHOTTISCHE. MUSIC IN 4-4 TIME. ARRAINGED BY M. J. KONCEN. Commence by first hopping four steps then execute four waltz steps thus: Hop with the left foot forward, (count one;) hop right foot forward, (count two;) hop left foot forward, (count three;) hop right foot forward, (count four;) then perform four waltz steps. Re-commencing above. LA KASKA. MUSIC IN 3-4 TIME. The gentleman performs three Mazourka steps with the left foot, springing on the right, and pass straight down the room, and execute one Polka Redowa step turning half around, (four bars;) repeat with the other foot, (four bars.) Perform four Polka Redowa steps in turning to the right, (four bars;) and reverse four steps turning to the left, (four bars.) Re-commence above and so on alternately. THE UNION DANCE. MUSIC IN 6-8 TIME. Glide the left foot sideways, (count one;) draw the right foot close up behind the left in the third position, (count two;) glide the left foot forward, (count three;) draw the right foot close up to the left in third position, (count four, 2 bars;) repeat the above with the right foot, (count four;) perform four galop steps straight down the room, finishing on the fourth step with a hop, and turn half around, (count four;) and execute two polka steps turning around, (count four.) Re-commencing above etc. LA CZARIENE. MUSIC IN 3-4 TIME. Perform the whole step of the Polka Mazourka, (counting six;) then execute hop on the left foot and place the right foot behind the left in the fifth position, (count one;) slide the left foot directly forward to fourth position, and turn half around the right foot front to third position, (count two;) hop on the left foot and draw the right to second position, (count three.) Re-commencing above with the right foot, and so on alternately etc. LA CARLOWITZKA. MUSIC IN 3-4 time. Glide the left foot forward, (count one;) and raise the right foot and spring twice on the left foot, turning half around, (count two, three;) repeat the above with the right foot, (counting four, five, six;) then perform the Polka Mazourka step with the left foot, (count six:) Re-commencing above, etc. THE BOHEMIAN, OR HEEL-AND-TOE POLKA. This dance is to be counted as follows: The gentleman commencing with his left foot first, the lady with her right foot, thus: Heel toe, 1 2 3, heel toe, 1 2 3, 1 2 3 4, 1 2 3 4, and so on in succession. Slide the left foot sideways, heel pointing to the floor, (count one;) then draw the left foot behind the right, the toe pointing to the floor, (count two;) slide the left foot sideways, (count one;) draw up the right foot, (count two;) slide with the left foot sideways, (count three;) repeat the above with the right foot thus: Slide the right foot sideways, heel pointing to the floor, (count one;) then draw the right behind the left, the toe pointing to the floor, (count two;) slide the right foot sideways, (count one;) draw up the left foot,(count two;) slide the right foot sideways, (count one;) draw up the left foot, (count two;) slide with the right foot sideways, (count three;) then slide four Polka steps with the left foot, counting 1 2 3 4, half turning, then perform four more Polka steps with the right foot, counting 1 2 3 4. Re-commencing above with the right foot, and so on in succession. THE XYLAPHONE POLKA. ARRANGED BY M. J. KONCEN. Glide with the left foot three steps in the direction of the left, counting 1 2 3, at the same time turning quarter way around to the right, then execute three Polka steps with the right and left foot, counting thus, 1 2 3 4 5 6 7 8 9. Repeat commencing above. THE POLKA. Slide the left foot directly sideways to second position, (count one;) draw the right foot to first position, (count two;) again slide the left foot to second position, at the same time turning around to the right (count three;) rest, (count four.) Repeat with the right foot, etc. THE KNICKERBOCKER. Take three long galop glides with the left foot on ascent, and as right foot is brought up to the left for third time, rest and hold left foot in air. To make second step change on left and execute three galop steps with right foot ascended ending on left foot for third time, with right foot in air. To perform third step change quickly to the right foot and execute three steps with left foot ascended, ending on right foot with left foot in air. Re-commencing above. THE REDOWA. The Redowa is the most graceful of all round dances when performed correctly, and in order to execute the step thoroughly you must be an accomplished dancer. Commence with the feet placed in the third position thus: Spring lightly to the side with the right foot, the toe of the left to second position, (count one;) glide the left foot forward pointing the toe of the right foot behind, (count two;) draw the right foot up to the third position, (count three.) This dance should be well practiced up and down the room before attempting to reverse. THE POLKA REDOWA. The Polka Redowa step is similar to the plain Polka, the only differance is hopping instead of gliding, being danced to the music of the Polka Mazourka. THE REDOWA GLISSADE. Glide left foot to second position, (count one;) draw right foot to first position, (count two;) raise left foot in second position and hop upon it bringing it up to the right foot and displacing the latter turning two glides to the left, redowa as first to left then redowa to right. THE AZALEA. ARRANGED BY M. J. KONCEN. Take the third position the right foot front. Glide four steps with the left foot in the direction of the left, (count 1, 2, 3, 4;) turn half around and execute four steps with the right foot in the direction of the right. (count 1, 2, 3, 4;) then execute four waltz steps thus: Slide the left foot in the direction of the left fourth position, (count one;) draw the right foot up to the left place, the right toe to the heel of the left in the fifth position, (count two;) slide the left foot behind the right in the third position, (count three;) slide the right foot between your partner's feet in the fourth position, (count four;) slide the left foot to the right, place the left toe to the heel of the right in the fifth position, (count five;) slide the right foot between the left in the third position, (count six.) Lady same as the gentleman, except that the feet are reversed, commence with the right foot instead of the left. LA CASCARILLA. ARRANGED BY M. J. KONCEN. The gentleman commences with his left foot and executes four steps in the direction of his left, (count 1, 2, 3, 4.) Turning slightly to the right and perform four steps with the right foot, (count 1, 2, 3, 4;) then execute three polka steps with the left and right foot counting thus: 1, 2, 3, 4, 5, 6, 7, 8, 9 (See polka page 91.) THE RACQUET. The Racquet step is to be counted as follows: 1, 2 3, and a kick, 4, 5, and a kick, 6, 7, and a kick. Glide with the left foot three steps directly sideways and kick with the left foot, (count 1, 2, 3 and a kick;) Glide one step sideways with the right foot, draw up the left and kick with the right, (count 4, 5 and a kick;) glide one step sideways with the left foot, draw up the right and kick with the left, (count 8, 7, and a kick.) Commence above with right foot in rapid succession. Lady same as gentleman, except the feet are reversed, she starting with the right foot instead of the left. THE DOUBLE RACQUET. The step of the Double Racquet is similar to the plain racquet, the only difference is kicking in double time. THE THREE-STEP GALOP. ARRANGED BY M. J. KONCEN. Glide three steps directly sideways with the left foot, and turn half around, (count 1, 2, 3;) glide three steps with the right foot in the direction of the right, and turn half around, (count 1, 2, 3.) THE GALOP. The Galop step is merely sliding with one foot and changing to the other in rapid succession. Slide with the left foot four steps in the direction of the left, counting 1, 2, 3, 4, and turn half around changing from the left foot to the right, counting 1, 2, 3, 4, and so on in rapid succession. THE HARVARD. The Harvard is a very graceful dance when performed correctly. It is similar to the glide waltz gliding at intervals. Glide backward with the left foot one step, bending the knees, (count one;) draw the right foot straight back to the left, straightening the knees, (count two;) glide backward with the left foot, bending the knees, (count three;) glide the right foot forward, bending the knees, (count four;) draw the left foot up behind the right, (count five;) glide the right foot forward and bending the knees, (count six.) Then execute three waltz steps, (see page 80.) THE ESMERALDA. ARRANGED BY M. J. KONCEN. Glide two steps directly forward with the left foot, (count one;) then execute one polka step with the right foot, (count two;) and re peat two polka steps with the left and right foot, (count three.) Repeat commencing with right foot and so on alternately from right to-left. THE ESMERALDA. Slide four steps directly sideways with the left foot counting thus, 1, 2, 3, 4; then perform one polka step with the right foot, counting 1, 2, 3, and continue one polka step with the left foot, counting 1, 2, 3. Commence above with the right foot. THE TELEPHONE OR RYE. Hop right foot forward sametime left foot back, (count one;) hop left foot forward sametime right foot back, (count two;) hop right foot forward sametime left back, (count three;) hop left foot forward sametime right foot back, (count four;) hop right foot forward sametime left foot back, (count five;) then execute with the left foot four polka steps, counting 1, 2, 3, 4. Repeat with the right foot thus, 1, 2, 3, 4. Commence above with the hop. THE ALSATION. Glide left foot forward, the body resting on the right, (count one;) glide right foot forward the weight resting on the left, (count two;) glide again the left foot forward, (count three;) glide the right foot forward, (count four.) Repeat the above in one half time, (counting 5, 6, 7, 8,) and execute two steps of the Wave. THE GERMAN. The German, or as it is and has been known for many years in Europe-as the Cotillon, has been for some time past the leading dance of American society. Unlike most other dances in performing the various figures of the German it is absolutely necessary to have a leader who is thoroughly posted with the faculty of imparting the details of each and every figure. In order to make this dance a success the leader must be obeyed promptly. He alone can give the signal by clapping his hands or blowing a whistle to the orchestra, when to begin, change or stop the music. He selects any figure he desires to be performed, and when it shall be commenced or ended. It is his duty to correct those who are in fault. He must avoid all pretentions, and direct with tact and moderation, he shall pretend to indicate rather than to direct. Furthermore it is positively necessary that all authority in regard to the German should be placed in each individual. It is also necessary that the ladies and gentlemen who compose the set should render to the leader all possible assistance in carrying out his orders. Each individual should give polite attention to the leader, and preserve strict order; and not to promenade or dance around the ball room, whether participating or not, as it displays the lack of deportment. No. 1 of course is the leader with his partner placed on the right, and the other couples placed on the left. He and his partner are the head couple of the German, each gentleman places his partner on his right. To preserve regularity the same place should be maintained by each couple. At the beginning of each figure the leading couple makes a tour de valse and may be followed by one or more couples, as many as the leader directs, the leader gives the signal, and all stop waltzing, just as soon as they reach their respective places. The leader designates each figure and it is danced by each couple in succession from right and left. The German may be composed of any number of couples, but at a large party of about 24 or more couples, it is better for the leader to sit himself in the centre of the circle and select dancers from each end. This shortens the dance and prevents it from being tedious; should the ladies be in the minority the gentlemen who are without partners are always permitted to engage any of the ladies for a single figure without any former introduction. Ladies who have no cavaliers are generally the special care of the leader, who either dances with them himself or presents them to some gentleman. It may here be remarked that ladies and gentlemen who are invited to assist in a German are always such as would naturally form a sociale sociable hop. Ceremonious deportment is therefore unnecessary as it would be to a great disadvantage. The German above all other dancers is supposed to be emphatically a social engagement, and as such be entered into without any of that formal restraint which characterizes the more reserved square dance. The fact is that it is a succession of dances undertaken by such partners as the leader may designate. It is designated to give amusement as well as to display elegance of carriage, and in the old world is regarded as one of the most successful of modern innovations. THE FIGURES OF THE GERMAN. 1-THE FAN. The leader executes a tour de valse, and then, seats his lady in the middle of three chairs placed in the centre of the ball room and presents her with a fan. He then selects two gentlemen and seats them on the chairs. The lady presents the fan to one of the gentlemen and commences to waltz with the other. The gentleman who was favored with the fan is expected to use it for the benefit of the couple dancing whom he must follow, hopping about the circle. 2-THE FLYING HAT. The first two couples perform a tour de valse; the leader holds behind him in his left hand a hat, which he keeps with the open part upward, the second gentleman holds in his left hand a pair of folded gloves which he tries to throw into the hat without loosing the step of the waltz. When he succeeds he takes the hat and gives the gloves to another gentleman who repeats the same game. 3-THE MIRROR. The first couple perform a tour de valse, the gentleman seats his lady on a chair in the middle of the room, and gives her a mirror to hold. Then all the gentlemen one by one pass behind her chair and show themselves to her in the mirror, which she wipes with her handkerchief when she does not accept the one she sees. When the favored cavalier presents himself she rises, leaving the mirror on the chair, and dances with him. Repeat by all. 4-THE CUSHION. First couple execute a tour de valse; the gentleman holding a cushion in his left hand, he then gives the cushion to the lady which she offers to several gentlemen inviting them to kneel upon it. She withdraws it from those she desires to cheat, and places it before the gentleman with whom she desires to dance. 5-THE REVOLVING STAR. Four couples form a star, the gentlemen cross left hands and holding partners with their right hands. Each lady calls a gentleman and join left hands; each gentleman calls a lady and joins right hands, four other couples occupy the space between the points of the star, and waltzes as the star revolves. At the end all Waltz. 6-THE LOVE KNOT. The leading couple commence with the waltz, then the gentleman selects two ladies and the lady selects two gentlemen. The head gentleman and lady in the middle as in the diagram. 1. First gentleman and second lady join hands and swing half around. 2. First gentleman swings third lady around to place with left hand. 3. While the second lady swings the sixth gentleman with her left hand. 4. First and second again swing with the right hands joined. 5. First gentleman joins left hands with the fifth lady and swings her around. 6. Second lady awings fourth gentleman with left hands round. 7. The leading couples swing right hands and all waltz to places. 7-THE INVITATION. The first couple commences with a tour de valse. The leader seats his lady on a chair in the middle of the room, and places a cushion at her feet. He then invites several gentlemen requesting each to kneel upon the cushion. When the lady refuses any of the gentlement she withdraws the cushion as he attempts to kneel. When the favored cavalier presents himself the lady permits him to kneel upon; they then perform a tour de valse. Coda:-all waltz. 8-THE BOUQUETS AND BADGES. Several bouquets and badges are placed upon a table; the first couple performs a tour de valse and separate. The gentleman takes a bouquet and the lady takes a badge. They each select new partners to whom they present the favors. And the lady may pin the badge to her cavalier's coat. They then execute a tour de valse with their new partners. The entire figure is repeated by all the couples. 9-THE CARDS. The first couple performs a tour de valse. The leader selects and presents four queens to four ladies and his partner selects the four kings and presents them to four gentlemen. Each gentleman then finds the lady who has the queen of his suit and waltzes with her. 10-THE STOOL. First couple commences with a tour de valse. The leader places a stool in the middle of the room and upon it seats his lady, to whom he next presents two gentlemen. The lady dances with one of the gentlemen, and the other seats himself in the stool. The leader then presents two ladies to the gentlemen he selects and dances with one of them, and the other takes the stool. Repeat until all have danced. 11-THE WINE GLASS. Three chairs are placed in a line, the middle one being placed in the opposite direction. The first couple executes a tour de valse, and the gentleman places his lady upon the centre chair, and gives her a wine glass, and brings forward two gentlemen whom he seats on the two other chairs, the lady hands the wine glass to one of the gentlemen and dances with the other. 12-THE BLIND-MAN'S BUFF. Three chairs are placed in the middle of the room, the first couple leads off. The leader takes another gentleman whom he blind-folds and seats him on the centre chair. The lady selects another gentleman whom she leads (walking on tip-toe) to one of the chairs next to the blind man, whilst she seats herself on the other chair. The first gentleman then invites the blind man to select from the right and left. If he hits upon the lady he waltzes with her to her place. If he indicates the gentleman be must waltz with him, whilst the lady dances with the lady. 13-THE AUCTION. The leader selects a gentleman and places him on the top of a stool and commences to auction him off, the ladies must then try their very best. And the one offering the highest bid dances with him. The auctioneering is continued until all have been sold. 14-THE DOUBLE VIS A VIS. The first four couples execute a tour de valse, and arrange themselves in two lines facing one another, as shown in diagram. The first and third couples halfright and left with opposite couples, and return to places. The couples then face around as shown in diagram No. 2. Half right and left with opposite couples, and return to places, finish with a tour de valse. 15-THE HANDKERCHIEF CASE. The first four couples perform a tour de valse. The gentlemen leave their ladies in the middle of the room. Each lady holds a handkerchief in her hand, the leader then selects one more gentleman, who with the others, form a circle about the ladies, presenting their backs, and turn rapidly to the left, the ladies throw their handkerchiefs in the air, and waltz with those gentlemen who have been fortunate enough to catch them; the unfortunate gentlemen who does not get a handkerchief selects a lady from the company. 16-THE MYSTERIOUS SCREEN. The first three couples execute a tour de valse; each gentleman selects an additional lady, and each lady a gentleman. A sheet is to be held by two persons so as to form a screen, the six gentlemen step behind the screen and display the tips of their fingers above the screen, and the ladies select partners by taking the ends of their fingers and commence to waltz. 17-THE TWO ROSES. The leader takes two ladies and asks them each to name a rose, he then presents them to one gentleman, asking him which rose that he prefers. When the gentleman has made his choice he is presented with the lady, the name of whose flower he guessed; he dances with her and the leader dances with the other lady. The same is done by the other couples. 18-THE PURSUIT. Three or four couples set out; every gentleman has the privilege to go behind each couple and possess himself of the lady to dance with him. He should clap his hands to announce his intention of substituting himself for her partner. The figure is repeated till each gentleman has obtained possession of his partner. As soon as a gentleman seizes a lady he should immediately be replaced by another. 19-THE CARNIVAL. All the couples are divided, the ladies in one line and the gentlemen on the other, both circles facing outwards. A number of paper costumes are packed as "flowers," commencing the leader takes one of the ladies "flowers" and presents it to one of the ladies whom he leads inside the ladies' circle where the costumes are put on and them leads her to her seat. The leader's lady at the same time hands a gentleman's "favor" to one of the gentlemen and leads him into the ring to be robed or decorated, and then is in turn lead by her to his seat. All the other couples repeat the same until they have been robed and decorated; the leader then introduces some short figures for dancing and forming groups and tableaux appropriate to the decorations. 20-THE CONTRA DANCE. Three couples place themselves in the center of the room and form as for a Virginia Reel. The first couple lead off by waltzing around the couples on their right, and in the same manner make a turn around the other couples. The other three couples repeat the same figure; when all the four have done so they return to their places waltzing. 21-THE PEARS. Five ladies are seated in the middle of the room, the leader then selects seven gentlemen and leads them in front of the ladies. A pear is then given to each gentleman and the leader then claps his hands and they all commence to eat their pears, those finishing first have privilege to select one of the ladies and waltz with her. 22-THE TWO LINES. All promenade and form two lines facing each other. The first couple waltzes down the outside of the ladies and waltzes up the middle and down the outside again, they stop at the other end the gentleman steps to the ladies side and the lady to the gentleman side, the entire figure is repeated by each couple in rotation, at the end all waltz. 23-THE SILK HANDKERCHIEF. The first couple commences with a waltz, and the lady is left in the middle of the room, she ties a knot in the handkerchief in one corner and while she is engaged in collecting the four corners together the leader brings four gentlemen in front of her allowing them to select a corner. The gentleman who is fortunate enough to choose the knotted corner waltzes with her and the others select partners elsewhere. Repeat by all the other couples. 24-THE BASKET. The first three or four couples execute a tour de valse, the gentlemen then selects another lady and the ladies another gentleman. All join hands in a circle, four steps forward and back, forward again when the gentlemen take each others hands above and the ladies below as in the "Quadrille Basket. Balance all; the leader then drops the hand of the gentleman on his left, and his partner drops the hand of the lady on her right, then all array themselves in a straight line. The gentlemen then lift their arms and disengage the ladies, who pass under and waltz forward followed by the gentlemen, at a signal the ladies turn round and dance with the opposite gentlemen. 25-THE LITTLE ROUNDS. The first two or three couples commence with a tour de valse, each gentleman chooses a gentleman, and each lady selects a lady and place themselves in two lines as shown in diagram N, I. The first two gentleman and ladies join hands and turn entirely around. The two gentlemen form an arch two ladies pass under, the first two gentlemen are now facing the next two ladies, the ladies the same with next two gentlemen, repeat untill all have formed in two lines as shown in diagram No, 2. All forward and back, forward again and turn opposite lady, and execute a tour de valse. 26-THE REUNION OF COUPLES. The first couple makes a promenade, and then takes the second couple to form around 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 other after him to take up the couple. A round of six is then performed and after a half turn to the left the leader again drops the hand of the lady to his left, to take up the fourth couple, and in the same manner untill he has taken up all the couples, when a general round is formed turning to the left at the finish all waltz. 27-THE LADIES DELUDED. The first couple performs a tour de valse, the gentleman leads his lady by the hand round the circle, and approaches several ladies to dance, the moment the lady rises to accept him he suddenly turns round and addresses another, and plays the same game, till he has made his selection, the lady of the leader dances with the partner of the lady on whom the choice has fallen. 28-THE COLUMNS. The leader commences with a tour de valse, and leaves his lady in the center of the room. He leads a gentleman whom he places back to back with his partner. He leads another lady whom he places facing the gentleman just chosen, and so on till he has formed a column of 6 or 10 couples terminating with a lady. At a signal everyone turns round and dances with his or her vis a vis. A double column may be formed by two couples leading off at the same time. 29-THE CHEAT. The first couple commences with a tour de valse, the lady chooses six other ladies and forms in line, the leading gentleman selects seven gentlemen and form in line, the gentleman join hands and pass in front of the ladies, turning behind the ladies at the other end, with backs to backs. As the leader claps his hands the gentlemen turns quickly and takes any lady for a partner. There are eight gentlemen and seven ladies consequently one will be left. 30-THE WINDING ALLEY. Promenade all, two circles are formed, the ladies by themselves the inner circle. The gentlemen on outside. The first couple commences with a waltz and goes through the Winding Alley formed by the two circles till they return to their place then he changes places with his partner. Each couple in rotation execute the entire figure, at the end all waltz. 31-THE EIGHT CHAIRS. Eight chairs are arranged in the center of the room, representing eight chairs eight couples commence with a tour de valse. Each couple arrange themselves behind one of the chairs. At a signal all couples waltz in front of chairs, and waltz around in front of next; and so on waltzing around each chair, finishing all waltz. 32-THE BASKET GLOVE AND RING. The first couple execute a tour de valse; the gentleman then presents to his partner a Basket Glove and Ring and retires. The lady presents the Glove to one gentleman the Ring to another gentleman and the Basket to the third. The gentleman who receives the Ring may select a lady to dance with him, and the one that receives the Glove is to dance with the lady who presents it to him, the one who has the Basket must dance alone holding it in his hand. As soon as they have danced several times around the room the other couples repeat the same. 33-THE FLIRTATION. Eight couples commence with a tour de valse finishing in the center of the room. The eight gentlemen kneel upon the floor, the eight ladies join hands in the middle and waltz around to the left, passing their partners and give left hand to next gentleman. The ladies drop right hands and holding the gentleman with her left hand, dances once around him and join right hands with the seven other ladies in center. They waltz around to the left, right hands crossed until each arrives at original place, repeat until cash lady has turned around her partner and waltzes to place. 34-THE MARCH IN FILE. The first couple march around the room, each couple following in regular order. The march is then executed the same as on page 16. At the finish the music changes to a waltz, and all waltz to places. 35-THE FLYING NECK TIE. The four couples execute a tour de valse, and two Neckties are tied in the middle so as to form a cross. Each gentleman takes with his left hand one of the ends and raises it above his head, as the leader gives a signal the four commence to waltz at the same time and preserve the same distance, at a signal they return to their places. 36-THE MASK. Six couples waltz once around the room, they separate and change partners. A sheet is held by two persons; the gentleman retire behind the sheet and show their heads only disguising themselves in Ludicrous heads or faces. The ladies select their partners from the group and waltz once around the ball room, repeat by all the other couples, 37-THE REDEMED PLEDGES. The first couple commences a tour de valse; then the gentlemen hands his lady a hat and she carries around the hat and receives pledges from the ladies present, such as, Fans, Jewelry, Handkerchiefs, etc., she then carries the contents around to the gentlemen, each selecting and article and dances with the lady owning it. 38-THE FIGURE EIGHT Two chairs are placed in the middle of the ball room about five feet apart. The first couple commences, passes behind a chair without ceasing to waltz and then passes behind the next so as to form the figure eight. The entire figure is repeated by each couple. 39-THE EXCURSION. The first couple execute a tour de valse, the gentleman leaves his lady and brings forward two other ladies, his lady brings forward two gentlemen and arrange themselves in two lines as shown in diagram. The advance forward and back, advance forward again and retire, each gentleman advances forward and takes the lady opposite him and waltzes to place, repeat by all the other couples. 40-FOLLOW YOUR LEADER. The first couples execute a tour de valse, they form a circle with the leading couples in the center. The leading couple waltzes at pleasure and endeavors to deceive the other couple who must follow all their movements without disengaging their hands. At a signal the first couple resume their seats and the next couple place themselves in the center and engage in the game of deception. The entire figure is followed by all the other couples and ends with a waltz. 41-THE ENTRAPPED ARCH. A number of couples commence with a tour de valse and all join hands and form a circle, all facing outwards, an equal number of couples join hands in another circle around the first one facing outwards; the gentlemen of both circles join hands above and all the ladies join hands below. The gentlemen raising their arms and the ladies pass beneath them, all the ladies pass around hand in hand beneath the gentlemen's arms. As soon as the leader claps his hands the gentlemen lower their arms and each waltzes with the one he entrapped. 42-THE MYSTERIOUS HANDS. The first couple execute a tour de valse, he then leaves his lady in a room and chooses other ladies whom he places in the same room, the ladies then slip their hands through the door ajar while the conductor leads as many gentlemen up to them as there are hidden. each gentlemen takes hold of a hand exposed and dances with her. 43-THE TWIN CIRCLES. First three couples execute a tour de valse, the leader gives his right hand to his partner, she gives her right hand to the lady of the second couple, the third lady gives her left hand to her partner the gentleman gives his left hand to the gentleman of second couple. They form two circles of three each and waltz around and place themselves as shown in diagram No. 2. Number 1 and 2 pass under the arms of the others and meet in the center, thus: Then they execute a tour de valse, and the entire figure is repeated by the other couples. 44-THE RAFFLE. The leader commences waltzing once around the room and conducts his lady to the chair in the center of the room. He selects two gentlemen and presents them with a pasteboard die, they throw dice upon the die and the one that throws the highest dances once around the room, while the unfortunate sits himself upon the chair. The leader brings forward two ladies who throw dice; the fortunate lady dances with the gentleman, the unfortunate lady occupies the chair, repeat by all the other couples. 45-THE FAVORITE. First three couples commence with a tour de valse, the ladies select three other ladies and they place themselves as shown in diagram. The three gentlemen select three other gentlemen, join hands in line; leader on the right march in line around first lady, around two ladies then around three ladies, repeat back again; each gentlemen takes his favorite lady and waltzes with her. 46-THE MARCH IN COLUMN. The first couple march around the ball room followed by all the other couples. Perform the same as "The March in Column," on page 16, finish with a waltz. 47-PUSS IN THE CORNER The leader places four chairs in the center of the room representing four corners. The first gentleman executes a tour de valse and seats his lady upon one of the chairs and brings forward three ladies to occupy the other chairs; he then stands in the center, "Puss in the Corner." The ladies holding hands change places, at the same time the gentlemen tries to occupy a chair. If he succeeds he dances with the lady who got left, another lady takes the vacant chair, Repeat by all the other couples, finish all waltz. 48-THE MAY POLE. A pole about 10 feet in height is fastened in a box filled with sand to give the foundation weight and to steady the pole. To the top of which (eight or sixteen) ribbons of different colors are fastened, each being about four yards long with a loop at the lower end. Four couples (or if sixteen ribbons) eight couples. Polka around the Pole in a circle, each gentleman having his partner on his right, each take a ribbon holding the loop the gentleman in his right hand and the lady in her left and all face partners. At a signal they all form a grand chain the ladies going to the left and the gentlemen to the right. Each gentleman first passing inside his partner then outside the next lady and so on until the ribbons are braided upon the pole. At a signal when each gentleman faces his original partner, all turn half round changing the ribbons to the outer hand and reverse the same movement unwinding the ribbons, afterwards the couples waltz around the ball room once. 49-THE CAP. The first couple perform a tour de valse, then the gentleman leaves his lady in the middle of the room and presents her with a Cap, all the gentlemen advance and form a circle around the lady, turning their backs to her and turn to the left. The lady places the Cap on the gentleman with whom she takes a tour de valse, the other gentlemen return to their places. 50-THE NECK TIE. The first couple begin with a tour de valse, the gentleman stands in the center of the room holding in his hand a Neck Tie, meanwhile his lady assembles the other ladies and they all join hands in a circle and turn to the left during which moment he places the Neck Tie about the shoulders of the lady with whom he wishes to dance. All waltz to places. 51-THE DOUBLE ARCH. First two couples perform a tour de valse, each gentleman selects a lady and each lady chooses a gentleman. They form a Quadrille, ladies Grand Chain, four ladies cross right hands round and turn opposite with the left hand, again cross right hands and turn partners with left hands. The two head gentlemen advance two steps each towards the middle of the Quadrille facing each other, the four ladies join hands around them leaving the two gentlemen of the side couple outside the ring, the two inside gentlemen stretch out their arms over the ladies ring each giving one hand to each of the outside gentlemen, raising their arms so as to form a double arch. On each side of the Quadrille the ladies dance round in a ring to the left under the arches until each has resumed her former position, when all waltz to seats. 54-THE FOUR CORNERS. Four chairs are placed in the middle of the room representing four corners. After the leader has performed a tour de valse he seats his lady upon one of the chairs, he then brings forward three ladies and seats them upon the three vacant chairs and places himself in the middle. The ladies then perform the changes in the play, not in running but in holding hands to chain chairs when the gentlemen can seize a chair left vacant by the movement of the ladies he dances with the lady who is left. The next gentleman places himself in the middle and another lady takes the vacant chair, the figure ends with a waltz. 53-THE FLAGS. The leaders supplies himself with a stock of assorted colors of flags, then the leader hands to his lady a pair of matched flags and they perform a tour de valse, and at the same time waving the flags. He then presents to all the other ladies a pair of flags. The leaders lady after completing the waltz hands her duplicate to any gentleman, each gentleman seeks for the prosessor of the Flag like the one presented to him and makes a tour de valse. Completing the waltz around the ball room each gentleman presents his flag to another lady, and his partner hands her flag to any gentleman, and the search for partners to waltz is performed until all have danced with another. 54-THE CHAIRS. The first seven couples execute a tour de valse, the leader places seven chairs in the middle of the room and places them in a circle about three feet apart, and each couple waltzes twice around each chair without touching the chairs, as soon as a couple touches a chair all clap hands and the music suddenly stops, and the other couples try the same. The couple that waltzes around the chairs the best is presented with a prize. 55-THE DECEIVER. The first couple execute a tour de valse; the leader chooses three ladies with his own, he places them about five feet apart. He then chooses four gentlemen and forms with them a circle within the square The first gentleman turns with great rapidity, and at a signal each turns round and takes any lady that he can get, and dances with her At the end there is always one unfortunate victim who alone returns to his place. 56-THE MARCH BY PLATOONS. The first couple leads off, march up the center of the ball room in the same manner as described on page 15, concluding with a waltz. 57-THE SERPENT. Commence with a tour de valse. The leader leaves his partner at the head of the room. He chooses six or eight ladies and places them behind his partner, and selects and equal number of gentlemen; join hands and form a chain. The leader performs this chain of gentlemen zig-zag in and out through the line of ladies rear and front, and return again, and takes his partner, the gentlemen take the partners nearest them and dances with her. 58-THE RING. A ring is suspended from a chandelier or the ceiling by a string, and each couple is presented with a wand, which while dancing, they endeavor to throw one or more into the ring. 59-THE ARBOR MARCH. All march around the ball room, the same as described on page 16, finish with a waltz. 60-THE STAR. Four couples are more form as for a Quadrille, four ladies advance to the center and back, four gentlemen advance to the center and back, four ladies cross right hands turn to the left and cross left hands back again; all balance to the center and back and turn partners to places, all waltz. 61-THE SERPENTINE MARCH. The leading couple lead off in a march around the ball room, the other couples following them in regular order. The movements are described on page 15; at the finish all waltz. 62-THE FLAG MARCH. The Flag march can be danced with no less 10 couples, and as many couples as the room can accommodate, 10 pairs of flags or more, in assorted colors are distributed by the leader and his lady. The couples are formed with a leader in front in the following positions, as shown in the diagram. Forward march, all starting off at the same time with the left foot, and march twice around the ball room, after performing the second round, march up the center, reaching at the head of the ball room the gentlemen march to the left in single file. The ladies to the right in single file, and stop on the opposite side facing each other, then the matched flags becomes pairs and partners for a dance. 63-THE CHANGE OF LADIES. Two couples commence with a tour de valse, they dance towards each other and change partners and keep time and step with the music, they waltz once around the room and again change partners. 64-THE PRIZE WALTZ. Two badges are presented to each lady, the lady pins one of the badges on her cavaliers coat on the left side and pins the other to her bosom. Then a table is set in the middle of the ball room with a large mirror, the leader leads a lady in front of the mirror to a chair, then all the gentlemen one by one: pass behind the chair and show themselves to her in the mirror which she wipes with her handkerchief when she does not except the one she sees. When the favored cavalier presents himself she rises and waltzes three times around the hall without reversing the first mistake that they make all clap hands and the music quickly stops, and the finest dancer is presented with a prize. Repeat till all have danced. 65-THE CONVENT PORTER. First couple commence with a tour de valse, the leader chooses from the circle a number of ladies, whom he leads into an apartment next to the ball room, the door of which remains ajar. Each lady in a whisper names the gentleman, whom the leader calls upon aloud to come and waltz with the lady who has selected him. The leader reserves for himself one of the ladies. This figure may be performed by the leaders' lady, who imprisons the gentleman she has chosen, and calls for the ladies they each name. 66-THE LADY TO THE LEFT. All hands around and turn to the left (4 bars) turn partners each gentleman leaving his lady to his left (4 bars), all join hands and turn to the left (4 bars), all the gentlemen turn the ladies on their right and place them to the left, the continue in this way until each gentleman has recovered his partner, at the end all waltz. 67-THE ROPE Three couples make a tour de valse, the three gentlemen select other partners, and the ladies choose other gentlemen, the ladies retire to one end of the room and the gentlemen to the other end, while the leader and his partner stretch a rope across the room, which the gentlemen must jump to regain their partners, as the rope is managed so as to trip the gentlemen as much as possible, a great deal of amusement is afforded to the lookers on. 68-THE MAZE. The four couples execute a tour de valse and then form a Quadrille, four other couples take up positions so that a new couple stand exactly behind each, one of the couples that form the Quadrille (as shown in diagram.) Four ladies inside cross right hands turning entirely round and swing partners with left hand to place, while the inner couples are thus engaged, the four outer couples waltz half round outside the quadrille to opposite places, then the inner couples waltz round to their places but facing outwards. All chassez to places and turn corners with right hands, and partners with left hands; all gentlemen waltz to seats with the ladies standing opposite them. 69-THE FINAL ROUND. All form in a circle the first couple seperate from the circle and return to the circle again and commence to waltz in the middle. At a given signal, he stops and his lady passes out of the circle, He selects another lady with whom he also waltzes in the middle. He then in his turn passes out of the circle and the lady selects another gentleman, and so on for the rest at the end all waltz. CONTRA DANCES. THE VIRGINIA REEL, Known in England as the "Sir Roger de Coverley." In the Contra Dances the partners of each couple stand opposite to and facing each other. Forming two parrelled lines, the gentlemen on one line and the ladies on the other, as shown in diagram. First Gentleman: And last lady forward and back, 4 bars First Lady: And last gentleman the same, 4 bars First Gentleman: And last lady swing with right hands 4 bars First Lady; And last gentleman the same, 4 bars First Gentleman: And last lady swing with left hands, 4 bars First Lady: And last gentleman the same, 4 bars First Gentleman: And last lady swing both hands, 4 bars First Lady: And last gentleman the same, 4 bars First Gentleman: And last lady Dos A Dos, 4 bars First Lady: And last gentleman the same, 4 bars First Couple: Turn right hands, 4 bars 4 bars. 2 bars All: Gentlemen to left, Ladies to the right. Head Couple, Down the middle to the bottom. THE POLKA CONTRA DANCE. 1. The top lady and second gentleman execute a polka step. 2. Cross over and change places. 3. Second lady and top gentleman perform a polka step. 4. Cross over and change partners. 5. The two couples polka down the middle and back. 6. The two couples polka up the center to their places. The entire flgure is repeated till all the couples reach the top and so on alternately. THE MONEY MUSK. 1. The First couple cross right hands and swing once and a half around. 2. Then go below one couple, forward and back six. 3. Right hand to your partner and swing half around, 4. Forward and back, 5. Swing to your places and right and left four. Repeat and so on. POP GOES THE WEASEL. This Dance is performed in two lines the gentlemen on one side and the ladies on one the other, (see diagram page 115) Head Couple: March down the center and back, 8 bars 8 bars PORTLAND FANCY. The "Portland Fancy," is formed the same as the Virginia Reel, ladies standing on one side and the gentlemen on the other. 1. All join hands and swing eight head couple. 2. First couple march down the middle and back, Last couple march up the outside and back to places. 3. Head couple march down the outside and back, Last couple up the center and return to places. 4. Ladies chain at the head couple, Last couple right and left. 5. Head couple right and left, Last couple ladies chain. 6. All advance forward and back. 7. Forward again and cross to opposite couples and facing the next four. Repeat and so on alternately. SWEDISH DANCE. All forward and back twice, joining hands, 8 bars Each gentleman balance and turn opposite lady, 8 bars Balance to lady on the left hand and turn, 8 bars All forward and back, 4 bars Forward and pass through to next set, 4 bars All forward and back twice, 8 bars Top ladies and opposite gentleman three hands around, 8 bars Top gentleman and opposite ladies three hand around and back 8 bars All forward and back, 4 bars Forward and pass through to next set, 4 bars All forward twice, 8 bars Four ladies cross right hands around and back to places, 8 bars Hands all around and back to places, 8 bars All forward and back, 4 bars Forward and pass through to next set, 4 bars THE SICILIAN CIRCLE. This is a very gracefull and highly charactistic dance, amoung the Ould and country folks. And when performed correctly it has a very pretty appearance. The couples are arranged in a complete circle or square, as (shown in diagram). Two Couples: Right and left, and back, 8 bars 8 bars 8 bars. All; Forward and back, 8 bars 4 bars The Polka if desired can be danced to the last 8 bars of music, once and a half around and turn into the next set, one couple going into the next set ahead, the other couple into the next set behind, so the new couples meet to form new sets. Repeat as long as agreeable. It will be plain that if the sets are arranged in a circle, they will always be complete; but if they are in a straight line, there will be an odd couple left at each end of every figure until another couple joins them to form a perfect set. LA TEMPETE. This dance is performed the same as a plain quadrille without side couples, commencing with no less than four couples, four ladies and four gentlemen. And as many couples as the room can accommodate All: Forward and back, 4 bars 4 bars 8 bars All: Forward and back twice, 8 bars All: Turn opposite partners with right hands, 4 bars 4 bars All: Ladies cross right hands in center, 4 bars 4 bars All: Forward and back, 4 bars 4 bars FLOWER GIRLS DANCE. 1. All chassez to the right and left and balance. 2. Chassez back and swing four half around. 3. Swing four again half around to places. 4. Half promenade half right and left. 5. All forward and back. 6. Forward and pass through to next couple. THE CIRCASION CIRCLE. FORM AS FOR THE SICILLAN CIRCLE. 1. Balance all, and swing, four hands around, 2. Ladies Chain, 3. Balance all and turn partners, 4. Right and left across, 5. All forward and back, 6. Forward again and pass through to next couple. THE TRIUMPH. The Triumph when correctly danced is very graceful and attractive. The dancers are formed into two lines the ladies on the right side and the gentlemen on the left side. In the diagram will be seen the position in which the couples should stand. 1. First lady and gentleman marching down the middle and back. 2. The lady marching down the middle with the second gentleman and her partner. 3. The two gentlemen leading the lady up between them, taking her by one hand and forming an arch with their other hands over her head. Commencing above until all the ladies have been taken in triumph through the dance. MERRIE ENGLAND. Four lines of sixes-three ladies and three gentlemen; the ladies on the right of the gentlemen; three sets of four, hands across and back again, all balance to partners, and turn to places. All right and left and back again; ladies chain and back again. All forward and back, forward again;and the leading couples pass through to face the third line; re-commencing above until the first couple arrive at the bottom of the set THE TEMPEST. Form in two lines of six or eight couples on a side. A few couples have been arranged in the position in which the dancers should stand. (see diagram below.) 1. First two couples march down the center (one couple from each line) four abreast couples part at the foot and march up abreast and each turn around opposite the next couple that was below them on starting. 2. Four on each side right and left. 3. Ladies chain with the same couples. 4. Balance four hands around (on each side). 5. The same four march down the center. Repeat until the music stops. THE SPANISH DANCE. Arrange the couples in a complete circle or square precisely the same as the Sicilian Circle, (see diagram page 118.) All: Forward and back, 2 bars 2 bars All: Forward and back, 2 bars 2 bars 8 bars 4 bars 4 bars All Waltz: Each couple waltz to the right of each other turning half round facing the opposite couple, 8 bars Repeat as long as the music continues. THE SCOTCH REEL. The Scotch Reel is a very popular dance and is executed by all classes of people. The music is generally of the pibroch or bagpipe, and is very lively and is the Scotchmans favorite dance. The figure is performed by two ladies and two gentlemen forming two lines, the ladies in the center, they commence with a chain passing each other until the gentlemen return to their places, the ladies finish facing the gentlemen. They then balance before each other the gentlemen exerting their utmost skill as the ladies dance quietly. Repeat as long as strength permits. CAMPTOWN HORNPIPE. The first couple down the outside and back, down the middle, (swing at the bottom) up the middle again the lady on the gentlemen's side, and cast off-all ladies chain, the first couple balance and swing to places. THE RUSTIC REEL. In this dance each gentleman has two ladies and is formed in the same manner as the Sicilian Circle each three facing three, thus: 1. Each gentleman takes the opposite lady on his right hand and chassez to the right opposite and back, 8 bars 2. Chassez with left hand lady opposite and back to place, 8 bars 3. All forward and back and pass through to next couple with whom the same figure is repeated, 8 bars Continue until the leader thinks proper to stop. FRENCH TERMS USED IN DANCING. Dancing is essentially French in its derivation and nature; and the French names and technical phrases will continue to cling to the figures and movements used in dancing. I have endeavored throughout this work to avoid as much as possible the use of French words, and to give the directions in our plain mother tongue. Although, there must always be certain technical terms, for which it would be difficult to find good English equivalents, I give the following, with their definitions. They will be found sufficient for all practical purposes. A droite , to the right. A gauche , to the left. A la fin , at the end. A vos places , back to your own places. Balances , set to your partners. Balances, ouz coins , set to the corners. Balances quatre en ligne , four dancers set in a line, joining hands as in La Poule. Balancez en moulinet , gentleman and their partners give each other right hands across, and balance in the form of a cross. Balances et tour des mains , all set to partners, and turn to places. Ballotez , do the same step four times without changing your place. Chain Anglaise , opposite couples right and left. Chain Anglaise double , double right and left. Chaine des dames dauble , all the ladies chain at the same time. Chassez croisez , do the chassez stop from left to right, or right to left the lady passes before the gentleman in the opposite direction, moving right if he moves left, and vice versa. Chassez croisez et dechassex , change places with partners, ladies passing in front, first to the right, then to the left, back to places. It may be either a quatre -four couples-or les huit -eight couples. Chassez a droite-a gauche , move to the right-to the left. Le cavalier seul . gentlemen advances alone. Les cavaliers seuls deux fois , gentlemen advance and retire twice without their partners. Changes vos dames , change partners. Contre partie pour les autres , the other dancers do the same figure, Demi promenade , half promenade. Demi chaine Anglaise , half right and left. Demi moulinet , ladies all advance to center,right hands across, and back to places. Demi tour a quatre , four hands half round. Dos-a-dos , lady and opposite gentleman advance, pass round each other back to back, and return to places. Les dames en moulinet , ladies give right hands across to each other, half round, and back again with left hands. Les dames donnent la main droite-gauche-a leurs cavaliers , ladies give the right-left-hands to partners. En avant deux et en arriere , first lady and vis-a-vis gentleman advance and retire. To secure brevity, eu avant is always understood to imply en arriere when the latter is not expressed. En avant deux fois , advance and retire twice. En avant quatre , first couple and their vis-a-vis advance and retire. En avant trois , three advance and retire, as in La Pastorale. Figurez devant , dance before. Figurez a droit-a gauche , dance to the right-to the left. La grande tour de rond , all join hands and dance completely round the figure in a circle back to places. Le grand rond , all join hands, and advance and retreat twice, as in La Finale, Le grand quatre , all eight couples form into squares. La grande chaine , all the couples move quite round the figure, giving alternately the right and left hand to each in succession, beginning with the right, until all have regained their places, as in last figure of the Lancers. La grande promenade , all eight (or more) couples promenade all round the figure back to places. La main , the hand. La meme pour les covaliers ; gentlemen do the same. Le moulinet , hands across. The figure will explain whether it is the gentlemen, or the ladies, or both, who are to perform it. Pas de Allemande , the gentleman turns his partner under each arm in succession. Pas de Basque , a kind of sliding step forward, performed with both feet alternately in quick succession. Used in the Redowa and other dances. Comes from the South of France. Glissade , a sliding step. Le Tiroir , first couple cross with bands joined to opposite couple's place, opposite couple crossing separately outside them; then cross back to places, same figure reversed. Tour des mains , give both hands to partner, and turn her round without quitting your places. Tour sur place , the same. Tournez vos dames , the same. Tour aux coins , turn at the corners, as in the Caledonians, each gentleman turning the lady who stands nearest his left hand, and immediately returning to his own place. Traversez , cross over to opposite place. Retraversez , cross back again. Traversez deux, en donnant la main droite , lady and vis a-vis gentleman cross, giving right hand, as in La Poule. Vis-a-vis , opposite. Figure en tournant , circular figure. Pimples, Blackheads, Flesh Worms and Oily Skin. " Medicated Cream " is the ONLY KNOWS harmless, pleasant and absolutely Sure and infallible cure. It positively and effectually removes ALL clean, completely and FOR GOOD IN A FEW DAYS ONLY, leaving skin clear, smooth and unblemished always or money refunded. For those who have NO blotches on the face, it beautifies the complexion as nothing else in the world can rendering it CLEAR, FAIR AND TRANSPARENT, and clearing it of all muddiness and coarseness. It is a true remedy to cure, and NOT a paint or powder to cover up and hide blemishes. Mailed in plain wrapper for 30 cents, in stamps, or two for 50 cents by Geo. N. Stoddard, 1226 Niagara St., Buffalo, N. Y. Pamphlet give 236 true and genuine testimonials. My FRECKLE WASH surely cures Freckle, Tan and makes the hands white sent post-paid, for 30 cents. Exactly as represented and the doctor reliable; has been in Drug business in Buffalo over 16 years. Say you saw this in Prof. M. J. Koncen's Quadrille Call Book and Ball Room Quide. ILLUSTRATED MAGIC LANTERN. Catalogue 150 Pages, Photo and Lectro 10 Cents. 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Twelve experience teachers are employed, and the annual attendance is between 600 and 700 students. The school is open day and night during the entire year, without vacation. For circulars, address, Dr. W. M. CARPENTER. ST, LOUIS, MO. Pres't Bryant & Stratton College, KLOTTER & SCHERER, Photograph Art Gallery, Nos. 906 & 908 North Sixth Steet. Near Franklin Avenue, ST. LOUIS, MO. We beg leave to inform our patrons and the public at large, that we have brought our gallery up to the latest improvements. By the purchase of instruments of the newest construction, and by the aid which science has lent to the photographic art, we are prepared to take the best possible picture in a few seconds without regard to weather. Copying and enlarging, and painting in oil, India ink and Pastel, family and society groups a specialty. Viewing photographs of houses, etc. Orders sent by mail receive prompt notice, and business out of the city given special attention. We would be greatly pleased to meet our old friends and business acquaintances which we met in our own place of business, and will to endeavor retain their patronage. Our rices are moderate and we guarantee the very best kind of work. Respectfully, KLOTTER & SCHERER. Copies of this book sent to any address in the United States or Canada, free of postage, on receipt of retail price. Address, PROF. M. J. KONCEN, St. Louis, Mo . This Book will be Published 20th, and for Sale by all Book and News Dealers throughout the United States and Canada. Prof. M. J. Koncen's QUADRILLE CALL BOOK and Ball Room Guide. THE FIRST TERM OF PROF KONCEN'S CLASSES IN DANCING. WILL COMMENCE AT PEZOLT'S HALL, 1306 OLIVE STREET. WEDNESDAY EVENING, AUGUST 15TH, 1883. REGULAR CLASS HOURS. Monday and Wednesday Evening, 8 to 10:30 P. M. Reception every Friday Evening, 8 to 12 o'clock LADIES AND CHILDREN CLASSES. Commence Saturday, September 8th 3 to 5 P. M. REGULAR CLASS HOURS. Wednesday, 4:30 to 6 P. M. Saturday 3 to 5 P. M. CHOUTEAU HALL, S. E Cor. 6th and Chouteau Ave.. THURSDAY EVENING, AUGUST 9th, 1883. REGULAR CLASS HOURS. Thursday and Saturday Evenings, 8 to 10:30 P. M. The date of Receptions will be announced later. LADIES AND CHILDREN CLASSES. Commence Thursday, September 6th, 4:30 P. M. UNION HALL. SOUTH-WEST CORNER BENTON AND BROADWAY. TUESDAY EVENING, AUGUST 14th, 1883. REGULAR CLASS HOURS. Tuesday and Friday Evening, 8 to 10:30 P. M. The date of Receptions will be announced later. APPLICATIONS. By mail or in person may be made to Mr. Koncen at 1306 Olive Street daily between 12 and 1 o'clock, or at any of his halls during class hours PROF. M. J. KONCEN'S Quadrille Call Book AND BALL ROOM GUIDE. All the Figures of the German and the Latest Novelties, together with Old Fashioned and Contra Dances, giving plain directions for Calling and Dancing all kinds of Round and Square Dances known in Europe or America. To which is added a sensible Guide to Etiquette and Department in the Ball and Assembly Room, Ladies Toilet, Gentlemens Dress, etc and General Information for Dancers. The Author of this Elegant Book, is properly one of the most celebrated Teachers of Dancing in this country, he has made this Book so simple and complete, that any one reading it carefully can become an expert in Dancing. No Book on dancing over published will compare with this. This Book is most beautifully Illustrated with figures from life. Explaning the Positions in Round or Square Dances ete experience has taught us that for a graceful and easy carriage dancing is absolutely necessary. It is not possible to be of Society and have no knowledge of this desirable accomplishment in every gathering from a church sociable to a grand ball, Dancing stands pre-eminently the amusement. The following are fully taught in this book. Etiquette of the Ball Room Etiquette of Private Parties. Etiquette of Introduction Ball Room Toilets Grand March On Calling Explanation of Quadrille Steps-Formation of Square Dances. Plain Quadrille. The Quadrille. Fancy Qaudrille Figures. Ladies Own Qaudrille. National Guard Quadrille. Prof. Koneen's New Caledonia Quadrille. Prairie Queen Quadrille. Prince Imperial Irish Quadrille. London Polka Quadrille. Empire Quadrille. Montibellio Quadrille Masonic Quadrille. Caledonians Glide Caledonians Lawn Tennis. Harlequin Quadrille, Surprise Quadrille LePollo, Waltz Quadrille No 1. Waltz Quarille No 2 Lancers Saratoga Lancers Glide Lancers. Prof Koncen's Carnibal Lancers. Walts Lancers Normandy Lancers Royal Lancers. Minuiet Lancers. Centennial Lancers. Parisian Varieties. Hints on Sound Dances Positions in Dancing. Waltz Glide Waltz New Five Step Waltz, Double Glide Waltz, Waltz in Double Time, Spanish Waltz, Boston Dip, Mazourka, La Russe, Hop Waltz, Knickerbocker Waltz, Society Waltz, Newport Waltz Deux Temps Waltz, Redow, Sicilienne, Danish Dance, Zulma l'Orientale, Gorlitza, La Zingerilla, Wave, La Belle or Rockaway, Society and Ripple, Polka Mazourka, Varsovienne, Schottische Military or Skip Schottische, La Kaska, Julon Dance, La Czariene, La Carlowitzka, Bohemian or Heel and Toe Polka, Xylaphone Polka, Polka, Kinekerbocker, Redowa, Polka Redowa, Redowa Glissade, Azalia, La Casedilla, Lacquet, Double Lacquet, Three Step Galop, Galop, Harvard, Esmeralda, The Esmeralda, Telephone or tye Alsatlon, All the figures ofthe German, With complet Instructions how to dance them correctly CONTRA DANCES, Virginia Reel, Polka Contra Dance, Money Musk, Pop Goes the Weasel, Portland Fancy, Swedish dance, Sicillian, La Tempete, Flower Girls Dance, Circasion trele Triumph, Merrie England, Tempest Spanish Dance, Scotch Reel, Camptown Hornpipe, Rustic Reel, French Terms used in Dancing. I may confidently assert that any one by the aid of this Book can become thoroughly conversant with the Polite Arts. Making it a very valuable Guide indispensible to any one who desires to know anything relative to dancing. Price 24 cents a Copy, or five Copies to one address for $2.00. RULES AND REGULATIONS. Lost Lessons not made up. Pupils may enter at any time. Tuition Fee payable in advance. Classes always open for beginners. No Lessons given on holidays or nights. Quarter begins with pupils first lesson. No Pupil received for less than a full quarter. Strict Order must be preserved by all pupils. Parents of Pupils and Guardians are requested to attend frequently. A Quarter once commenced will be charged, whether taken or not. Thin Flexible Shoes are of great advantage to the pupils. Mr. Koncen reserves the right to expell any pupil for disobedience or unbecoming conduct. PRIVATE LESSONS. Ladies and Gentlemen, so occupied that they cannot attend regular classes, may have private lessons given them, at any hour during the day or evening, aside from class hours, and at their own convenience. PARENTS. Parents are invited to visit this school before making other arrangements. MR. KONCEN, Refers, for acknowledgement of his work as a Teacher, to those who have sustained him, and to the work he has done in a life-time devoted to the study, advancement and practice of his profession in this and other cities. PEZOLT'S HALL, 1306 OLIYE STREET. Can be hired for Private Parties, Soirees, Weddings, etc., by applying to Mr. Koncen at Hall.