· . (.:~

En~oo seeordmg to Act of Congreoa, In the Tear 1866,

BY WM. B. DE GARMO,

In the Clerk's oll'.il" of the Distrret, Oonrt or the UnltOO States for theSonthern District of Ne.., York.

CONTENTS.

Preface,Etiquette of the Ball Room,The Position in Quadrille, .Quadrille Francais Double,Common Jig Figure,"Balance to the Right,"-Jig Figure," Cheat," or Coquette,Basket Figure, •Star Figure,Quadrille Sociable,Gavotte, or Minuet-the full Figurcs,Gavotte, or Minuet-abbreviated,March Quadrille,The Lancers Quadrilles,Caledonian Quadrilles,Le Prince Imperial Quadrilles,Le Quadrille FraneaieLes VariHes Parislennea,Technical Terms,Spanish Dance, •8icilian Circle,Sir Roger de Coverley, or Virwnia Reel,"ltound or Revolving Dances," •

THE COTILLON.

Pn~e.

~

1114

171818191920202122:14272982848844464R48

No.1. L'Avant Trois Double,2. Les Chaises,

Forward Three DoubleThe Chairs,

~.

5

tv OONTENTS.

N~ ~~

3. J}Eventail, The Fan, 534. Le Chapeau, The Hat, • 535. L'Echarpc, The Scarf, 586. La Pyramide, The Pyramid, • 547. Le Verre de Vin, The Glass of Wine, 548. Les Gages, • The Pawns, 55~. Los Drapeaux, The Flags, • 55

10. Le Colin-Maillard, Blindman's Buff, 5511. Les Rangs de Chaises, The Rows of Chairs, 5612. Les Dames Assises, The Ladies Seated, 5613. Les Bouquets et les Rosettes 5714. Les Cartes, • The Cards, • 5715. La Chasse aux Mouchoirs, The Handkerchief Chase, 5716. Le Portier du Convent, The Convent Porter, 5717. La Corde. The Rope, 5818. Le "8," 5819. Le Mouchoir Entortille,. The Twisted Handkerchief, 5920. Les Cavalier. Changeants, The Changing Gentlemen,. 5921. Le Mouchoir, The Handkerchief, • 5922. Le Changement de Dames, Exchange of Ladies, • 60e;,. Le Cavalier Trompe, The Cheated Gentleman, 6024. Le Couple ASBis, • The Seated Couple, 6025. Les Ondulations, The Undulations, 6126. Le Coussin, • The Cushlou, 6127. Le Chapeau Fuyant, The Fleeinll Hat, 6112S. Le Trompeur, The Deceiver, 622~. Le Coussin Mobile, The Moving Cnshion, 6230. Les ZigzuWl, • The Zigzags, 6331. Les Fleurs, The Flowers, 6332. Lo Miroir, The Mirror, 6383. Lo Serpent, The Serpent, 6434. Les Couples Presentes, The Couples Presented, 648·;. Les Dames Rcfusees The Rejected Ladies, 6586. Les Ouatre Coins, The Four Corners, 65

CONTENTS. .,•

No. Page.87. Les QUlltre Clmisea, The Four Ohalra, 6588. Le Rond Trompeur, • The Deceiving Circle, 6689. Les Echarpei Volantes, • The Flying Scarfs, • 6640. La Oorbeille, The B..aket, 6641. Les Bras Entrelaces, The Arms Entwined, 6742. Les Colonnea, The Columns, 6'148. LesDes, The Dice, 6844. Le Drap Mysterieux, The Mysterious Sheet, 6845. Les Mains Mysterieuses, • The Mysterious Hands, 6846. La Phalange, The Phalanx, 6947. Le Berceau, The Arbor, 6948. Le Contredanse, 7049. Le Quadrille Double, 7050. La Double Pastourelle, '10In. Lea Portee, The Gatel, 7162. Le " X" des Cavaliers, The X of the Gentlemen, 7168. Le " X" du Oavalier et de 1aDame, 72M. Lei Genufloxions, 7li65. Les Genuflexions aQuatre, The Genuflections with Four, 7866. Le Moulinet, The Mill, 7867. Le Moulinet Changeant•• The Changlng Mill, .• 7468. Le Moulinot Chunge, The Changed Mill, 7459. Le Moulinet des Dames, The Ladies' Mill, 74110. Le Double Moulinet, . The Double Mill, 75IH. La Croix Etendue, The Extended Cross, • 7562. Le Triangle Changeant, The Changing Triangle, 7668. Les Chaines 1L Quatre, The Chains with Four, 7664. Les Chaines Crolseea, The Crossed Chains, 7665. Les Chaines en Ligne, The Chains in Line, . 77 ~

66. La Chaine Anglaise, The English Chain, 7767. Les Chaines Continues, The Continuous Chain, 7:68. Les Chaines Variees, The Varied Chains, 769. Les Cavaliers Ensemble, The Gentlemen Together 7:'l0. Lea Petits Ronds, The Little Rounds, 7~

~I

vi

No.71. Le Rond Brlse,72. Lcs Ronds il.Trois,7:3. LCR Ronds it Quatre,71. Le Rond it l'Envers,7,j, Lc Grand Rond,76. Les Ccrcles Jumeaux,77. LII Triple Passe,78, Les Dal1111S Dos-s-Doa,

CONTENTS.

The Broken Round, •The Rounds of Three,The Rounds of Four,The Reversed Round.The Grand Round,The Twin Circles, •The Triple Pass,The Ladies Back to Back,

Page.79808081III828288

FINAL lI'IGURES.

79. La Poursuite, •80. L'Allee Toumante,81. Les Deux Lignos, •82. La Dame a Gauche,83. Le Collmacou, •84. La Reunion des Couples,85. Le Grand Moulinet,86. Le Labyrinthe,87. I.e Rond Finale,

The Pursuit,The Winding Alley,The Two Lines, 'The Lady to the Left,The Snail, •The Reunion of Couples,The Grand Mill,

The Final Round,

• 88888484

• 8585

• 8586

• 86

ADDENDA.

Les Menus Plaisirs Quadrilles, 87

PREFACE.

In response to the frequent inquiry, .. Have you a book, de­

scribing the figures of the Quadrilles ?" and at the solicitation

of many pupils, this little book is offered. Care has been

taken to render it correct in the minutest technicality. For

this purpose, no definition of a technical term is given unless

sanctioned by standard authority (English and French,) or

fasbionable usage.

The figures of the different Quadrilles herein described, are

those now in vogue, as accepted in this country. Some of

the dancea, however, such as the Gavotte or Minuet, Spanish

Dance, ilicillan Circle, Virginia Reel, and all round dances,

except the Polka, Polks-Redowa, Galop, Valse a Deux

Tempe, Waltz and Redowa, are not considered fashionable;

yet they are in conslderable demand, and are almost uni­

versally taught.

A.ll dances not nerein contained have received such little

favor, or have been 80 long in fashionable disuse, as to pre

elude tbeir insertion.

,,

THE PROMPTER.

ETIQUETTE OF THE BALL ROOM.

Gentlemen should dance the first set with the ladies undertheir escort.

Among persons not previously acquainted. the acquaint­ance ends with the dance; and if the gentleman desires todance aga:in with the same lady, he must be introduced again ;in short, hie acquaintance ends with every dance, and he hasno claim to her acquaintance at any subsequent time, orother place, unless the lady first recognizes him, and desiresto continue the acquaintance.

A gentleman, meeting a lady friend at a public ball, andwishing to dance with her, should be introduced by herescort, before taking upon himself the right of dancing withsaid lady•• He should not engage himself to the same ladyfriend, for any subsequent dance. without the approval ofthe lady's escort. And all introductions to a lady at a pub­lic ball, must be made exclusively by her escort, exceptwhen the escort delegates, with the lady's consent, the priv­ilege to the floor manager, or some other person. This is agood rule, and a protection to the gallantry of gentlemenwho take company with them, preventing those who take noladies from assuming and relinquishing at pleasure the placeof the responsible escort.

A gentleman will not take the liberty, nor be gUilty of th.

10 II:TIQUETTE 01' THII: BALL BOOK.

impoliteness of introducing another gentleman to a ladywhose temporary acquaintance he, himself, had formed in theball-room.

Floor managers have no right to introduce partners to t.dies, unless by request or permission.

At private parties, where all are acquainted, introductionslU'e unneces8llry.

Contentions mut be avoided in the ball-room.It is an insult to ieave one set to join another, except when

the change is occasioned by dispute as to the pre-occupancyof place.

Disputes as to the pre-occupancy of a place in a set, are tobe settled by the floor manager, or master of ceremonies.

If there are more gentlemen thlWl ladies present, the for­mer should not dance together under the plea that tbere arenot enough ladies, or that they want to fill up a set. Ladies ~

do not wish to dance in a set where two gentlemen are thevis-a-vis.

Gentlemen will not congregate around the dressing roomlrIld entrance doors, so as to prevent ease of Ingress andegress.

Gentlemen should remember that rudom anll grotesquemovementa of the legs and body, in dissonance with themovements of their partners,-going forward when theyshould be retreating, and vice versa, altogether out of har­mony with the measure of the music, and the figure-do notcontribute to beauty of motion; and it would be better torefrain from any burlesque of obsolete Quadrille steps, andto substitute a more gentle and gliding movement, rsore inharmony with the present accepted mode.

POSITION IN QUADRILLE. 11

THE POSITION IN QUADRILLE.

Before attempting a Quadrille, first ascertain which is " thehead of the room." Many suppose it to be where the music islocated. This is an error. The orchestra is frequently uponthe side, and sometimes over the entrance, of large ball rooms,but the head is never on the side, nor at the entrance.

The head is generally that part of the room opposit», orfarthest from the entrance• . But when the entrance is upon aside of the room, then cuatom determines which end, to theright or left of the entrance, is the head.

At private houses there is no established rule for determin­ing the head. It may be near the front windows, or at theopposite end,-at the option of the master of ceremonies.

Having ascertained the head of the room, the next thingto know is the manner in which the couples are numbered.'I'he complement of each set is four couples. The first couple~n each set is nearest, and have their backs to, the head ofthe room; the second couple is 'opposite, and faces the first;the third couple is to the right of the first, and the fourthopposite the third. The four couples thus form a sqnar«, eachcouple standing on the middle of its respective side. Dancesin this form are c~ed Quadrilles, or Square Dances. Theladies stand at the right of their partners, thus:

Io&Coapla.

0*

*0IdCoupl..

* Represents a Gentleman, 0 Represents a Lady.

12 POSITIoN IN QUADRILLE.

Sometimes there may be two extra couples. In sucheases, when the figures to be executed permit, .. double heade "Dr" double sides" may be formed, thus:

DOUBLE meADe. DOUBLE SIDEe.

I,;e""!'l... I';e..ploo

0* 0* 0*

~ '* 0

J; Ir to * "0~ s 01:i *.,. "*0 **0 * 0 *0

IdCoDploo. 1d000pl••

These forms should be avoided, unless you know the fig­ares will be practicable.

A. Quadrille is one Number of Figures.Two or m<l1'e Figures constitute a Number: as in let No.

Plain Quadrille, "Right and Left" is a figure; .. Balence "is the next figure; "Ladies Chain" the next; and "Bal­ance" the last; altogether, these figures constitute a Number.

A Figure usually takes a strain of eight measuree of music. .. Forward Two," in 2d No. Plain Quad.; .. GrandRight ana Left," and also, .. Ladies to the Right" (tourbillonfigure,) in 5th No. Prince Imperial, each take 16 measures.

Frequently, parts of two figures are combined and constl,tute one figure, as .. Half Promenade," and" Half Right andLeft."

A Figure ie sometimes subdivided, as "Forward Two·in 2d No. Plain Quad. ; the separate parts being" forwardand back," " cross over]' " chll88ecroise and back," " re-eroesto places."

POSITION III QUADBILLIC. 11

Five Numbers usually constitute what is termed "a setof Quadrilles;" 8S the .. Lancers Quadrilles," "CaledonianQuadrilles," "Le Prince Imperial Quadrilles," etc.

It is common to designate Numbers as Figures,-i. e., in­stead of 1st No., 2d No., ekc., they are sometimes called 1stFig., 2d Fig., eke. The former definitions are preferable;­the term .. Numbers" according with the five Numbers ordifferent pieces of music set to the Quadrilles. Figuresaccord with the strains of music.

The phrase .. Let us form a set," means to form a set offour couples in Quadrille form. [See diagram.] When dan­cing with strangers, it is advisable to take a side.

As soon lUI the sets are all formed, the floor managergives a signal to the orchestra to begin. When the musiccommences, the dancers all salute partners. Immediatelyafter, they salute corners,-that is, the ladies courtesy to thegentlemen on their right, and at the same time the gentlemenbow to ladies on their left;, These salutations are made du­ring the introductory, or first strain of eight measures ofmusic.

At the commencement of the second strain the figure begins.During the first eight measures of each number, after thefirst, the dancers remain standing; the figure always com­mences with the second strain, except in the fifth number ofthe Lancers, and sometimes, the fifth number of the PrinceImperial.

The numbers at the right of the following pages, indicatethe number of measures of music required. For example:

RIGHT AND LEFT, 8

means that eight measures of music are required for thatfigure.

14 QUADRILLE nAN~AIS DOUBLE.

In Quadrille dancing, two walking steps are required foreach measure of music. For example:

FORWARD AND BACK. 4

requires four steps forward and four backward.Having ascertained the preliminary details, we will now

proceed with the figures of the different Quadrilles, as now

danced.

QUADRILLE FRAN9AI8 DOUBLE.*

[Commonly known as Plain Quadrille.]

No. 1. ~

RIGHT AND LEFT,t-{lst and 2d conples,) 8BALANCE, t 8

i' This set of Quadrilles is the basis of all Quadrille dancing,and must be thoroughly understood in order to move under­standingly through any of the other Qnadrilles. Notes of ref­erence to " Plain Quad." refer to this set.

t "Right and Left" means right hand and left; hand. It iscxecuted as follows: The two couples move forward, meetingin the centre, and pass each other, each person giving the righ;hand to his or her 'Vis-a-vis " each couple then passes to the op­posite couple's place~ and, partners jomin~ left hands, tum halfronnd, bnng tlie lady an the right, facing the centre; eachconple then returns to its place in the same manner, again giv­ingright hands in passing at the centre, and joining left handsin turning into its original position. Inpass~the centre,the ladies pass between the two gentlemen. . Lngthe righthand to opposite person is, however, usually ed.

~ The Balance is performed by givmg both hands to partnera,crossing hands, facing partner and executing a sliding step side­wise to the opposite SIde, passing to the nght Of the oppositecouple, and retu.rning on same side, without turning partner.The slidin,g step is executed br, the gentlemen in the same man­ner 8S "slie step to the left ' in military tactics, but twice &8quick, and not so stiffiy,-more of a galloping step,-witholl'

QUADRILLE FRAYyAIS DOUBLlI.

L_~DIE8' CHAIY, •BALANCE, t

Side couples tke ,ame.

­88

No.2.FORWARD Two :-t

Forward and back, (1st and 2d couples,). • 4}Cross Over-Ladies passing between, . •• 4Chasse Croise and back, §(cross '" re-cross partners) 4 16Re-cross to places-Ladies passing between,. • 4

BALANCE, (same aa in No.1,) 8R¥Jeated by Head couple'-sides the Bame.

No.3.

RIGHT HAND ACRoss: I -1st and 2d couples crOSB over(without turning partners,) all giving right hand tolIi,-a..vi, in passing. 4

lifting the feet; at the same time, the ladies do the sa~ step,with the right foot in advance. Return to places, with otherfoot in advance. Or, instead of the slidin~ step, wa acrosseight steps, (bringing the feet together on eighth step.) and re­turn in same manuel'.

*"Ladies Chain" is executed in this way: the two ladies ad­...ance to centre, give right hunds, pass on, and turn oppositogentlemen round with left hands, and return to places ill samemanner.

t "Balance" same as before.tFor re~,ponthis figure, see p. 41.§ Ohose . 8e dieMSBe, (usually culled by Prompters,

Chasse aer • neaning, to er08S and re-cross,-to move acrossand back, i. 8.,-the partners face each other; each then takesfour steps forward and four backward, the r~rtner8 passing u'HIre-passing each other, the ladies al ways passing in front-near­est the centre.

I Giving the right hand to opposite pcrsoa in going aC'')8'­may.be omitted.

18 q17ADllILLIC ntAII~AIS DOUJIL]C.

LUT HAIIDS BACK :-In returning, all give the left handto vi,-a-vi" and pass, retaining left bands, and gi voright hands to partners, forming a circle in centre ofset, (the ladies hands being crossed, and the gentle-men's apart,) i

BALANcE IN CIllOLK, (Sur place.) See p. 89. ,H.u. PROMEIIADE TO OPP08ITl1 COUPLE'S PLAOE :-Give both

hands (crosaing hands) to partner, and make a halfcircle to opposite couple's place; gOiAg to the righ'of oppoaite couple, • ,

Two LADIES FOllWARD AND BACK, (four steps eBfh way,) ,'fwo GEIITLDD:II FOllWAllD AIID BACK, ,Foua FORWARD AIID BACK, ,HALF RIGHT AIID LEFTTO PLACES, • 4

Head couple, repeat all the above ;-.ide. tlte ,arM.

No. 4.

FOllWABD Foull :-(lst and 2d couples forward and back,) 4F~ard again, and leave first lady with opposite

gentleman, who returns with the two ladies to placeof second couple; (the first gentleman retiree aloneto his place,) 4

FOllWARD THRElI::-(forward and beck,) ,Forward again, and leave both ladies with opposite

gentleman, who advances to receive them, and withthem retires to place of first couple; ~ secondgentleman retires to his place,) 4

FORWARD THREE :-(forward and back,) 4Forward again, and form circle of four, 4

HANDS FOUR HALF ROUND :-moving to the left and ex-change places with opposite couple, 4

OOKllOIi JIQ FIGURE.

fuu RIGHT AND LBn TO PLACBS, •Repeated by the first and eeeond coupleB;

tlUlt the Becond lady will be}ir&t left opposite.terpart for the others.

No. s,

eaceptCOUlI-

17

4

8• 16

8

ALL CHASSE C&OIsE AND BACK :-(pass and re-pass part­ners, the ladies passing in front of gentlemen, bothtimes.] See p. 40.

FO&WA&D Two, t S N 2 5B.lLANCB, fame as 0.. (

Repeat. Third and fourth times, side couples takethe lead. After the fourth " Balance" finish with­

ALL CBA88E C&OISE and back, and salute partners. 8

COMMON JIG FIGURE.

ILums ALL ROUND, 8ALL THE LAnDI BALANOE TO THE RIGHT :-(each lady bal­

ances to, and turns, with both hands, the gentlemanon her right.) See p. 89. • 8

Balance to, and turn, next gentleman on the right, 8Balance to, and tUI"II, next gentleman, 8All balance to partners, and turn, 8

HAlms ALL AROUND, 8ALL TBR GENTLE¥EN BALANCE TO THE RIGHT:-(executing

the fignre in same manner as ladies,) 32HANDS ALL ROUND, 8ALL CHASSE CaOISt!: AND BACK, 8

18 BALANClIl TO THJ: lUGlIT-" CHEAT," OR COQUItTTZ.

.. BALANCE TO THE RIGHT".-JIG FIGURE.M_

HANDS ALL ROUND, 8FIRST COUPLE BALANCE TO RIGHT, AND FOUR HANDS ROUND, 8SAllE COUPLE BALAlicE TO LEn, AND FOUR HAIiDS ROUIID, 8HANDS ALLROUND, 8

OoulIterparl for the other, in their order. tFinish with ALL CHAssa CaOlSK AND BAClt.

"CHEAT," OR COQUETTE.

FlBsT COUPLE BALAllcE TO RIGHT :-Forward (first coupletowards third couple; and at same time, third coupletowards first couple,) and back; forward again, andturn with both hands,-(the first lady turns thirdgentleman, and first gentleman tnrn. third lady,) 8

Balance to next couple, (second) and turn, 8Balance to next couple, (fourth) and turn, 8Balance to partner and turn; or, all balance to

partners and turn, 8Cou"terpart for the otAer. itt tAeir orrke t

It is optional whether you turn the person to whom youbalance, or exercise the privilege, from which this figuretakes ita name, to " cheat" that p!'rson by making a feint toturn, and suddenly moving away, turn somebody else. Or,you may be about to turn with some person, and some oneelse may hold you.

* This figure is usually danced to the tune of the "WhiteCockade," and is frequently called by that name.

t The order in which the couples take their tum, in thesefigures, is to the right; that is, the first couple will perform thelIKure llrt<t j third couple next j second couple next ; f~urthcouple lut;.

BASKET FlGURE-llTAB FIGURE.

BASKET FIGURE.

19

1684,

4,

8

FORWARD Two, t 5BALAlfCi, 5Same as No.2, Plain Quad., p. 15 (

ALLTHE LADIEI JOIN HANDS IN OENTRE,·GENTLEMIIN JOIN HANDS 0 UTSIDII THE LADIES,GL'lTLEMEN HAlfos ROUND,

Here a pause occurs, or (as is usual,) one of the mu­sicians will execute a cadenza, during which the.. Basket" is formed by the gentlemen passing theirhands over the ladies' bead., (all retaining hands asbefore,) ad. lib.

~LL BALANCE, (,ur place) hands being stilljoined, 4,

TeBN P ABTlfERS TO PLACES, 4,

Repeat all the above. Same for 'ide couple"

STAR FIGURE.ALL PROllENADII, 8FOUR LADIES FOBWABD AND BAOK, •GENTLEMEN THE SAlIlI, 4,

FOUB LADIES OR088 RIGHT HANDS AND GO HALF ROUND, •LEFT HANDS BAcK,-and retaining lell hands, give right

hands to partners, , •ALLBALAlfcE, (mrplace,) 4,

TURlf PARTNERS TO PLAOES, •Repeat. Third and fourth times, gentlemen for­ward and back first, .. CrO!!' right hands," dlc. Fin-ish with All Chasse Croise and back, and salutepartners.

* Third and fourth timee, gentlemen join hand. in the centre.In forming the "Basket," the ladies should alway. be at theirpartners' right.

QUADRILLE SOCIABLE--GAVOTTE, OR MINUET.

QUADRILLE SOCIABLE.-

IbAD COUPLES RIGilT·AND LEFT, 8SIDES TilE SAME, 8ALL TilE LADIES BALANCE TO RIGHT and exchange part-

ners, (each lady going into next lady's place to theright,) 8

ALL PROMENADE, 8HEAD COUPLES LADIES' CHADl, 8BIDES THE BAME, 8ALL THE LADIES BALANcE TO RIGHT and exchange part-

ners, 8ALL PROMENADE, .8

Repeat all the 060111.

GAVOTrE, OR MINUET.-(The Full Figure•.)

LADIES' CHAIN, 8BIDES FOuR:-The first and second couples lead to the

couples on their right, then retire; forward again insame direction and exchange partners,-the gentle-men exchanging places, 8

While the head couples lead this figure-first andsecond times-the side conples lead to the left; thus,instead of forming a square, the couples will beformed in two diagonal lines, parallel with eachother, and all dancing. After exchanging partners-

FmsT LADY FORWARD AND BAOIl: TWIOE, ·8

* Prompters often call llgurfs in the "Sociable" to snit theirfancy, introducing the" Star Figure," "Grand Chain," etc.

GAVOTTE, OR HINl:E'J'. 11

14_

FWlT GENTLEMAN Tall: SAME, (being opposite his partner,) 8RIGHT HAND ACROSS, (same two) 4LBF"r HAND BACK, 4FORWARD Two, (same two forward and back.) 4Dos-l-Dos-(same two,) forward and go round each

other back to back, and return backward to ex-changed partner, "

ALL FORWARD AND BAOK :-All forward and back; for­ward a second time, and turn partners to (original)places, 8

Repeat all the above ;-the second couple doing thesame as first couple has done

Third and fourth times, side couples lead to theright, in "Sides Four," causing head couples tomove to the left.

GAVOTTE, OR MlNUET.-(Abbreviated.)

FIRST AND SEOOND COUPLES FORWARD AND BACK, "Dos-k-Dos :-{Forward and go round the opposite per-

son back to back, and return backward to places, • "SIDES FOUR, AND EXCHANGE PARTNERS, (as previously de-

scribed,) 8LADIES' CHAIN ALL:-Same as Ladies' Chain in 1st No.

Plain Quad., except that it is performed with thesame couple that you exchanged partners with,-the entire set executing the figure at the same time. 8

ALLFnowARD (toward original partners,) AND BACK, 4TURN PARTNERS TO PLACES, 4Repeat atl the above; after which, side couples lead the figure

22 KARCH QUADRILLE.

MARCH QUADRILLE.M_

FIRST COUPLJ:- PROMENADE ROUND inside and face out-ward, 8

THIRD.COUPLE t PROMENADE ROUND first couple, and fallin behind first couple, 8

SECOND COUPLE t PROMENADE ROUND first and third cou-ples, and fall in behind third, 8

FOURTH COUPLEt PROMENADE ROUND the first, third andsecond, and fall in behind second couple, 8

The floor managers t\len form the sets iu proper lines.LADlES MARCil TO TilE RWIlT,-GENTLEYE!'1 TO TilE LEFT,

as follows:The" top lady·" t turns to the right i-and, at same time,

r< top gentleman" turns to the left, (all the ladies following

*FlRST COUPLE PROMENADE ROUND INSlDE.-Some personserroneously think that the couples should promenade outsid«their own set. They should always keep within its limits, andnot interfere with any other set, as would be the case when thesets are close together.

t There are local differences in executing this figure, in form­ing for the March :-First, the one already described, oc­cupying eight measures of music for each eouple-thirty-twomeasures in all ; or, they may fall in, in the same order, butwithout promenading around the other couples, and takin~ buteight measures in all; or, as in 5th No. of Lancers, taking III allbut eiJlht measures of music. The form first descrihed, how­ever, i' the correct one.

t" Top lady," "top gentleman," "top couple,"-so-calledin contradistinction to the first couple of each set; the top cou­ple being immediately at the head of the room, and thc leadingcouple in the march. In calling f1l\ures, when in Quadrille form,tho couples should be designated as " first and second cuup~es,'

or "Helld conpleR," and not ., Top and bottom couples," or" Tops i" "Third and Fourth couples," and "Side couplea,"are both correct. (

JIIARCH QUADRILLE.

top lady, and all the gentlemen following top gentleman,) andthey march round to the foot of the room, where partner!meet, and march, in couples, to the aead of the room. Thiemay be repeated two or three times; or, it may be varied,by the top couple marching to the right, next couple to the .left, next couple to the right, and 80 on,-every other couplemarching to the right or left,-meeting at the foot, andmarching up to the head, four abreast. Here they may di­vide as before, and come up again, four abreast; or, right orleft wheel at the head of the room, and march round fourabreast to the foot; then, march up four abreast again to thehead, separate in couples to right and left, march around tothe foot, where they meet and march up in couples, (takingoriginal placea i~ line of march,) and stop as soon as the topcouple reaches the head of the room.

At the end of the march, face partners, eeparate from part­ners, forming two lines, gentlemen on one side, partners op­posite.

Top COUPLE BALANcE: --Forward and back; forwardagain and turn once and a half round, then chasse down themiddle, taking place below last couple. (The eliding stepdescribed in" Balance," 2d No. Plain Quad., may be usedin "Chasee down the middle;" or, take waltz position andpolka.) Ae soon as the top couple commences to "Chassedown the middle," the next couple will forward, back, &c.,and take place on the lower end of the line; and so on, tillall the couples have gone through, then,-

ALLFORWARD AND BACK.TuRN to PLACES :-(Forward again, and turn to original

* Sometimes, fonr conples, (an entire set,) forward and back,turn, and chasse down tile middle together, in couples,

THE LANCER8 QUAlllltLLE'II.

places in Quadrille,)-after which, one or two numbers rnaybe danced.

If the March Quadrllle)s the last dance before supper, itis usual, after marching round the room a few times, to marchdown to supper, without doing the subsequent figures de­scribed.

THE LANCERS-QUADRILLES.

No.1. 101....,..

FIRST AND SEOOND COUPL1l:S FORWARD AND BAOK, "FORWARD AGAIN AND TURN:--(Turn the opposite person

with both hands, and return to places.) "CROSS OVER, (Les Tiroirs :)-First couple passlng be-

tween second, (without turning partners.) "Return \0 places: Second couple passing between

first, "ALL BALANCK To CORNERS :--(All the ladles balance to

gentlemen on their right; at the same time all thegentlemen balance to ladies on their left,) turn withboth hands, and return to places, • 8

Repeated by head couples. Second time in " CroBBover," second couple first pseees between.

Oounterpart for the other,.

No.2.FIRST AKD SXCOKD COUPI.1lS FORWARIl AND BAOJ[, "FORWARD AGAIN ANIl LEAVX LADIXS INCXNTU, (facing part-

ners.] "CHAssi TO RIGHT AND LEn, (See p. 40,) 4TURN TO PLACES, (giVing both bands.) 4ALL FORWARD AND BACK INTwo LINEll, 4 (TURN PARTNERS to PLACJI8, "

TID: LANCEd QIlADlULLU, isRepeated by head cuuple',-ditto adu.

In forming two lines, first and second times, the sidecouples join the nearest head conplee,-the partners eepara­ting,-the ladies joining head couples on their right, and gen­tlemen joining head couples on their left,-making four on aside; the third and fourth times, the head couples separateand join side couples. .

No.8.

FIRl!T AND SECOI'D COUPLES FORWARD AND BACll, 4FORWARD AGAIN AND SUUTB,-(courtesy and bow,) and

back to places, 4FOUR LADIES Cnoss RIGHT HAI'DS," and go half round;

at same time gentlemen promenade singly in oppo-site direction, , 4

LADIEl! CROSS LEF;I' HAlIDS'" and return; at same timegentlemen return to meet partners, whom they turnto places, 4

Repeated by head couple,-ditto lide,

No.4.

There are two fourth numbers to the Lancers Quad.rilles, the most popular of which is given first.

FtIl8TAND SECOND COUPLES LEAD TO THE RIGHT AND SALUTE 4LEAD TO THE COUPLE ON THE LEFTAND SALUTE, 4

Return to places and Salute Partners, 4RIGHT AND LltFT, (first and second couples,) same 118 1st

No. Plain Quad., IIThe second time the head couples perform this

*..Ladies' Chain," or" Double Ladiw' Chain," is sometimessubstituted.

26 THE LANCERS QUADRILLES.

figure, they lead, to the couples on their left - andsalute ; then, atound to the couples on their ril?:htand salute. After which, they return to places andsalute, and "Right and Left."

Same for ,ide couples;

No.4. __

This number has a greater quantity of music-fourmeasures more than the preceding No.4, and is morein accordance with Quadrille music, the second parthaving sixteen measures,-the second part of theother No. having but twelve.

FIRST AND 8EC01W COUPLES LEAD TO TIlX RIGHT AND SALUTE, 4LE'D TO LEFT AND SALUTE, 4CHASSE CHOISE ALL, and turn to places, • 8RiGHT AND LEFl',-(first and second couples,) 8

Repeated by head couples leading to the left - andafterward to the right, &c.

Same for side couples,

No.5.Tlte figure begin, with the muai~.

GRAND CHAIN, (described on page 39,) 111FIRST COUPLE FACE OUTWARD :-(The gentleman with his

right hand takes his partner's left, passes her beforehim, and both face outward in place;) then, coupleon the right take position behind leading couple;next, couple on the left of leading couple, fall in ;the opposite couple remain in place, 8

* N. B.-According to the rule for this figure the couplesshould always visit the couples to their rigllt fll'llt, and thecouples to thcir lcft; afterward. Custom, however, seems to (unction the other way as correct also j at any rate, it is tbemost fa-hlonuble,

• 2'1

ALL CHABSK CaOIsKand back, (pass and re-pass partners,ladies passing in front of partners,) 8

PROMENADE" around, (counter march,) ladies to right,gentlemen to left, meeting at the foot and coming upwith partners; then separate in two lin_ladieson one side, gentlemen opposite, 8

ALL FORWARD AND BACK, 4

FORWARD AGAIN AND TuRN PARTNERS TO PUOES, 4The entire Number is executed fonr times. The

other couples, in their order, lead the figure. Afterthe fourth time, finish with the GRAND CUAIN.

CALEDONIAN QUADRILLES.

No.1.

4488

• 4,

FIRST AND SEOOND CoUPLES OROBS RIGOT IIANDS, and gohalf roand,

LEFT HANDS BAOK, and retUT:J. to places,BALANOE TO PARTNERS AND TURN,LADIBS' CHAIN,HALF PROKENADlI:,lLu.Jo RIGHT AND LEFT,

Sam, for fttk C01'pZ".

* Always keep within the limits of your own ~et in this Marchor Promenade. Thc last couple in line of march, rna, marchround with the others

lor stand still-separating sutliciently to

allow the other coup as to march behind and between them.Or, instead of turning outward, the leading couple may marchdown the middle and up again-the others following.

28

No. 2. --fusT AND SKCOND 00l1!'I.U FOBY.uw AND B~. •FORWAKD AGAIN. S.u.llTII AIO) UTUSK irO PUCIIIl, ,.'~B~roOo~ ••LADIU CHAN4iII: Pr.ACBB TO 'I'I1II: Rmll'l',-tnrning with both

hands the gentlemen to whom tIIey .. BeJanee,"-eaehlady passing into the next lady's plaoe, •

ALL PROlDl:NADB,-(with new partllen,) • • 8Thia nwnber iI doIle four u-.-u iaiIhlIIg ill p1ae..

:No.1..

F'msT AND S.cOND CoUPLES FORWABD AND BACB, TwxCB, • 8CROSS OVER :-First Couple pusing between second, (with

out turning partners,) • 4RnuRN-secooo couple passing betWeeD. 4BALANCB ro CORNUS, turn, and return to places, 8~ JOIN HANDS, forward (to the centre,) and back, twioe, 8

Rep«Jted by Mad couple_,ame for ftdee.

No.4.

FIBBT AND S.coND Cotll'LKS FORWARD AND 8T01'. • 4TuaN PUTNUS ro PLACES, • 4FOUR LADIES CHANGE PLAOES TO TlIlI RNST;-{eaoh lady

passing into the next ladY's place,) • 4GENTLEMEN CHANGE PLAOEe TO THE LEFT, 4LADIES AGAIN TO TO RIGHT, •GJ'oNTLElDI:N TO TO LuTr-{meeting partDers in oppoeit.B

places,) • 4PROXENADB ro PLACB8, AND TURN PART:fERB, • 8 (.

4 lim,,; third and fourth time., aide C014p:" f07'VJardand stop, tte,

LE PRIliCE IlIPERIAL QUADRILLII:8.

No. 5.

29

FmST COUPLE PROMENADE round inside, 8FOUR LADIES FORWARD AND BACK, 4FOUR GENTLEMEli FORWARD AND BAOX, • 4ALL BALANCE TO PARTNERS, • 4TURli PARTNERS, 4HALF GRAND CHAIN, (meeting partners in opposite places.] 8HALF PROMENADE TO PLACES, AND TURN PARTNERS, 8

After the fourth time, finish with ALL CHASSE CROISE,and back.

LE PRINCE IMPERIAL QUADRILLES.

/Jomp08ed by the SocietA Aca<Umique du ProfeBBffUf'9 tU IJafl86tUhri8, Artistes du TheatrB Imperial tU l' Opera.

No. I.-La OhaiM continue deB Dames,FIRST AND SECOND COUPLES. LEAD TO BIGHT AND SALUTK, 4TAKE LADY FROM THE SIDE AND CHANGE PLACES: (First aud

second gentlemen still retaining partner's hand, eachwith left hand take hand of lady on the side, and eachtrio go backward to head oouples' plsees-c-second tofirst couple's place, first to second couple's place, fe.-cing the centre,) 4

LADIES RIGHT Ab LEFT ABoUND: The four ladies (with­out the gentlemen,) cross over, and each give righthand first to lady directly opposite, (from head tohead;) pass on, and give left hand to next lady, (fromside to side;) then right hand from head to head;and lastly. left hand from side to side, ending by

80 LE PRINCE Dn'ERIAL QUADRILLB8"

K_facing partners,-the four ladies having thllir backsto centre of aet.· 8

ALL CRABBE TO RIGHT .um LErr, • ..TURN PARTNERa,. ..

The first and second couples repeat the above whichbring all to their own places. Side couples repeat.

No. 2.-La NOllvelle Trlmi8.FIRaT G:&NTLlI:KAl! AND OPPOSITE LADY FORWAlLD AND TJml(

WITH BOTH HANDa, (finish in centre,with lady on theright, and both face lady standing alone,) 4

Oaoss OVER AND Tuali WITH LEFT HANDS: The ladystanding alone passes between the couple in centre,and with left hand, turae the opposite geatleman ; atthe same time, the couple in centre turn (with leahands) into the place just made vacant, ..

FORWARD FOUR AND BACK, ..LADIES' HALl' CEAIlf, ..Au. C1usri CaaiaB AllD TtJlI.Ii ColUlBll8 WITII RIcmT H.um, ..TuaN PAILO'ER. WITH LJuror HAIOI, ,

Repeotetl br eM ~er, -.ritl,l,.

l'fo. I.-La (}or6eiU~.

FIRaT LADY TO 'l'HlI: CENTBJI:: The gentleman places hi.lady in centre, facing him, ealutee her, and retreataalone to his place, • ..

.. This movement ia similar to .. Grand Chain." A very commonrault in this figure, ia for the ladies to crowd in ths centre, fre-quently cau8ing them to give the hand to the wrong person. (To obviate thi8\perform the figure in a circle-mskingthe circle88 large 88 poseible within the limita of the set.

LE paINCE DlriB.IAL Qt!AIIIULLES. III

OPPOSITB LADy TO TIlE CENl'ItB,

LADY ON TIlE RIGHT (3d lady) TO TIlE CuTu.LADY ON TIlE LUT TO THE CENTRE,

LADIES HANDS ROUND. (Ladies being back to back, orback to centre, take hands and move round to theirright,)

FOUR GENTLEMEN FORWAlIJ) AND TAJUI lUNDS OF LADIES,(giving right hand to partner and left hand to nenlady, forming a grand ring, Gentlemen facing inwardand Ladies outward,)

ALL BALANcB, (aur pZtu:e,) with hsada joined,TURN PARTNERS TO PLACES. (Gentlemen drop the hand.

of Ladies on the left, and turn partners to places,) •Oounterpart/or the other, in their order. Fwr time«.

No. 4..-u Dmdlk Ptutourelltl.

4

4.4

1ST ANn 20 COUPLES FORWARD ANn BAOK, .,LEAD TO TIlE RIGHT, LEAVE 1ST LADY ANn tD GENTLEllAN:

1st :Lady on the left. of 3d. Gentleman and 2d Gentle­man on right of 4th Lady. (1st Gent. and 2d Ladyretire to places,) •

SIX FORWARD .t.Nn B.\CK TWICE, SFORWARD TWO, (The Lady and Gentleman standing alone,

forward and back.) ..FORWARD AGAIN, SALUTE and go to partners, ..HANDS FOUR HALF aoUlfD, (on each side) and ehangs

plaees: 3d and 4th couples retreat to the places of1st and 2d couples respectively, • ..

HALF RIGHT AND LEFT TO PLACEB, • 4.R~a.ted by the otllera i" order.

89 LII: QUADBlLLB FBAN9All1.

No. ti.-Le Tourbillon.

LADIES TO THE BIGHT. (They turn each Gentleman, ex-cept partners, with the right hand,) 16

FresT GENTLEMAN AND OPPOSITE LADY FORWABD AND BACK, 4FORWARD AGAIN AND TURN HALF BOUND WITH RIGHT HANDS,

finishing 80 that each will face his or her partner, 4QHASSE TO RIGHT AND LEFT, . 4TURN PARTNERS with both hands to places, 4

Same for the three other couples respectively, the forwardtwo being always preceded by the tourbillon ("~hirligig), in16 measures--all the Ladies turning the Gentlemen.

At'ter the Tourbillon has been executed a fifth time, to finishall. the gentlemen lead their ladies to centre, (the ladies takeposition back to back,) gentlemen retire to places and all sa­lute partners.

LE QUADRILLE FRAN9AIS.

In Franoe, the Quadrille Fran~ais differs materially fromthe English and American form. There, they dance in lines,extending the length of the room, and perform the figures insome respects in a similar manner to the original Quadrille.The Balanc6 is omitted. The second figure (forward two,)takes 20 measures-a bow and a courtesy oompleting the 24measures.

In the former country, the leading g'lntlemen with theirladies face the music; but in Englnnd and this oountry, theleading gentlemen with their ladies face the left of the room,tho same sa third couples in a square set. The following are lthe figures of the QUADBILLE FRAN9AI8. ill lines:

, LB QUADRILLE Jl'aAN~AI8.

11­88844

0"

No.1.Rnmr A1m LBft, (without giving heds,)SALUTE PARTNBII8, (4o meastIres;) face "i3-d-ri., (4 mess.,)LADlES' CRAIN, -

HALJI' PROlllEII'ADII, •

HALJI' RIGHT AIQI Lzrr, •

No. !.

FOllWARB Two :-*Forward, obliquely to the right and back, 4R~ea~ 4Cross over-(they p8BB each other to the left, turn-

ing half round 88 they P88S, and facing each other8S they turn, walking backward four steps tothe opposite side.] 4

Forward, obliquely M l.IM.~ aM. Hck, 4,

Recross to places, passing to the left, &c.,88 before, 4SALUTE PART......

20

No. I.

FOR,..AltD (obliquely to the ri«ht,) dD B.....,* 4,

Give left haaci ia .iI4-vi.. and right haad to ,artner. 4,

. BALANOE, in line, (AIr place,) • 4,

EXOlIANGE PLACES WITH OPPOSITE COUPLE, 4,

Foaw.I.U Two,t obliquely to the rigltt and back, twice. 8Foaw AB.D AND BAOJ[, POll&, 4H.I.LJI' RJGIl't .urn Lur TO PLA0B8, 4,

• This iWlre iI perfermed the.:flrst time by the leading ge.­tleIIlAIl and"oppositc lady; second time by the other two.

t Same two who commenced the figure,

LBIl VARIETEs PARI8Il1:NlfES.,

No.4.

Same as No.4 in Quadrille Franl}llis Double, (p. 16,) withthe exception of the order in which the gentlemen leave theirladies opposite. The leading gentleman nearest the head ofthe room leaves his lady opposite; the next gentleman onthe same side takes the opposite lady; the next leaves hislady, and so on down the line. The second time the figureis performed, the order is reversed.

No. II.Same as No.2, preceded each time by II ALL FORWARD A:"D

BACK IN TWO LINES:~ (They all join hands on each side, andforward and back twice, taking 8 measures of mueie.) After'the II FORWARD Two" has been performed twice, finish withALL FORWARD AND BACK twice, in two lines.

LES VARmts PARISIENNES.

A new Quadrille, composed by the II Societe Academiqne

des Professeurs de Danse de Paris," etc. Introduced

in America by W1LLLUI B. DEGABlIo.

NOTE.-This Quadrille is danced by fonr couples, but theyare numbered differently from the ordinary way, the leadingcouple being No.1; couple to the right, No.2; oppositecouple, No. S; couple to the left, No.4. Each figure isdanced four times. In the following explanation of the fig lures it will be seen that the Round dances are blended with

LKIl vARIETEs PARISIEIiNEIl. 56

Quadrille movements,-the latter part .of each numberchanging into Valse or Polka time. The music is publishedby Messrs. William A. Pond'" Co., 547 Broadway, N. Y.,and may be ordered at any music store.

EXPLANATION OF THE FIGURES.

No.1.

L'INVITATIOIi.- Val.e.

4,

4

8• 18

First couple advance with four steps to the couple ontheir right, and salute (2 meas.) j retire to places (2meas.)

Lead to the couple on the left, salute and return to places,Right and left with opposite couple,All waltz around,

Repeated by the other couples in their order.

No.2.

L'ErolLE.-Polka.

First gentleman and opposite lady forward and back,terminating by facing partners, and having theirbacks to the centre,) ,

Chasse to the right, (2 mellS.); turn half round withleft hand, bringing the lady on the left, (2 meae.) ,

First gentleman and opposite lady repeat the figure toregain places, 8

The four couples turn with two polka steps to the placeof the couple on their right, • i

Balance (towards the centre and back, one polka stepeach way,) S

-­Polka to the next place on the right, and balance ae be-fore, continuing until the tour hae been completed, Ii

Repeated by the othera in their order.

No.8.

LII: PBI80NIrIIlIl.- Val,e.

The 11m gestleman leads BIlceeeeively Mcillady 10 th~

centre to form a round; he first gives his left handto the lady on. the left, and leads her forward;then right hand to the opposite lady, then left bandto the lady OIl the right, and lMtly, right hand tohis pariner, and tUBing with her, places himself inthe centre.* 8

Ladies join hallds and t1M'II to the left, 4Gentlemen give right hands to partDenl and conduct

them to places, 4All form a tquare dos..a..dos in the centre: (the gentle­

men giving right hand to their partner'8 left, tnrnto the centre, and all place tbemselvee back to baek,forming a sqnare doa-l.dos.). . •

Waltz, (taking waltz poeltlon.) to pI_, 4All dos-A-dos to centre, and WIiltzto places again, 8

Repeated by the others in ibeir order.

No.4-IIAtsulW'f'rE.-Pol......J:II.

First. couple turn with both haudIJ to the centre, 4Demi·Moulinet 01 three at eomere, (The ftl'llt gentle-

* He p_ befon the ladies to whom he presensa hie leftbnd, IUld behind those to whom he vre"n~ the ritJ~ baIMl.

l

LEll vARIBTKs PARISIENNBlI, 8711_

IIIAJl separates from his lady, and turns en moulinetby crossing right hands with the couple on theleft, while his lady performs the same movementwith the couple on the right.- 4

First gentleman and lady advance to the centre, 2Chasse to the right (diagonally,) 2Turn with left hand to place, • 4First and opposite couples cross over with three Ma-

zurka steps, and turn into opposite places with onepolka step, t . 4

The two other couples perform the same movement, 4First and opposite couples repeat Mazurka movement to

regain places, 4Same for the two other couples, 4

The entire figure repeated by the others in their order

No. IS.LA ROSACE.- Val&e.

First gentleman and opposite lady forward and back, 4Salute and form two lines. (First and opposite couples

salute partners; after which, form two lines as inNo.2 of the Lancers,) (

All forward and back, . 4Ladies cross right hands-left hands to partners, 4Balance, (commencing with left foot,) 2Gentlemen advance with two steps to next lady, and give

the left hand, 2

* In order to perform this figure, the conple on the left willjoin right hands, and at the same time the leading gentlemanwill place his right hand upon the right hands of that couple,as if four persons were crossing hands, and in this manner theymove around-counterpart for the other three.

t Polka-Redowa may be substituted.

88 TECHNIOAL TERKS,

11­Baleuce and advance to each lady until the tour has been

completed, finishing in places, • aAll waltz round, 16

Repeated by the others in their order.After the fourth Valse Generale, ALL SALUTB PARTNBB8.

TECHNICAL TERMS USED IN QUADRILLE DANCING.

FORWARD AND B,\CK,-to move toward the centre and back.four steps each way.

RIGHT AND LEFT, (Ohaitte Anglai,e.) See No.1, Plain Quad.,page 14.

RIGHT HAND ACRoss-Give right hand to t1i,-d-tJi" and ex­change places.

LADIES' CHAIN-Two opposite ladies advance to the centre,give right hands, p888 on and turn opposite gentlemenwith left hands, and return to places in the same manner.

LADIES'DoUBLE CnAIN, OR DOUBLE LADIES' Cn.UN: Same asLadies' Chain, except that the side couples perform thefigure at the same time with hend couples, thus: the fourladies cross right hands, go quarter round and turn op­posite gentlemen with left hand; cross right hands againand turn partners with left hand.

LADIBS' CHAIN ALL.-Described in "Gavotte, or Minuet," p. 21LADIES' GRAND CHAIN, (La Ohainll OontinUil de, Damll',)

called also,LADIES' GRAND RIGHT AND LEIl"I'.-Descrihed in N•. 1, Prince

Imperial Quad., p. 29.Sometimes musicians and prompters for Quadrille dancing,

rl.

'1'IIOBlfICAL .TE1lD. 81

when they intend "Double Ladies' Chain," call" Ladiee'Grand Chain." This is wrong: the figurea are entirely dis­similar.GRAND CHAIN, called aleo, GRAND RIGHT AND Lm-r, or,

RIGHT AND LEFT ALL RoUND, is performed by the entirelet in this manner: face partners, give right hand topartner, pass partners, and give left hand to next person,right hand to next; left haud to next, and meet partnersin opposite places, pass partners again, and continuein same manner (going round the entire circle,) untilyou regain-plsees.

N. B.-When the Grand Chain is performed in the Lan­cers, Mlute partners upon meeting in opposite places, andagain salute, (bow and courtesy) upon regaining places.BALANCE,-To move toward a deaignated person or couple,

and then back. The person to whom you belance willalso perform the same movement at the same time, to­ward yon and back. The entire movement occupies 4measures of music. It is usual to turn (with both hands)the person to whom you balance..

BALANcE IUr place, (on the epot.)-To move as little 88 possi­ble from the position in which you stand,-performedby 4, or 8 persons, the hands being joined en moulinet orin circle; or, in line, 88 in No.3, Quad. Fran9., p. 33. Alittle glisse (sliding) step should be ueed here, movinggently and very slightly forward and backward, or fromside to side. This step occupies 4 measures of music,­counting 2 to each measure. (See No. 3 Quad. Fran'll.Doub. p. 16; 2d Balance, Basket Figure, p. 19; StarFigure, p. 19, etc.)

BALANCE in Ist, 2d and 11th Nos. Plain Quad. is different.(See note to Balance, No.1 PI. Quad., p. 14.)

40 TECHNICAL T!CBHS.

ALL PROHENADE; 1ST, 2D, 3D, OR 4TH CO\JPUII PROMENADE.­Move in a circle to the right, giving both bands to part­ners-the hands crossed. In this figure, as in all others,never go without the limits of your set.

HALF PRO)(ENADE.-To promenade half way round the set.The term PROKENADE is also ussd for MARCH. (See No.6, Lancers, p. 27.)

HANDS ALL ROUND.-All join hands in a circle, and glidearound to the left.

FOUR HANDS ROUND.-Four persons join hands in a circle,and move around to the left.

TURN PARTNERS (with both hands.)-Turn to the left, andkeep the hands apart, not erossed.

CHASSE TO THE RIGHT.-To move to the right.CHA.88E TO THE RIGHT AND LEli'T.-To move to the right, aOO

afterward to the left, (4 stepa-2 measures,-each way.~

CHASsE CROISE.--'To move across partners. -DEoHA8SE.-To return.Ca:A88E CROISE BT DEoHA88B,- (Chasse ftCrOBB and back.)-To

cross and re-cross partners, 4 steps, 2 meas., each way(See NO.2, Plain Quad., p. 16.)

ALL CHA88E CROISE ET DEOHABBE.--Same as th.e preceding,but performed by the entire set at the same time, andtaking 4 measures of music each way. (See No.6, PlainQuad., p. 17.)

LEeTlRolRs.t-The first and second couples cross over with-

* Usually abbreviated by Prompters to "Chasse Across" nnd"All Chasse." When Dechasse is performed by two or fourpersons only, it requires but ~ measures of mllsi.",!lnd tl~e stepmay be made forward or backward; but when It 'IS performedby tho entire set, it requires 4 measures of music and a forward

sttPTiroir-moanin,z a slide, slide-box or drawer i teohnically,one couple passlng between the opposite couple.

DOHNIOAL TEBJUI. 41

Clut turning partners, 1st couple passing between 2d;returning to places, 2d couple pass between 1st. Uponthe repetition of the figure, 2d couple passes between1st; returning to places, 1st couple passeB between 2d.Counterpart for the side couples. (See No.1, Lancers.No.3, Oaledonian.]

MOULIYET-ll mill or turnstile.MOULINET DEB DAllES, (Ladiea' Mill.)-The four ladies crOSB

right hands, go half round, and return by croseing lefthands. (See Star Fig., p. 19.)

BALAlmg EN MOULINET;-The ladies having their left; handsen moulinet, give right hands to the right hands of theirpartners, and all balance aur place.

DEllI (half)-Mo\JLINET DESDAlIEs.-The four ladies eross righthands, and move round to places.

DEllI-MoULINET 1 Ta01s, (Half-Moulinet with three.)--See No.4, Les Varietes Parieiennes, p. 86.

Dos·l·Dos, (back to back.)-Two opposite pel'soD.a go ronadeach other back to back. (See Gavotte, p. 21.)

DOlI-l·DOS EN CUaB, (Sqnare Dos.l-dos.}-See Les VarietesParisiennes, No.8, p. 36.

Vm-l-VIs.-The opposite person, couple, or place."FORwARn Two," (2d No. Quad. Fran9. Double, p. 1~.)

This means forward two persOD8, though now performedby four. It may 88 well be here stated that the figures ofthe old Standard Quadrilles, (" Plain Quadrille," LancersQuadrilles, Caledonian Quadrilles, etc.,) are called by theirold names, and, with the exception of the figure "ForwardTwo," governed by the old rnles, with this difference,-thatthe old fancy Quadrille steps are omitted, and .there are no101os, and all old dances that do not, or cannot, be made to

42 TECHNICAL TERJol!l,

16

16

accord with the present style, are obsolete, the only varia­tions admissible being those which are not likely to discon­cert others performing the figure at the same time, or to eausecollision with another person or couple.

Originally, this figure (Forward Two,) was executed bythe "first two," (first lady and opposite gentleman,) in thismanner:

Forward and back, 4}Cross over, .• 4Chasse to right and left, 4Re-cross to places, 4

The second time the forward two was performed by the 2dlady and opposite gentleman, and so on. According to thisrille, in passing the opposite person, when crossing over andre-crossing to places, you should go to your own left; thus,(in double figures) causiug the ladies to pass betweeu inchauging places, and the gentlemen to pass between in reoturning-without turning your partner throughout the en­tire figure.

Since the introduction of the double figures, a great dealof uncertainty has always been manifested in this figure;yet the simplest and most popularly recognized form is theone given on page 15, i. e.

Forward and back, (1st and 2d couples,). 4}Cross over,-ladies passing between, • 4ChlUljle Oroise, (cross and re-cross partuers,) 4Re-cross to places-ladies passiug between, 4

In fact, in all the figures of the plain Quadrille, as now re­cognized by fashionable society in this country, the "cr088over," and" re-cross to places," are performed by the ladiespassing between opposite couples-the gentlemen outside.

I dwell upon this figure not because of its departure frolIl

TECHNICAL TERMS. 43

the rule,-thongh all the other figures are executed accord.ing to the rules given in the old English books of authority,-but because similar innovations (oftentimes creating tech­nical perversion, or ambiguity,) are frequently caused bypersons who know little or nothing of dancing, and by thefalse calls of some Prompters.

And, it is to be regretted also, that there is a lack of uni­formity among teachers of dancing, who, sometimes, adoptthe errors occasioned by the causes above mentioned, andthus establish local errors of custom, and also introducetheir own notions in Standard Quadrilles, in violation of theestablished rules. So, 'in Boston, they dance in their pecu­liar way; in the New England States, at some balls, ContraDances, that were fashionably obsolete, when Quadrilles werefirst introduced, yet reign supreme. In Philadelphia, theyyet do the Glover's London Polka Quadrilles, Schottisch.Quadrilles, Mazurka Quadrilles, kc.

And in other places, the round dances, "La Gorlitza,"" Valse IICinq Temps," (Five Step Waltz,) and the ContraDance, "La Tempete," are in use.

Lest some persons may think me over-zealous in what mayseem a thing of little importance, I would say that I believein the maxim, "Whatever is worth doing at all, is worthdoing well," and, in common with other teachers, desire auniform system, so that a person visiting another city ortown, or going abroad, may mingle in the dance without em­barrassment. It would be singular, indeed, if an art so oldas dancing, were not reduced to rule and system. There arerules, but greatly disregarded. When we recognize any newdance, or new style of doing an old dance, (by this I do notmean t~ discard admissible variations.) it must, in order to

8PANI8H DANO~

become universal, proceed from, or be indorsed by, an associa­tion of prominent teachers, a union, which, unhappily, docsnot yet exist in this country, but does in Europe, whence wet ..ke our fashions.

In addition to the Standard Quadrilles, there are given inthis book, the Spanish Dance, Sicilian Circle, and Sir RogerDe Coverley or Virginia Reel-Dances that are not consideredfashionable, yet are more or less done all over the countr-yand may be taken as the bases of the various local and fashionablyobsolete Country or Contra Dances.

SPANISH DANCE.Danced to Slow Waltz Munc.

Form In Circle all round the room, thus; Or, in llnel!, thus

0* 0*

*0 *00* 0**0 *00* 0**0' *00* 0**0 *00* 0**0 *00* 0*

*0 *0

N. B.-The couples nearest each other, in diagrams, havetheir backs to each other, and dance in opposite directions; Chalf the couples face one way, and half the other.

SPANISH DANOlI.

If tbere are toomany couples to form one circle, two circlesmay be formed. one within the other. The couples are notnumbered in this dance.

At the commencement of 2d strain- lI...u_ALL FORWARD."'-Theyall forward towards vis-a-'lIis, (1

measure); back (1 measure); forward again andchange partners, (2 measures), which causes a quar-ter turn to the left, 4

Repeat, to regain partners, (which causes another quarterturn to the left,) 4

Repeat the whole, (ending by facing as at first,) 8CII.OSS RIGHT HANDS, and go half round, (tbe two gentle­

men give right hands to each other, and two ladiesthe same-crossing hands-c-the gentlemen's handsabove the ladies',) . 4

CII.OSS LEFT lIANDIl, and return, 4WALTZ 011. PII.OllENADE, once and a half round, to next

couple, 8(The next couple is the one facing the same as your late

* The gentleman takes lady's left hand in his right. Theyforward toward vis-a-vis-the gentleman advances one step witl:left foot, and then brings right foot to and behind left-t" kingone measure of music; he then steps buck with right foot, anddraws left foot to and in front of right foot-taking anothermeasure of music.

The lud,r docs the same step at same time, but adveuees withthe rii(ht toot and steps back with left. After which, exchangepartners, &c.

As the couples advance toward each other, the hands whichare joined should be slightly movcd toward vis-a-vis; and, usthey retire, the hands are brought back again. This movcmentof the hands and arms, when gently and gracefulll executed,harmonizes prettily with the step, the movement of the body.and tile measure of the music.

BIOILLUf OIBCL_V18GINIA BDL.

fIi,4-tIi,.) Be-eommenee the figure with next eouple, and re­peat it round the oircle or down and np the line, until themusic ceases,

SICILIAN CIRCLE. -.8844

Form in Circle, as in BpanlahDance.

RIGHT AND LEFT,

LADIES' CHAIN,

ALL FORWARD AND BACK,

PASS THROUGH TO NBXT COUPLE, (ladies PR88ing between,)Repeat round the circle till mnaio oeases.

SIR ROGER DE COVERLEY, 0. VIRGINIA R.EEL.

Form in sets or seven ClOupl_in two !tn_ladles on one aide,PIIft·... oppoalte,thu:

Top Coaplo,

* 0

* 0.. * 0

I: :i* 0* 0-CoopIo.

Top LADY AND BOTTOK GENTLBllAN FORWARD AIfD BACK..

(They dance toward each other, and back to places,) ,

TmGINIA BEBL.

8

8

8

Immediately after,II.......

Top GZtn'LEIiAN AND BoTTOIi LADY .\I'ORWARD AND BACK, 4Top LADY AND BOTTOM GZNTLEMAN GIVZ RIGHT HAIIDS AND

TllRN I BOTTOK LADY AND Top GENTLZMAN SAllE,Top LADY AND BOTTOK GENTLnlAN GIVE LEn HANDS AND

TllRN; BOTTOK LADY AND Top GKNTLEMAN SAME,Top LADY AND BOTTOK GEIlTLEKAN GIVE BOTH HANDS AND

TeRN; BoTTOM LADY AND Top GENTLEMAN SAllZ,Top LADy AND BOTTOM GZNTLZKAN Do.;d-do.. (They for­

ward towards each other, go round each other backto back, and return backward to plaees.] 4,

BoTTOK LADY AND Top GENTLEKAN Do.-<WJo., 4,

Top CoUPLZ GIVZ RIGHT HANDI! AlID TURNonce and a halfround, after which, the top lady turns lIach gentleman roundwith left hand; and at same time, top gentleman turns eachlady round with left hand. Every time, after turning each­lady and gentleman round with le~t hands, the top couplemeet and turn with right hands, until they get at bottom ofline, when they join hands, (crossing their hands.) and chasseup the centre, take their places at head of line; then prom­enade (countermarch) down the ontside ; all follow-ladiesto the right, gentlemen to the left; join partners at bottom,ehasee up to places; after which, top couple join hands andc~e down the middle, and take places below last couple,and thus become the bottom couple. The couple that wasnext to the top conple at commencement, now becomes topcouple, and re-commences and performs the figures as abovedescribed. After all the couples have gone through the figures,and regained original places, they ALL FORWARD AND BACK,forward again and turn partnere, thue ending the dance.

48 BOt1l!D DANCES.

.. ROUND OR REVOLVING DANCES,-

\

Polka, &/lOltisch, Polka-Redoua, Polko-Mazurka, V"ar,ovt­ttlne, Galop or Galopade, Val,e a Deu» Tl'17lp', El7Tieraltla,Danish Dance Waltz, and Redoua Waltz.

To describe these dances accurately, would require muchmore lIpace than can be given in this little book, (its designbeing princ ipally to esslst beginuers under Instructlon i) andto the lIovice it might not be of much practical henefit, inss­milch as it is necessary COl' a beginner to receive verbal and

(

.lOw!> DAKOa.

practical instruction from a competent teacher to enable lnmto dance with grace and skill. However, a few general reomarks upon Round Dancing may not be out of place.

The position is of utmost Importance. The lady takesposition on the gentleman's right, as in Quadrllle dancing.'rhe gentleman places his right arm round the lady's waist;the hand must lie flat upon the waist, with the fingerstogether, and not spread apart. He should hold her firmly,yet gently, with the right arm.

'1'iJe lady's left hand reste lightly npon the gentleman I

right shoulder. The fIngere should be together and curved,but should not spread apart nor gl'lU!p the gentleman's armor shoulder. The lady's arm should not bear down upon thegentleman's-the arms should not touch.

The gentleman with his left hand, holds the lady's right.In g1\'lng her right hand, the lady turns the palm downward,the back of the hand slightly turned in toward the gentleman(so that the little finger is higher than the fore-finger-thefingers together.) The g'entleman places the inner side ofthe fingers of his left hand, against the inner side of thefingers of the lady's right, his thumb being alongslde andtonchlng his fore-firtger and covering the knuckle of the lady'slittle finger, and thus clasps the hand.

The lady's right arm should be straight, bnt not stiff j thegentleman's left arm bent at an angle of forty-five degrees,the elbow about seven inches from the body and inclinedslightly backward j the hand at the height of the elbow.­(See cut, page 48.)

When the gentleman's arm does not rest firmly upon th!lady's waist, the hand is continually slippin~ away, and thegenUenlan,losing his position, il grasping at the lady's waist

50 ROUND DAllCE!!,

the lady has no support, and dances with an ill grace, simplybecause tlce gentleman does nnt hold her well e1l;ough, does notturn himself altJ1iciently, or does not atep in uniaon with Iter.

Beginners are apt to draw the right shoulder too near thelady's left, the gentleman bending his elbow too much andthereby drawing the lady too close. The gentleman's rightshoulder and the lady's left should be nearly 88 far apart 88

the other shoulders.While standing in position of Round Dancing, or "Waltz

position," the heels should be together and the toes turnedout naturally and at equal angles.

As the dancing is upou the front part of the feet, the weightshould be inclined forward-never backward. Do not allowthe body to touch your partner. Do not look in your partner'sface, but over the right shoulder, (your position being a littleto your partner's right-your own left,) but do not lean overit. There are many false positions, the inelegancies of whichconld be more easily demonstrated oeularly than in a writtendescription.

The lady, in all round dances, commences with the rightfoot, and the gentleman with the left.

The present, style of Round Dancing is to slide, instead ofstepping so solidly, and to keep the tocs to the floor insteadof hopping and leaping so high, as in the old style, (retaining,however, the attendant springs--the bendings and risings,)and to keep the feet in a more natural position, producing amore gliding and graceful movement,

The guiding-tul"ning to the right, reverse, forward, re­treat-depends entirely upon the gentleman; and, if he doesnot hold his partner properly, causing the difficulties beforementioned, or permits himself and partner to run agniust, orbc run against by other couples, the lady will soon wish tobe led to a seat.

r'\

LE COTILLON."THE GERKA.N."

In Europe, the Cotillon is the dance by which a ball is sl­ways terminated; but in the United States, at many parties ithas recently been used to the exclusion of almost every otherdance. It is executed to Galop or Valse music. The stepto the Valse music may be Valse a deux temps, Valse atrois temps, or the Redowa Valse.

A" leader" or .. gentleman conductor" having been chosenor previously designated, the company arrange themselves incouples around the room in a half or complete circle, (accord­ing to the number of waltzers,) leaving as much space as pas.sible in the centre of the room for convenient dancing. Eachgentleman should have his lady at his right. The place whichthe first couple (" gentleman conductor" and his lady) occupy,is termed " the head of the Cotillon,"

It is considered that all taking part in a Cotillon are formallyintroduced; and upon no condition whatever must a lady (solong as she remains in the circle) refuse to dunce with anygentleman whom she may chance to receive as a partner.

In the arrangement of the following figures, (nearly all ofwhich have been compiled from original French descriptions,)the simple and single figures, the rounds, the enchainments,and the final figures, are placed by themselves; and it is leftentirely to the discrimination of the gentleman conductor whichfigures he will choose. Many of the figures may be combinedor varied to suit the pleasure of the conductor, or he may intro,duce figures of his own invention. He is to be obeyed in every-

'I'D OOTILUI.

thing. The music must commence and cease only at his di­rection.

A "Tour de Valse or Galop" is performed by the leadingcouple as an introduction to each figure. The term "Tour deValse or Galop" is used technically, meaning that the coupleOr couples performing it will dance in Waltz or Galop oncearound the room. Should the room be small, they may makea second tour. As soon as the figure is terminated, and allhave regained their seats, the next couple or couples (accordingto the number who start) should immediately recommence it,(first performing the Tour de Valse or Galop.) and so on forthe others in their order.

When the conductor claps his hands to warn those who areprolonging the Valse, they must immediately cease dancing.

THE FIGURES OF THE COTILLON.

1.L'AVANT TROIS DOUBLE-(FORWARD THREE

DOUBLE.)The gentleman conductor, after having performed a Tour de

Valse or Galop with his lady, leaves her and brings forwardtwo other ladies; his lady brings forward two other gentlemen.The two trios place themselves opposite each other; then for­ward and back, and each gentleman with the lady In front 01

him performs a Tour de Valse or Galop. Should the llOmpanybe large, two or more couples may start together-each couplechoosing other ladies and gentlemen in the same manner a..first couple.

2.LES CHAISE~(THE CHAIRS.)

After the Tour de Valse or Galop, the gentleman conductor

(

THB COTILLOK. 53

places his lady in a chair in the centre of the room. He thenbrings forward two gentlemen and presents them to the lady,who chooses oue of them; after which he seats the gentlemanrefused, and brings to him two ladies. He also selects a part­ner, and the conductor dauces with the lady refused to herplace. This figure may be performed by any number of couples.

3.

L'EVENTAIL-(THE FAN.)

The first couple perfonn a Tour de Valse or Galop. Thegentleman conductor seats his lady upon a chair in the centreof the room, and brings two gentlemen (one by each hand) infront of the lady, who offers to one of the two her fan, anddances with the other. The gentleman who receives the fanmust follow the dancing couple round, fanning them at theB8.IIletime.

4.LE CHAPEAU-(THE HAT.)

After having performed a Tour de Valse or Galop, the con­ductor leaves his lady in the middle of the room, giving her, atthe same time, a hat. All the gentlemen then form a ring aroundthe lady, with their backs toward her, and turn rapidly to theleft." While the gentlemen turn, the lady places the hat uponthe head of one of them with whom she wishes to dance. Theother gentlemen return to their places.

5.

L'ECHARPE-(THE SCARF.)

After the Tour de Valse or Galop, the gentleman stands inthe middle of the room, holding a scarf in his hand, whilst his

54 THE COTILLON.

lady places the other ladies around him. They join hands andtum rapidly to the left j during which, he places the scarf onthe shoulders of one of the ladies, with whom he performs aTour de Valse or Galop. The other gentlemen then come for­ward and conduct their ladies to their places. (This figure isthe companion of the preceding.)

6.

LA PYRAMIDE-(THE PYRAMID.)

Three couples perform a Tour de Valse or Galop j after which,each gentleman brings forward another gentleman, and eachlady another lady. The first lady stands alone and representsthe head of the Pyramid, two for the second row, and (breI' forthe third. The gentlemen form a loose chain by taking hands;the gentleman conductor leads them rapidly behind the lastrank of ladies, winds around between the second and thirdranks, then between the first and second, and when he arrivesin front of his partner at the head of thePyramid, claps hishands and leads her off in a Valse or Galop j the other gentle­men, at same time, dance with the ladies who are tlM-a-vi.! withthem. The Pyramid may be made larger by starting fivecouples instead of three. .

7.LE VERRE DE VIN-(THE GLASS OF WINE.)

Three chairs are placed on a line, the middle one being turnedin the opposite direction from the other two. The first coupleperform a Tour de Valse or Galop j after which, the gentlemanseats his lady upon the centre chair, hands her a glass of wine,and then brings two gentlemen whom he seats upon the two rvacant chairs. The lady passes the glass of wine to one ofthe gentlemen, for him to drink, and dances with the other.

65

8.

LES GAGES-(THE PAWNS.)After the gentleman conductor with his lady have made a

Tour de Valse or Galop, the gentleman hands his lady a hat,which she presents to a number of ladies (according to the num­bel' of couples), who each deposit in it a fan, or handkerchief,or some such article. She then takes the hat around to thegentlemen, who each take, at random, one of the articles, auddance with the lady to whom it belongs.

9.LEB DRAPEAUX-(THE FLAGS.)

Five or six duplicate sets of small flags, of national o. fancydevices, must be in lK'adiness. The gentleman conductor takesa flag of each pattern, and his lady the duplicates. They per­form a Tour de Valse or Galop; the conductor then presentshis flags to five or six ladies, and his lady presents the corre­sponding flags to as many gentlemen. The gentlemen then seekthe ladies baving the duplicates, and with them perform a Tourde Valse or Galop, waving the flags as they dance. Repeatedby all the couples.

10.LE COLIN-MAILLARD-(BLINDMAN'S BUFF.)

Three chairs are placed on a line in the middle of the room.First couple perform a Tour de Valse or Galop, The gentlemanconductor brings forward another gentleman and seats himupon the middle chair, after bandaging his eyes. The ladybrings, on tip-toe, another gentleman, whom sbe places on oneoftbe otber chairs, taking tbe third one herself. The condnctor

) invites him who is blindfolded to choose the rigbt or left. Ifhe chooses tbe lady, be dances with her to bel' place; if the

56 TEB COTILLOlf.

gentleman, he dances with him, whilst the conductor danceswith the lady.

II.

LES RANGS DE CHAISE8-(THE ROWS OF CHAIRS.)

Two rows of chairs (six in each row) are placed back toback. First couple perform a Tour de Valse or Galop. Thegentleman seats his lady and proceeds to select five otherladies, whom he also seats, leaving a vacant chair between eachlady; after which he brings forward six gentlemen with whomhe forms a chain, and conducts them rapidly in different partsof the.room, which he prolongs or varies, at his pleasure, ant)finally winds around the rows of chairs occupied by the ladies.He then takes a seat, the others do the same, and each gentle­man dances with the lady at his right. The gentleman withouta lady returns alone to his place. .,

12.

LES DAMES ASSISE8-(THE LADIES SEATED.)

Two chairs are placed back to back in the centrp of theroom. The first two couples perform a Tour de-Valse or Galop,after which the gentlemen seat their ladies on the chairs, andselect two other ladies with whom they perform a Tour deValse or Galop. The gentlemen then regain their own ladieswhom they conduct to their places, whilst the other two ladiestake the chairs. The next two gentlemen perform the samefigure, and so on for the others. After all the gentlemen haveperformed the figure there remain upon the chairs two ladies,whose partners come and reconduct them to their places.Four couples can perform this figure h)' placing four chairs inthe centre of the room.

THE CO'1'ILLO•• 37

13.LES BOUQUETS ET LES ROSETTES.

A number of small bouquets and rosettes are placed upon atable or in a basket. The first couple perform a Tour de Valseor Galop ; they then separate; the gentleman takes a bouquet,and the lady a rosette. They now select new partners, to whomthey present the bouquet and rosette, the lady attaching therosette to the gentleman's coat. They perform a Tour de Valseor Galop with their new partners. Repeated by all the couples.

14.LES CARTE8-(THE CARDS.)

The conductor presents to four ladies the four queens of apack of cards, whilst his lady presents the four kings to fourgentlemen. The gentlemen seek the ladies having their colorsor suit, and dance with them. Repeated till all the coupleshave danced.

15.LA CHASSE AUX MOUCHOIR8-(THE HANDKERCHIE]'

CHASE.)The first three or four couples perform a Tour de Valse or

Galop, The gentlemen place their ladies (each having a hand­kerchief in her hand) in the middle of the room. The gentle­men turn their backs to the ladies and form a circle aroundthem, turning rapidly. The ladies throw their handkerchiefsin the air, and dance with the gentlemen who catch them. Re­peated by the others in their order.

16.LE PORTIER DU CONVENT-(THE CONVENT PORTER.)

The leading couple perform a Tour de Valse or Galop, The

58 THE COTlLLON...

conductor takes from the circle several ladies, whom, with hitown, he conducts into an adjoining apartment, leaving the dooistanding ajar. Each lady designates, in a low voice, a gentle­man whom the conductor calls aloud, to come and dance witl&the lady naming him. The conductor reserves for himself oneof the ladies. This figure may be performed by the lady COIl·

ductress, who imprisons the gentlemen chosen, and calls th..ladies designated by them.

17.

LA CORDE-(THE ROPE.)

Three couples perform a Tour de Valse or Galop; they thenseparate and each chooses a new partner. The ladies go to oneend of the room, and the gentlemen to the other. The leadingcouple take a rope and hold it across the room, and the gentle­men successively jump across the rope to reach their partners.Great merriment is occasioned by the mishaps of aentlemcnwho are designedly tripped by the raising of the rope. Afterall have reached their partners, they perform a Tour de Valsoor Galop, and regain their seats. Repeated by the othercouples.

18.

LE "8."

Two chairs are placed ip the middle of the room, at properdis'tances apart. The first couple start in a Valse or Galop, andpass round the two chairs in a manner to form the figure II.This is difficult to execute, and he who perfqrms it well may beconsidered a good waltzer.

THE COTILLON. 119

19.LE MOUCHOm ENTORTILLE-(THE TWISTED HAND·

KERCHIEF.)

The first two couples start in a Valse or Galop, each gentle­man holding in hi; left hand a corner of a handkerchief,sufficiently raised to be able to pass under at every turn in theValse. They waltz until the handkerchief is twisted like a cord.This figure may be performed by as many couples as the di­mensions of the room will admit.

20.LES CAYALlERS CHANGEANTS--(TRE CHANGING

GENTLEMEN.)

The first three or four couples range themselves in order, onecouple behind the other. The first gentleman turns round andgives the left arm, crossed at the elbow, to the left arm of thegentleman behind him, with whom ho changes place. He COIl­

tinues in this manner to the last lady; then the second gentle­man being at the head executes the same figure, and so onuntil all have regained their places. A Tour de Valse or Galopterminates the figure.

21.LE lIIOUCHOm-(THE HANDKERCHIEF.)

First couple perform a Tour de Valse or Galop; the lady re­mains in the centre and ties a knot near one of the corners ofa handkerchief, whilst the gentleman brings forward four othergentlemen' and places them in front of the lady. The ladygathers the four corners of tho handkerchief, holding it so thatthe knot cannot be seen, but allowing the four corners to pro­ject so that the gentlemen may choose. The lucky gentlemanwho draws the knot dances with her, whilst the others choose

60 '1'lU! CO'1'ILLOII.

ladies from the ring. This figure is performed by the othelcouples successively.

22.LE CHANGEMENT DE DAME8-(EXCHANGE OF

LADIES.)

The first two couples make II. few turns of the V111se or (Jalop j

they then approach each other and exchange partners, withoutlosing step or time. After having danced with each other'spartners, they regain their own partners and waJ.tz or galop toplaces.

23.LE CAVALIER TROMPE-(THE CHEATED GENTLE·

MAN.)Five or six couples perform a Tour de Valse or Galop. They

afterward place themselves in ranks of two, one couple behindthe other. The lady of the first gentleman leaves him andseeks a gentleman from the column. While this is going onthe first gentleman must not look behind him. The first lad)"and the gentleman whom she has selected, separate and advanceon tip-we on each side of the column, in order to deceive thegentleman at the head, and endeavor to I'tlioineach other for 1\

Waltz. If tho first gentleman is fortunate enough to seize hislady, he leads off in a Valee or Galop j if not, he must remainat his post until he is able to take a lady. The laat gentlemanremaining dances with the last lady.

2·1.

LE COUPLE ASSIS--{THE SEATED COUPLE.)

Two chairs are placed back to back. The timt couple per.form a. Tour de Valse or Galop j after wbich, the ientl.mao

Tall COTILLO~. 61

brings forward another lady, whilst his lady brings forwardanother gentleman; they cause the two to be seated in thechairs; then the conductor brings forward still two more ladies,and places himself before the lady who is seated; the lady ofthe conductor, at the same time, brings forward two othergentlemen and places herself before the gentleman who isseated. At a signal, each gentleman takes his f)i8-a'-~'i8 for aTour de Valse or Galop, This figure may be performed doubleby placing four chairs instead of two, and in starting twocouples at once.

2-5.LEB ONDULATION8-(THE UNDULATIONS.)

The first four couples lead off; they form a circle with theleading couple in the centre. 'fhe leading couple waltz atpleasure, and endeavor to deceive the other couples, who mustfollow all its movements without dropping hands. At a signalthe next couple place themselves in the centre and perform thesame play, while the first couple join hands in the round. Theothers execute the figures successively. A vallio !I,~nf"alc tcnni­nates the play.

26.

LE COU8BIN-(THE CU8ItIO~.)

The gentleman conductor (holding a cushion in his left hand)performs, with his lady, It Tour de Valse or Galop j he thenhands to the lady the cushion, which she presents to severalgentlemen, inviting them to kneel upon it. The lady withdrawsit from those whom she wishes to cheat, and drops it before thegentlema.n she desires to dance with.

'JHB COTtLLOlf.

27.LE CHAPEAU FUYANT-(THE FLEEINq HAT.)

The first two couples start in a Valse or Galop j the gentle­man conductor holds in his left hand, behind him, a hat withthe opening uppermost. The second gentleman holds a pair 0

gloves rolled up in his left hand, which he endeavors to throwinto the hat, without losing step or time. When he has suc­ceeded, he takes the hat, and gives the gloves to the other gen­tleman, who performs the same play.

28.LE TROMPEUR-(THE DECEIVER.)

Two or three couples perform a Tour de Valse or Galop.Each gentleman chooses a gentleman, and each lady n lady.The conductor alone chooses two gentlemen. They form twolines, ladies on one side, gentlemen opposite, with their backstoward each other. The conductor remains out of the ranks,and places himself before the line of the ladies. Ho claps hishands and selects a lady; whereupon all the gentlemen turnround, and each dances with the lady before him. The gentle­man who is without a lady in consequence of tho choice of theconductor, returns to his place, unless some lady in the " circle"takes pity on him, and consents to dance with him.

29.LE COUSSIN MOBlLE-(THE MOVING CUSHION.)

First couple perfonn a Tour de Valse or Galop. The gentle­man scats his lady upon a chair in the centre of the room, andplaces at her feet a cushion, before which he brings successivelyseveral gentlemen, inviting each to put II. knee upon it; thelady withdraws it to signify refusal, leaving it immovable forthe gentlemen with whom she desires to dance. The gentlemen

TUB COTILLOII'. 63

refused form in line behind the chair j their ladies come andliberate them, and conduct them in a .v*lse or Galop to places,

80.

LES ZIGZAG8-(THE ZIGZAGS.)

Eight or ten couples start together, and place themselves Inranks of two-one couple behind the other-at proper inter­vals. The first couple commences waltzing, and describes azigzag course between all the couples, and takes position behindthe last. The second couple then performs the same figure,and so on to the last, until the conductor regains his place atthe head of the column. They terminate by a valse!/Imh·ale.

31.

LES FLEURS-(THE FLOWERS.)The first couple perform a Tour de Valse or Galop j they

then separate in the centre of the room; the gentlemen selectstwo ladies and ~he lady two gentlemen. The conductor requeststhe ladies each to name a flower. He then presents the twoladies to another gentlemen, naming to him tho two flowers,that he may choose one of them. He makes his choice anddances with the lady, while the conductor dances with the otherlady. The lady of the first gentleman performs the same figurewith the two gentlemen chosen by her. This figure may beperformed by two or three couples.

32.

LE MIROIR-(THE MIRROR.)

First couple perform a Tour de Valse or Galop j the gentle­man seats his lady upon a chair in the centre of the room, andpresents her with a small mirror. The conductor then selects

64 TlJE COTILLOIJ.

a gentleman from the circle, and conducts him behind her chair•.The lady looks in the nwror, and if she chooses to decline thepartner offered, shakes fi~ head or wipes the mirror with herhandkerchief. The conductor continues to offer partners untilthe lady accepts. The gentlemen refused return to their seats,or select partners and join in the Valse or Galop.

33.LE SERPENT-(THE SERPENT.)

First couple perform A. Tour de Valse or Galop; the gentle­man leaves his lady in a corner of the room, her face turnedtoward the wall, and then brings three or four ladies whom heplaces behind his own, leaving a proper distance between them.He then chooses an equal number of gentlemen, (himself inclu­ded,) with whom he forms a loose chain, and leads them rapidlyin a serpentine course between the ladies, until he reaches hispartner, when he claps his bands and each gentleman danceswith the lady in front of him.

34.LES COUPLES PRESENTES-(THE COUPLES PRE­

SENTED.)The leading couple perform a Tour de Valse or Galop ; the

gentleman places one knee on the floor in the centre of theroom, while his lady chooses from the circle several coupleswhom she presents to him, and whom he refuses successively.These couples form a column behind the kneeling gentleman,who at last accepts a lady, with whom he dances. lIe thenreconducts the lady to her partner, who is standing at the frontof the columr , This couple then waltz or galop to their seats;the leading gentleman dances with each lady, and finally recoil­ducts his own lady (who has remained behind the column) toher place.

THB COTILLOll'. 65

35.

LES DAMES REFUSEEB-(THE REJECTED LADIES.)

This figure is analogous to the preceding. The leadingcouple perform a Tour de Valse or Galop ; the gentleman kneelsin the centre of the room j his lady chooses several ladies fromthe circle, whom she presents to him and whom he refuses suc­cessively. These ladies place themselves in file behind thekneeling gentleman, who at last accepts a lady, with whom hedances. The rejected ladies are liberated by their partners,who conduct them to their places in a Valse or Galop,

36.LES QUATRE COINB-(THE FOUR CORNERS.)

Four chairs are placed in the middle of the room, at certainintervals to mark four comers. The gentleman conductor, afterhaving performed a Tour de Valse or Galop with his lady, placesher upon one of the chairs, and brings forward the next threeladies and places them upon the three other chairs. He placeshimself in the middle j the ladies who are seated perform thechanges of the play, not in running, but in holding hands tochange chairs. When the gentleman can seize a chair left va­cant by the movement of the ladies, he dances with the ladywho is dethroned. The next gentleman takes the centre, andanother lady the vacant chair. When the last gentleman hastaken the chair of one of the last four ladies, the gentlemen ofthe remaining ladies reconduct them to places. '

87.LES QUATRE CHAISEB-(THE FOUR CHAIRS.)

Four chairs are placed in the centre of the room to representfour corners. Four couples perform a Tour de Valse or Galop,and place themselves each couple behind one of the four chairs.

66 THB CO\:ILLON.

At a signal, each couple dances round the chair in front ofthem, then round the next, and so on, passing to the right.This figure should be performed by all with uniformity, so thatthere may be no collision. Return to places in Waltz or Galop,

38.LE ROND TROMPEUR-(THE DECEIVING CIRCLE.)

The gentleman conductor, after having performed a Tour deValse or Galop with his lady, leaves her to bring forward threeother ladies, whom he places, with his own, at certain distancesapart, as in the four corners, He next chooses four gentlemen,and forms with them a ring within the square formed by theladies. The five gentlemen turn rapidly until the conductorclaps his hands, when each gentleman turns round and danceswith the lady behind him. The gentleman victim returns alon ~

to his place.

39.LES ECHARPES VOLANTES-(THE FLYING SCARFS.)

Two scarfs are tied together in the middle to form a cross.Four couples place themselves as in the ring play, Each gen­tleman takes in his left hand one of the ends, holding it abovehis head. Each couple waltzes iu turning, taking care to keepthe same distance. At a signal, all regain their places.

40.LA CORBEILLE-(THE BASKET.)

Three or four couples perform a Tour de Valse or Galop ;then each gentleman selects another lady, and each lady anothergentleman. They all join hands in a circle j forward and back, (forward again, and when near each other, the gentlemen takehands above and the ladies below as in the Basket Quadrille.

THE COTILLOft'. 67

They now all turn to the left; the conductor drops the hand ofthe gentleman on his left, and all arrange themselves into astraight line without dropping hands. 'fhe gentlemen thenraise their arms to free the ladies, who pass under and com­mence dancing, pursued by the gentlemen. At a signal, theladies turn round and dance with their gentlemen, who shouldbe near them.

41.LES BRAS ENTRELACES-(THE ARMS ENTWINED.)

First couple perform a Tour de Valse or Galop. The gentle­man selects two ladies, and the lady two gentlemen. They allforward and back, (8 measures,) forward again, and the gentle­man who has the two ladies raises his arms, when the two gen­tlemen pass under (without dropping the hands of the leadinglady) and join their disengaged hands behind the leading gen­tleman, The two ladies chosen by the leading gentleman takehands behind the leading lady. With their hands thus joined,they all balance, and at a given signal, without dropping hands,the leading gentleman passes nnder the arms of the two othergentlemen, and the lady under the arms of the two other ladies-the six persons have then their arms entwined. At a signal,the hands are dropped, and they form an ordinary round andtnrn to the left. The gentleman at the left of the leading ladythen commences a chaine plate (flat chain) with the right hand,which is continued until the leading gentleman finds his lady.The figure terminates with a Tour de Valse or Galop.

42.LES COLONNES-(THE COLUMNS.)

The conductor performs a Tour de Valse or Galop with hislady, and leaves her in the centre of the room. He selects agentleman whom he places back to back with his lady, and then

68 THE COTILLON.

brings a lady whom he places facing the gentleman he has justchosen, and so on until he has formed a column of five or sixcouples. At a signal, each one turns round and dances withhis or her vis-C.-vis. Two or three columns may be formed bystarting two 01' three counles at a time.

43.LES DES-(THE DICE.)

J'he gentleman conductor performs a Tour de Valse or Galopwith his lady, and places her in a chair in the centre of theroom. He then chooses two gentlemen, to each of whom hepresents a pasteboard die, about six inches square; the twogentlemen throw the dice, and the one who throws highestleads the lady off in a Tour de Valse 01' Galop, while the losinggentleman takes the chair. The conductor then brings forwardtwo ladies, who raffle in the same manner; the lady throwinghighest dances with the seated gentleman, while the conductordances with the other lady.

44.LE DRAP :MYSTERIEUX-(THE MYSTERIOUS SHEET.)

Three couples perform a Tour de Valse or Galop. Eachgentleman selects a lady, and each lady a gentleman; the sixgentlemen arrange themselves behind a sheet, (held by twopersons as a screen,) which they take hold of in such a manneras to show only the ends of their fingers. The ladies in frontthen select partners by taking the ends of their fingers.

45.LES :MAINS l\IYSTERIEUSES-(THE MYSTERIOUS

HANDS.)

The leading couple start in a Valse ?r Galop j the gentleman

TUg COTILLO!'l. 69

leaves his lady in an adjoining apartment, and proceeds to selectseveral other ladies, whom he also conducts to the same apart­ment. The conductor brings as many gentlemen as there areladies hidden; each lady slips her hand through the door ajar,and the gentlemen take each one of the hands exposed, anddance with the ladies thus selected. The conductor may alsochoose one of the hands.

46.LA PHALANGE-(THE PHALANX.)

The first two couples perform a Tour de Valse or Galop,Each gentleman selects two ladies, and each lady two gentle­men. ""rhe first gentleman gives right hand to the lady on hisright, and left hand to the lady on his left; the two ladies takehands behind him, so as to form the old figure called the Graces.The lady of the conductor places herself in tho same way withher two gentlemen. The other groups arrange themselves nextin the same position, and hold themselves near each other so asto form a phalanx, which starts executing a Valse without turn­ing. At a signal from the conductor, the gentlemen who arebetween the two ladies turn with them, and each one danceswith his t>i8-a..~-is to her place.

~7.

LE BERCEAU-(TIIE ARBOR.)

Four couples perform a Tour de Valse or Galop, They forma circle in the middle of the room; then, without droppinghands, they face outward. Four other couples form aroundthe first, but without turning themselves. In this position thegentlemen take hands above, the ladies below. The gentlemenraise their arms high enough to leave a free circular passage,throngh which the ladies pass around, without letting go hands.

70 THE COTILLON.

At a signal, the arms of the gentlemen are lowered to stop theladies, who dance with the gentlemen in front of them. Thisfigure may be performed by any number of couples.

48.LE CONTREDANSE.

Four couples arrange themselves in form of Quadrille. Thefirst couple starts in a Waltz or Galop around the couple at theright, and makes in the same manner the tour of the othercouples. The three other couples repeat the same figure; afterwhich, they all return to places in Waltz or Galop.

49.LE QUADRILLE DOUBLE.

Four couples perform a Tour de Valse. Each couple choosesa V18-a..via, and the eight couples form a double set. The headcouples perform a half right and left; then side couples thesame; afU¥" which, "Ladies' Chain All," at corners, as in thethird figure of the Lancers of 16. All the ladies take four stepsforward and face partners; the gentlemen advance, take thoright hand of their ladies, and tho left hand of the ladies at theirleft; all balance holding hands, the ladies facing outward, thegentlemen inward; turn with right hands to places. The entirefigure is repeated to regain places. The gentleman conductorclaps his hands, and they all perform a Tour de Valse.

50.LA DOUBLE PASTOURELLE.

The first four couples arrange themselves in form of Qua­drille. The first and second gentlemen still retaining partners'hands, take the ladies on their left, and forward and back. Thetwo gentlemen then cross the ladies in front of them, causing

THE COTfLLOlf. 71

those on the left to pass under their right arms: the Iat ladygoes over and stands to the right of the 4th gentleman, whilethe 4th lady goes over and stands to the left of the 3d gentle­man; and at same time, the 2d lady goes over and stands tothe right of Bd gentleman, while the 3d lady goes over andstands to the left of the 4th gentleman. The ladies now beingon the sides, the figure is recommenced. By performing thefigure four times all the ladies regain their places, and thenperform a Tour de Valse or Galop.

51.LES PORTES-(THE GATES,)

Four couples perform a Tour de Valse or Galop j then eachcouple takes from the circle another couple for a vi8-arvis.They all form together a Quadrille of sixteen. The gentlemenadvance and form a circle, facing outward. The ladies takehands and form a free chain, then pass under tho arms of thegentlemen in winding about them, and at a signal by the footon the floor, all tho gentlemen take the ladies before them, andperform a Tour de Valse or Galop.

52.LE "XU DES CAVALIERS-(THE X OF TIlE GENTLE­

MEN.)

The first two conples perform a Tour do Valse or Galop.Each gentleman, still retaining the hand of his lady, takes withhis left hand another lady. The two gentlemen with theirladies place themselves opposite each other. They forward andback; then the gentlemen advance without the ladies and takeright arms crossed at "the elbow, and make a complete turn j

then take left arms in the same manner with their partners,and turn with them. The two gentlemen advance again and

72 THE COTILLOll.

turn by the right arm; then turn by the left arm the next ladyat the right, and so on. When they have turned with the fourladies, they each take two ladies, (their own and those chosen,)and commence a promenade around the room, upon which thepartners of the ladies chosen come to meet their laclies-theladies on the left then pass under the right arms of the gentle­men by whom they were chosen, and meet their own partners.A Tour de Valse or Galop terminates the figure.

53.

LE "X" DU CAVALIER ET DE LA DAME-(THE X OFTHE GENTLEMAN AND LADY.)

The first couple perform a Tour de Valse or Galop, Thegentleman selects two ladies, and the lady two gentlemen. Theconductor and his lady, with the ladies and gentlemen chosen,place themselves in front of each other. They all forward andback j then the conductor and his lady approach, (leaving theothers in their places,) and, taking each other by the right arm,crossed at the elbow, make a complete turn; after which the

. gentleman gives the left arm crossed in the same way with thelady whom he held by his right hand; his lady does the samewith the gentleman whom she held by her right hand. Theconductor and lady meet again in the centre to make a turn bygiving right arms ; they then tum by left arm with the otherlady and gentleman. They now place themselves in the sameposition as at the commencement; all IlIx forward and back;forward again, and each gentleman danClll:l with his c.i8-a-fJU to'Iler place.

54.LES GENUFLEXIONS.

The first two couples perform II. ToW" de Valse or Galop.

'1'lIB COTILLOII. 78

The gentlemen place one knee npon the floor, at a certaiDdistance from each other. In this position, (the gentlemen

_ holding their ladies' left hands in their right,) the ladies tumtwice around their partners j after which, the two ladies giveright hands to each other, and each passes over to the othergentleman, whom they turn as before with left hand. The twoladies give right hands again and rejoin their partners, who riseand conduct them in a Valse or Galop to places.

65.

LES GENUFLEXIONS A. QUATRE-(THE GENUFLEC­TIONS WITH FOUR.)

Four couples perf~rm a Tour de Valse, and place themselTelIin form of Quadri~e. At a signal, the gentlemen place one

.1 knee on the floor, and the ladies (giving left hand to partner'sright) move once around them. The ladies then cross right.hands in the centre, and giving left hand to right hand of oppo­site gentleman, turn around him. They cross right hands incentre again, and upon reaching partners, terminate in a Tourde Valse.

66.

LE MOULINET-(THE MILL.)

Three couples perform a Tour de Valse j then each gentlemanchooses a lady, and each lady a gentleman. The gentlemen allplace themselves en Moulinet, and take left hands, giving theirright to the ladies, while the latter give the left hand. The first,third and fifth couples waltz in the intermediate space, whilst.the others walk slowly. At a signal the dancing couples stop,to allow the other three couples to perform the same figure. A..glnJraU terminates the figllre.

74 ftB COTILLOIf.

57.

LE MOULINET CHANGEANT-C..(THE CHANGING MILL.}

The first three couples commence, select new partners, andtake position in the Moulinet as in the preceding figure. At asignal from the gentleman conductor, the ladies each advanceto the next gentleman. and without leaving their order in theMoulinet, dance with him. At another signal they stop dancing,in order to dance with the next gentleman, until each gentle­man regains his own lady, when they terminate the figure with& "al8e ,mb-aU.

58.

LE MOULINET CHANGE-(THE CHA;NGJilD MILL.)

The first four or six couples perform a Tour de Valse. Thegentlemen, retaining their partners' left hands, form in Moulinetby giving left hands, and walk entirely around. At a signal,without dropping partners' hands. they exchange places, (theladies crossing hands in the centre.) the gentlemen turningbackward and placing their ladies in front. IJ;l this positionthey again walk entirely around. At another signal they changea,gain, (the gentleman turning forward,) and again describe thecircle in Monlinet. terminating with a "alse generah.

59-.LE MOULINET DES DAMES-(THE LADIES' MILL.)

The first two couples perform a Tour de Valse, Each ladr(ues a gentleman, and each gentleman a lady. They all forma grand ring and tum to the left during eight measures, Theladies place themselves en Houlinet by giving right hands; theI6ntlemlln remain standing. The ladies go entirely around andtum partners with left hands. They cross right hands again,

THE COTILLOli'. 711

andgo once anda quarter round to the next gentleman, whom~ey tum with the left hand. They perform the figure in tbi8manner until they regain the gentleman with whom they com­menced. They finish with a Tour de Valse.

60.

LE DOUBLE MOULINET-(THE DOUBLE MILL,)

The first two couples perform a Tour de Valse. Each gentle­man takes a lady, and each lady a gentlemen. They all form agrand ring and tum to the left j each gentleman turns in biBplace, causing his lady to tum around him. The ladies thenform the Moulinet by crossing right hands j and as they morearound, the gentlemen promenade in the contrary directionuntil each one recovers his lady to give her the left hand, andtake his place In the Centre. The ladies go around in the oppo­site direction to that which the gentlemen DOW take. Afterhaving been twice in the centre and twice outside, the gentle­men take, with their right hands, the left hands of their ladies,and start off in a Valse.

61.

LA CROIX ETENDUE-{THE EXTENDED CROSS.)

Four couples perform a Tour de Valse; they then place~emselves en Moulinet: the gentlemen cross left hands andgive right hands to partners. Each lady calls a gentleman, whogives her the left hand. These last gentlemen call other ladieswho place themselves en rtI!Jon. All the couples describe acircle, executing a Valse together i they then separate and re­gain their seats couple by couple.

.78 TUB COTILLOJI.

62.LE TRIANGLE CHANGEANT-(THE CHANGING

TRIANGLE.)

The first three couples perform a Tour de Valse or Galop.The gentlemen (retaining with their right hands their ladies'left) place themselves en rnovlinet by giving left hauds. In thisposition they commeuce turning, and at a given signal, theleading gentleman turns quickly, gives the left arm crossed atthe elbow to the gentleman behind him, with whom he changesplaces and ladies. He performs the same movement with thenext gentleman. When he' reaches the third gentleman, thesecond commences and executes the same figure. Counterpartfor third gentleman. Finish with Waltz or Galop.

63.LES CHAiNES A QUATRE-(THE CHAINS WITH FOUR.)

The first four couples perform a Tour de Valse or Galop, and \place themselves in front of each other-two couples on oneline, the other two opposite. Each couple performs with theopposite couple a demi-chaine anglaiae, (half right and left,) thenturn partners j after which, each couple faces the couple on thesame line with them, and perform together a half light and left;then turn partners. By performing the figure four times, thedancers describe a square, and find themselves in their originalplaces. Finish with Waltz or Galop,

64.LES CHAiNES CROISEES-(THE CROSSED CHAINS.)

Four couples perform a Tour de Valse or Galop; they thenplace themselves as in the preceding figure. Each couple per­forms, with the opposite couple, a c1laine a"!llaiae, (right and ~

left,) after which each couple faces the couple on the same linewith them, and perform together a right and left i then the

THE (lOTILLOll'. '77

leading couple perform, with the couple diagonally opposite,a half right and left j same for the other two couples. Repeatthe oblique demi-eooinu and terminate with a Valse or GalopG~n~raIe.

65.LES CHAiNES EN LIGNE-(THE CHAINS IN LINE.)

The first four couples perform a Tour de Valse or Galop.Each gentleman selects a gentleman, and each lady a lady.The gentleman place themselves together in double file.

The ladies place themselves before the gentlemen in thesame way. At a given signal, the two first gentlemen com­meace by right hand a flat chain with the two first ladies, andso on through-each giving right hand and left hand alternately.The two last gentlemen have the two first ladies, who reachthem through the ehatt/c. A Waltz or Galop terminates thefigure.

66.LA CHAiNE ANGLAISE-(THE ENGLISH CHAIN.)

The first two couples perform a Tour de Valse or Galop.They then place themselves facing each other, and make aMaineanglaisc (right and left) lengthened out. The two couplesforward, and the gentlemen give to each other the left arm,crossed at the elbow, and make a rapid half turn to changeladies j then turn the ladies. The gentlemen cross left armsagain, regain their own ladies, and waltz or gaIop to theirpIaoes. .

,67.LES CHAiNES CONTINUES-CTHE CONTINUOUS

CHAIN.)

The first tour couples perform a Tour de Valse or Galop.

TBB COTILLOlf.

Bach gentleman chooses a lady, and each lady a gentleman.The gentlemen place themselves in line, and the ladies forma line opposite. The first gentleman on the left gives righthand to right hand of his lady, and turns entirely around withher. He gives left hand to left hand of next lady, whilst hislady does the same with the next gentleman. Tho gentlemanand lady again meet and turn with right hands, and then turnwith left hands the third lady and gentleman, and so on to thelast couple. As soon as the conductor and his lady reach thefourth couple, the second couple should start, so that theremay be a continuous chain between the ladies and gentlemen.When all have regained their original places in line, they ter­minate the figure by a Tour de Valse or Galop,

68.

LES CHAiNES VARIEES-(THE VARIED CHAINS.) \

The first four couples perform a Tour de Valse or Galop;they then place themselves in form of Quadrille. The first andsecond couples perform with the side couples, on their respectiveright, a clUlinc nnglai8c, (right and left), after which, dcmi-chaiMdu Dame«; (half ladies' chain) which brings the ladies oppositetheir partners j all turn new partners. The figure is recom­menced by the side couples leading to the right j third time,head couples lead to the right; fourth time, sides to the right,bringing all the ladies to original places. Terminate with vale•.,. galOj! gttltralc.

69.

LES CAVALIERS ENSEMBLE-(THE GENTLEmNTOGETHER.)

The first two gentlemen choose each a gentleman to waltzwil.h, and the two ladies each a lady to waltz with them. ,At a

THE COTILLOl'l. 79

ligna! fiom the gentleman conductor, the four gentlemen atop. and form a round, the ladies forming another round. Two

ladies advance toward the round of the gentlemen, passingnnder the arms of the two other ladies, and entering into theround of the gentlemen, where they form a round reversed .

.Each gentleman waltzes with the lady before him to her place.

70.

LES PETITS RONDS-(THE LITTLE ROUNDS.)

The first three or four couples perform a Tour de Valse orGalop. Each gentleman selects a gentleman, and each lady alady. The gentlemen form two by two, one couple behind theother j the ladies form in same manner, but face in the contrarydirection, so that the first two gentlemen face the first twoladies. The first two gentlemen perform with the first twoladies a Chaine Anglaise, (right and left.) they then make ahands four round to the left, and, without sto~ping, the twogentlemen raise their arms so that the ladies may pass under.The two first gentlemen now face the two second ladies, andthe two first ladies now face the two second gentlemen, withwhom they repeat the entire figure. When the first two gentle­men have passed all the ladies, all the gentlemen form a singleline with the first two gentlemen in the middle j the ladies formopposite in the same manner. All forward and back in twolines during eight measures j forward a second time, when eachgentleman performs a Tour de Valse or Galop with the ladybefore him.

71.LE ROND BRISE-(THE BROKEN ROUND.)

The first couple perform a Tour de Valse or Galop. Thegentleman leaves his lady in the middle of the room and

80 THB COTILL•••

chooses two gentlemen, with whom he forms a round of threeabout the lady. The gentlemen tum rapidly to the left, and ata signal the lady selects one of the gentlemen to dance; thetwo other gentlemen return to their seats. When the figure isperformed among intimate friends, the two gentlemen performtogether 0. Tour de Valse or Galop.

72.LES RONDS A. TROIS-{THE ROUNDS OF THREE.)First couple perform a Tour de Valse or Galop ; after which

the gentleman brings forward two ladies, and the lady twogentlemen. They form two rounds, of three persons each, whostand ~i8-a.1Ji8. The two rounds tum rapidly. At a givensignal tho gentleman passes under the arms of the two ladieswith whom he has just turned, and moves toward his own lady,who has just turned with her two gentlemen. Each of thesegentlemen dances with the lady in front of him.

73.LES RONDS A. QUATRE-(THE ROUNDS OF FOUR.)The first two couples perform a Tour de Valse or Galop.

Each gentleman selects another gentleman, and each ladyanother lady. The gentlemen form a round of four at one endof the room, and the ladies another at the other end. The tworounds turn to the left j then the gentleman conductor and thegentleman he has chosen pass under the arms of the two othergentlemen, to meet the lady conductress and the lady she haschosen, who pass under in the same way. The two gentlemenand two ladies form a round and make a complete tum to theleft. The gentlemen then raise their arms to give passage tothe two ladies, and make another tum with the two other ladies,whilst the first two ladies perform the same with the other twogentlemen, thus making two rounds of four. The gentlemen

THE COTILLOlf. 51

raIBe their arms to allow the ladies to pass under j the lI.l'lIt twogentlemen turn round, advance and form a line, which the othertwo gentlemen soon join. The ladies form a similar line. Thefour gentlemen form a round together again as at first j theladies do the same. After a tour to the left, they form in twolines :-ladies on one side, gentlemen opposite; they then ap­proach each other, each gentleman retakes his lady, and thefigure terminates in a Valse or Galop Generale.

74.LEROND A L'ENVERS-(THE REVERSED ROUND.)

The first three couples perform a Tour de Valse or Galop.The gentlemen place their ladies in line, the leading lady on theright. The gentlemen take hands and form a chain, the leadinggentleman on the left. The conductor passes to the left withthe two other gentlemen, before the three ladies. Upon reach­Ing the lady conductress they form a round about her, andmake a complete turn to the left; the conductor then drops thehand of the gentleman at his left, and passes to the lady in thecentre to form a round ;\ I'envers (reversed) about. her, that is,the gentlemen form in a circle round the lady with their backstoward her, and move round her in this manner. The con­ductor again drops the hand of the gentleman on the left, tomake a circle in the ordinary way round the third lady. Hethen conducts the gentlemen in chain before the ladies, as atthe commencement, passes behind them, and when the gentle­men arrive in front of their partners they lead off in a Valse orGalop.

76.LE GRAND ROND-(THE GRAND ROUND.)

Four couples perform & Tour de Valse or Galop. EachpntJeman selects & gentleman, and each lady & lady. They

!'BB GOTILLOlf.

form a circle, the gentlemen holding hands on ope side and theladies on the other. They tum to the left; then the gentlemanconductor (who holds his lady's left hand ill his right) advanceswithout quitting her, and cuts the circle in the middle, t. e.between the last lady and last gentleman. He turns to theright with all the gentlemen, whilst his lady turns to the left.with all the ladies. The conductor and his lady after havingdescribed a half circle reversed, meet and waltz together. Thesecond gentleman takes the second lady, and so on until thechain is exhausted. This figure may be performed by as manyconples as the dimensions of the room will admit.

76.LES CERCLES JUMEAUX-(THE TWIN CIRCLES.)

Four couples perform a Tour de Valse or Galop. Eachgentleman selects a gentleman, and each lady a lady. Thegentlemen form a round, and the ladies another round opposite.The leading gentleman places himself in the round of theladies, and the leading lady in that of the gentlemen. T·hetworounds tum rapidly to the left. At a signal the leading gentle­man chooses a lady to dance with j the leading lady alsochooses a gentleman, while the other gentlemen form them­selves into line, and the ladies in another. The two lines ap­proach each other, and each gentleman dances with his lIi&-a-fli.!.This, like the preceding figure, may be performed by as manycouples as the dimensions of the room will admit.

77.LA TRIPLE PASSE-(THE TRIPLE PASS.)

Two couples perform a Tour de Valse or Galop j then forma round of four and tum to the left. At a given signal, thegentleman conductor and his lady drop the hands of theother couple and pass under their arms. The round Is imm..

FIliAL FIGll'BES. 83

diately reformed, and the other couple pass under the arms ofthe first couple in same manner. The first couple pass underagain, and, without dropping hands, reform the round and tumto the left. They return to seats in Waltz or Galop.

78.LES DAMES DOS-A-D08-(THE LADIES BACK TO

BACK.)

The first four couples perform a Tour de Valse or Galop ,they then join hands in a circle. The ladies take position backto back, facing outward i the gentlemen face the centre. At agiven signal, they expand the circle, then close circle; expandcircle again, and perform the Grand Chain. Finish with a Tourde Valse or Galop.

...FINAL FIGURES.

79.LA POURSUITE-(THE PURSUIT.)

Three or four couples perform a Tour de Valse or Galop.Each gentleman of the Cotillon has the right to go behindany of the dancing couples and substitute himself for thegentleman partner, clapping his hands first to warn them of thefact. This figure continues until each gentleman recovers hislady to conduct her to her place. In order to give animationto the figure, as soon as a gentleman seizes a lady, he shouldbe replaced by another.

80.L'ALLEE TOURNANTE-(THE WINDING ALLEY.)

The first couple promenade, the other souples fall in behind

PlIU.L PIG17BB11.

In their order, each gentleman holding the hand of his ladyTwo circles are formed, 0l\e within the other: the ladies, bythemselves, forming the inner circle, the gentlemen, the outerone. The gentleman conductor starts with his lady and waltzesthrough the winding alley, formed by tho two circles, until hereaches his place. He then exchanges places with his lady, i, e.she takes his place in the gentlemen's circle, and he takes herplace in the ladies' circle. The next couple then perform thelame figure, and so on for all the others. They finish with a~tzlse gb/lrale.

81.

LES DEUX LIGNE8-(THE TWO LINES.)

All the couples promenade round the room, as in the pre­ceding figure. The gentleman conductor forms with the othergentlemen a single line j the ladies form a line opposite. Thefirst couple start waltzing, pass down behind the line of ladies,and still waltzing, pass between the two lines, and behind theladies a second time j they stop below the last couple, the gen­tleman goes on the side of the ladies, and the lady on the sideof the gentlemen. Each couple executes successively the samefigure. They finish with a flalle gbllral4.

82.

LA DAME A. GAUCHE-(THE LADY TO THE LEFT.)

All the couples form a grand ring and tum to the left, (fourmeasuresj ) tum partners, each gentleman leaving his lady tothe left, (four measures.) Tbey all join hands again and turn tothe left, (four measures j) all the gentlemen turn the lad;es ontheir right and place them to the left. Thl' movement is con­tinued till each gentleman meets his lady. This figure isdesigned for the CotiIlon Mazurka.

J'IlI'AL l"IGVIUII.

88.

LE COLIMAQON-(THE SNAIL.)

AIl form a general round. They tum to the left, and at asignal the gentleman conductor drops the hand of the ladyon his left, (the others still retaining hands,) enters the circleand continues to move to the left, forming a colimllfMl (snail,)while the lady moves to the right, outside the circle. Theleading gentleman and last lady each draw the others afterthem. When the chain is entirely coiled, and all are near eachother, the leading gentleman passes under the arms of one ofthe couples to get outside j all follow without dropping hands.The conductor shapes his lino so as to reform the generalround. They terminate with a flaZ8e or gtllopgmirale.

84.LA REUNION DES COUPLE8-{THE REUNION OF

COUPLES.)

The first couple make a short promenade, and then take thesecond couple to form a round of four. A half tum to the lenis made, then the conductor drops the hand of the secondlady and turns to the left, drawing the others after him, tofind the third couple, with whom a round of six is made.After the half turn to the left, the conductor again drops thehand of the lady at his left, to take the next couple, and so onuntil he has taken all the couples, when a r01ld generale is formed.They turn to the left, (eight measures j) then to the right, (eightmeasnresj) all turn partners. They terminate with a Galop or"ll16e gmb-aU.

85.LE GRAND MOULINET-(THE GRAND MILL.)

!l'bis figure is executed by all the couples. They form ufoI'

PIli' AL l"\(l11111111.

• QuadriU,e. The ger.tlemen cross left lan(b, and g\1'e righ'Mild to their ladies' Ieft, 1'hey 1hen move round until thegentleman conductor claps his hands, when each lady advancesfrom one gentleman to another until they regain their ownpartners, with whom they perform a Tour de Valse or Galop.

86.LE LABYRINTHE•

.All form a grand ring and turn to the len. A.t a signal, theconductor drops the hand of the lady at his left, and eon­tinuing to turn to the left enters the circle, forming aeoZimacon, (see figure 83,) while the lady moves to the right,outside the others. A circular space should be maintained in •order to waltz freely. In this position the leading gentlemanand lady commence waltzing, and follow the windings of thelabyrinth formed by the chaine generale coiled upon itself, untilthey arrive at the last couple, to take place in the coiled chain.As a new couple arrives, it takes its place next the last arrived.When all have arrived, a galopor liaise generale terminates.

87.LE ROND FINAL-(THE FINAL ROUND.)

All form a general round. The conductor and his ladyseparate from the circle (which is immediately reconnected)and perform a Valse or Galop in the midst. At a signal, hestops, and his lady passes out of the circle. He choosesanother lady, with whom he also dances within the circle. lIepasses out of the circle in his turn, and the lady choosesanother gentleman, and so on for the others. When only twoor three couples remain, all the couples join in the Valse.

ADDENDA.

THE LATEST FRENCH QUADRILLE,

.!lBUS Jt:LAISIBS.

•

'l'bia Quadrille may be danced In line. or In square. to the mnslc of theordinary Qnadrille. If In linea, the llr.t IIgnre will be danced

once. the other llgure. twice. If In .quare. the 1lnltwill he danced twice. the others foUl" lJ.mes.

No. I.-Pantalon. -..J'orward four. •• ••••• • • • •.. .... ... .. ... • .. • • .... .. .... .. 2Chass8 crolsd......... • .. .. . . . .. .• • .. . .. . . . • .. . .. .. .. . .. :)Bl<change partners (the two gentlemen giving right hsnd. to oppo­

lite ladle•• turn completely around to p1acee, thus el[chsnglngladle.)........................................................... ,

Ohasse erel•• et dt\chaa ••, (p... and rep... exchanged partners,)... ,Two ladle. crose over. (tbe two ladles advance. give both hands,

mue a half turn and walk foUl" .tep. backward to original place.,) ,Two ladles forward and back,...................................... ,Two ladle. cr088 over again (without glTlng hands),.... ,I'orward four " • 2Chasse crolae...................................................... :)Turn to places, with right hsnds,............................ • .. ... ,

No.2.-Ete.J'Irst couple forward and back .Fo ....ard again and Iurn half around with the right hand. the gentl..

man placing hi. lady In the centre In front of him••...... , .•....•Second couple turn half around with right hand•• then the two ladle.

join left hands, retaining partner'. right, the four thus forming a

Bar::::e~~~'PJ;';';':::::::::::::::::::::::::::: :::::: :::::: ::::::::::Ha1f promenade (to oppoalte plaoe.) .Forward foUl" and baCli: ..Half promenade to plaoe., .

.LDDENDj..

22

6,6

No.3.-Poule. x_J'Im gentleman and opposite lady cross over....................... ,Tam half around with right hand to the centre•.....•....••.•• , • • • ,Cha..~ crols~ to the right and tum half around with lett hand,. ••• . ,OIuls86 erojs~ to the lett and turn partners with right hand to placeR, 6J'orm Sqnare: The two gentlemen taking. with their lett hands. the

left hands of their partners, pass their ladies before them to thecentre and give right hands to opposite ladies-the four forming asqnare. the ladies back to back, ..

Balance .Turn ladles dOS-MOS: Breaking the square, the gentlemen retain·

ing their ladies' left hands. turn them' completely around andplace them back to back to the centre In front of them. forming aright line ..

Oh..~ crol~ to the right and lett, ..Tam to placeR ..

No.4.-Pastourelle.Forward four and back,........................... { Bame a. in }Forward again. and leave lIrst lady with opposite 'Ih lIgure

gentleman-the latter retiring with the two ladies, of PlainThree forward and back,.................. ... .. .. . Quadrille.Three ero •• over: the gentleman resting alone pa..es between the

two ladies while they go to the vacated place andcroes each other.Deml-tour de moullnet: The same three give right hands. go half

aronnd and walk four stepa baokward to the placeR they occnpledprevious to tb.e II cross OTer of three." .

Forward three and back .'I'bree erose over•............ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Tum to p1aceBwith right hands, ..

6,,6

6,,,No. IS.-Flnale.

Oontlnned right and left: The lint. and second couples advance. eachone giving right hand to viB-~·vls. pass on and give lett hand topartner, pass partner and give right hand to vis-a-vis again, thengive left hand to partner and go to places...... .. .. . .. .. .. .. ... .. 8

Forward four and back..... • .. . . . ..... ... . . .. . . . .. ... . . . . . . . .. .. . .. ,Forward again and exchange partners: The gentlemen taking with

their rigbt hands their partners' left, pass before them, lake letthands of opposite ladies and go backwards with them. . •• •. • ••• . . • ,

Hands four half around and four steps backward, ;........... ,Half right and left,.. . .. . .. .. .. . .. ... .. .... .. • .. .. .. .. • ... .. . ,Oro.. rlltht hands and go half around,.... .. .. ... .. .. .. .. . .. ,Tum with lett hands to placea..................................... ,

• Thll Pigure I. performed 111. the .mn manner at the "Continued. Ladl,,' Chain" I....trn 1I;1lnsof ULe Prince Imperial Quadrilles," and I. similar to the "Grand CbaJo" 01 tbeM Laaoe~" ~ut. perfonae4 b, two coupl" oul,. aDd.commeaee4 b,. p'riDr rtctatbaDclto ..........

DE GARMO'S

11,

III

I .

I

Dancing Academies, i

82 Fifth Avenue, cor. 14th St.,

New York,

303 Cha'pel Street, New Haven.

I -

II Classes open from October I to May I.I . I:

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