OF

THE ART OF DANCING;

WITH

A DESCRIPTION

OF THE

PRINCIP AL FIGURES

IN TilE

6UllbriUt.

By ALEXANDER ~TRATHY.TEACHER 01" DANCING.

-

EDINBURGH:PRINTED FOR THE AUTHOR,

AND SOI.D BY F. PILLANS, 13. HANOVER STREET, ANDOLIVER & BOYD, IIIGH STREET.

18~~.

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. 1/11

I

CONTENTS.

PageINTRODUCTION, 9

PART I.-OF THE CARRIAGE on DEPORTMENT OF'EHE BODY, 13

The Manner of Holding the Arms, 14How to give the Hand, 16

Positions, 19Exercises for acquiring an oUtward Position of the Limbs,

and preparatory to the learning of Steps, 24Of the Manner of Bending and Extending the Knees

and Insteps, ib.Exercise called Les Grands Batten1ens, 21

Les Petits Battemens, 28Les Petits Battemens, upon one Leg, 29

Exercise for acquiring thc requisite freedom in theJoints of the Haunches, 30

Exercise for acquiring a Smooth and Steady Performance, 31

IV CONTENTS.

PagePART n.-BEING A DESCRIPTION OF TIlE SUll'LE

OR ELEMENT AR Y STEPS, 33

Le pas Marche, 35Of Ihe Step called Assemble, 36Of the Step called Jete, performed in the fifth Position, 38Of the Step called Glissade, 40How to connect three Glissades to the same side, termi.

nated by an Assemble, 41Of the Step called Sissone, 42Of the Step called Sissone Dessous, 43To perform the Step called Sissone Dessus, 44Of the Step called Temps Leve, ib.To perfdrm the Temps Leve in the second Position, 45Of the Step called Chasse, and preceded by the Temps

L~ MTo perform the Chasse backward, preceded by the

Temps I. eve, 47To perform the Chasse to the right side, and preceded

by the Temps Leve, . . 48To perform the Chasse to the left side, and preceded by

the Temps Leve, 49Of the Step called Echappe, ib.To perform the Step called Echappe with one Leg, 50Of the Step called Pirouette, ib.To make a full turn in the time of two Crotchets, 52To make a full turn, or Pirouette, to the left side in

the time of two Crotchets, 53Of the Step named Changement de Jambe, ib.Of the Step called Pas de Zephyre, or Pas Dattu, S5

CONTENTS. y

PageTo perform the Pas de Zephyre forward, from the fourth

Position, 56To perform this Step forward with the Right Leg, .57To perform the Pas Battu backward, from the fourth

Position, 58To perform the Pas Battu backward, from the fourth

Position, with" the Left Foot. ib.To perform the Step called Jete Tendu. in the second

Position, 59To perform the Step called Jete du Ciite. 60

PRINCIPAL FIGURES IN TIlE QUADRlLLE, 65

Chaine Anglaise, or Right and Left, ib.For Balancer, or to Set to your Partner. 66Tour de Mains, to Turn your Partner with both Hands, 67Chaine des Dames. or Ladies' Chain, 68,Demi Promenade, 69En Avant et en Arriere. or to Advance and Retire, ib.A Drolle et 11 Gauche. or to Dance to the Right Side

and to Ille Left, 70Traverser, or to cross over 10 the opposite Side, 71Dos.il Dos. 72Chasse Croibe, 73Figurer 11 Droite sur Ies Cotes, 74-En Avant Ies Huil, 75Steps for naiaDeer. 76

Ot' '!'HE TIME, In

ODSERVATIONS ON HIE POR'r 01' THE PERSON, 83

VI CONTE:NTS.

PageFIGulI,:F;s O:f TlI:F; F,aVOUB.IT:F; QUAPllJLLE, 89

Le Pantalon, ib.L'Ete, 90La Poule, 91La Trenise, 92La Finale, 93Le Duc de Bourdeaux, 95Les Lanciers, 96

THE

OF

THE ART OF DANCING.

OUR success in acqmrmg n knowledge ofany art or science, depends much uponmaking ourselves thoroughly acquaintedwith its principles. This remark is parti-cularly applicable to the Art of Dancing.If those who are learning to dlUlce Wereto study sufficiently the elementary steps ormovements, they would much morc easilyacquire the various combinations of whichthose movements are susceptible. It has ac-cordingly often occurred to me, that a writ-

A

10 ELEMENTS OF THE

ten illustration of the Rudiments of Dancing,might very much facilitate the study andacquisition of that art. I shall therefore, inthe following short illustration, describe someexercises for acquiring that disposition of thelimbs, which is indispensibly necessary to thegenteel performance of even the most simplesteps, and endeavour to give some rules forthe acquisition of an accomplishment, whichis allowed to be both useful and ornamentalto everyone who has in other respects re-ceived a liberal education.

Dancing may be said to be to the body,what reading is to the mind. If our read-ing has been well chosen, it adorns the mind,and is a never-failing source of plcasure toourselves, and also to those with whom weassociate. In regard to the body, the samemay be said of good dancing. It embellishesand perfects the work of nature, and enablesus to present ourselves in society with anamiable and becoming easc,-to salute andapproach cach other with frankness,-to offeror to receive any thing in I.t gracious manner,-to sit down or to risc gracefully; in short,

AUT OF DANCING. 11

it has a tendency to soften and render moreagreeable all the movements of the body.

Although the elementary steps describedin this essay apply to dancing in general, Ihave had morc especially in view that styleof dancing denominated La Danae de la Ville,or the QuadTille, as taught by the most emi-nent masters in LONDON and PARIS.

A 2

PART I.

OF THE CARRIAGE OR DEPORTMENT

OF THE BODY.

IT is hardly possible to enumerate the dis-advantages that arise from an awkward de.-portment of the person. It is therefore ofthe utmost consequence to commence byforming a genteel and elegant carriage ordeportment of the body. Although the saleof the foot is undoubtedly the base uponwhich the weight of the body rests, yet it isthe proper disposition of the waist, that reallygives that a-plomb,-that steadiness and fa-cility of execution, requisite in a good dancer.~rithout being firmly scated on the haunches,it is quite impossible to support one's self in

14 ELEMENTS OF rRE

a perpendicular position, and one runs therisk, at every movement, of losing the centreof gravity.

To be well seated on the reins, or haunches,one must advance or thrust forward the chestor sternon, by drawing back the tops of theshoulders, taking care to keep them down;and at the same time holding the arms a littleforward, so that the hands may be in a linewith the foreside of the thighs.

The head to be held back in a becomingmanner, but without stiffness; and the chinkept down, but not so as to give the figurean air of constraint.

The Manner ifholding the Arms.

THB graceful display of the arms dependsgreatly on the manner in which the elbowsand wrists are turned. The arms should beheld in a rounded form, so that the elbowsand wrists may make the least appearancepossible; the elbows turned forward inaliman degree, and the wrists held in contrast

ART aI;' DA~ClNG, 15

with them; the hands gently rounded, andthe thumbs placed on the point, or ratherover the first joint of tlle fore-finger, andturned towards the sides. In iliis position,the arms have a much more delicate appear-ance, ilian when the back of the' hands areheld foremost.

Gentlemen should hold their arms nearthem in this manner, (see plate 1.); and La-dies should hold their robe lightly betweenthe fore-finger and thumb, taking hold of itat the length of their arms, so as not in theleast to confine the arms.-(See plate 11.)

Those who are tflli and slender, shouldhold the arms a little more forward, and far-ther apart, in order to' give their bodies ajust proportion.

When the manner of the dance requiresan arm to be raised, the arm should lJe keptnear the body, the hand brought gently be-fore it, the elbow kept forward, and, withoutra.ising the shoulder, the arm is to be raisedto the height of the breast, allowing the el-bow to fold a little, in order to bring thehand before the breast; always taking careto hohl the arm in a rounded form.

Hi ELEMENTS OF THE

In lowering the arm, unfold the elbow alittle, and let the arm descend gentiy to usplace.

When the arms are to be raised alternate-ly, at .the first moyement which the one armmakes to descend, the other must begin torise, and should arriYe at the proper height,just at the time when the other shall hayedescended to its place.-To raise both the arms at once, observethe same rule as in raising one of them, tak-ing care to keep them rounded. To lowerthem, begin with the hands, and let the armsdescend gently to their proper place.

How to give the Hand.

IN giving the hand, the lady places herhand upon that of the gentleman, wllo re-ceives it. 'rhese movements should be per-formen slowly, and corresponding to themusic, observing always to turn the headand shoulders towards the same side to whichthe arm is carried; the head held properlyhack, and the looks r~cirrocally dircdc'd to-wards each other.

ART OF DANCING. 17

In giving both hands, the head and shoul-ders are held directly to face the personop-posite.

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It should always be remembered, that it isonly by maintaining a proper deportment ofthe body, that one can exhibit that agreea-ble ease which constitutes the principal charmin dancing, especially when accompanied bya lively expression in the execution of thesteps, and the contrast of the head and shoul-ders regulated by a just taste.

I,cannot finish my observations on the de-portment of the person, without strongly re-commending the study of the Minuet, as oneof the surest means of acquiring and preserv-ing the most noble and graceful deportment.In the study of the Minuet, one acquiresthat perpendicularity, and command of ba-lancing, so requisite in good dancing, andwithout which one can never at"rive at anydegree of pprfectiori,-but to excel requiresa pal,ticular talcn t..

18 ELEMENTS OF THE

Aperson may apply to the study of dan-cing, without natural dispositionsforit; butthese must be acquired, as far as possible,by means of proper exercises. They whohave such exercises pointed out in their firstlessons, and practise them with assiduity,will always have a superiority over such asmay not have had this advantage, or haven.eglected to avail themselves of it.

Among the dispositions for dancing withwhich nature endows us, we may justly con-sider taste as one of the principal. A justtaste ensures success, and without this all be-comes unmeaning and insipid. A correct earis also a precious gift, without which a per-son cannot sustain his movements, so as tomeasure the time correctly ; nor give to theexecution'of steps, that true '~:tpression ofwhich they are susceptible.:Butas there arecomparatively few who are entirely destituteof a musical ear, those who are deficient inthis respect, may be greatly improved bymeans of judicious exercises; and those whoare not happily formed by nature for dan-cing, may at least have their imperfections

AItT OF DANCING. 19

extenuated, if not entirely removed, by awell-directed study of this art.

POSITIONS.

BEFORE proceeding to point out exercisesfor disposing or preparing the limbs for theproper performance of steps, it will be pro-per to describe the Positions, as it is the posi-tions that mark and set bounds to the difFe-rent situations of the feet when on the Hoot;

There are nve true, and five false posi-tions; hut as a description of the false posi-tions is not necessary to my present purpose,and would lead me beyond the limits pre-scribed to this essay, I shall omit them forthe present. Of the five true positions, threeare close, t~e 1st, 3d, and 5th,-and twoopen, the ~ and 4th.

First Position.

'1'0 form the first position, hold the bodyllpright, liS directed for the deportment; join

20 ELEMENTS OF THE

the heels, and turn the toes or pomts out-ward, so as that the feet shall be in a straightline, the knees turned outward, and held per-fectly straight.-(See plate II. No.1.)

Second Position.

IN order to form this position to the rightside, and being in the first position,balancethe body entirely on tlle left leg, and, with-out moving it, slide the right on the pointof the foot to the side, in a direct line withthe left, so as that, when the knee and in-step shall have arrived ata proper degree oftension, the opening between the heels shallbe about the length of the foot. This dis~tance ought to be scrupulously observed, inthe formation of steps in which the secondposition is used.

The same rule is to be observed in form-ing the second position to the left side, andit should be performed alike with both feet.-(See plate II. No.2.)

ART OF DANCIN(}.

Third Position.

21

To form the third position, cross the feetso as that the heel of one foot shall be ex-actly between the ankle and the second jointof the great toe of the other foot; the feetturned equally out, as in the first position,the knees straight and turned to the outside.

This position should be practised with theright and left foot before alternately.-(Seeplate II. No.3.)

Fou>rth Position.

IN order to form the fourth position, andbeing in the third, balance the body entirelyon the leg which is behind, and, without mov-ing it, the knees being straight, slide the footwhich is before directly forward on the point,raising the instep as _much a3 possible. Inthis position, there should also be about thelength of the foot between the heels. Thesame rule reversed is to be observed in form-

ELEMENTS OF 'I.'HE

ing this position backward, und, like the se-cond, it marks the bounds ()f steps in whichit is used, and should be practised with bothfeet.-(See plate II. No, 4.)

Fifth Position.

IN the fifth position, the feet are crossedso as that the heel of one foot shall be direct-ly opposite to the toes, or point of the other,the feet touching each other in all theirlength,the knees straight, and turned outward asmuch as possible.-(See plate 11. No.5.)

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MONS. NOVERllE, in his elegant 'I'reatiseon Dancing, has justly observed, that "todance elegantly, walle gracefully, 01' addressourselves with ease and manliness, riothingis more neccssary:than the outward turn ofthe thigh; yet nothing is more natural tomankind than the contrary position; it isborn with u~; we must therefore absolutely

ART OF DANCING.

reverse the nature of things, and acquire anoutward position of the limbs by applica-tions equally tedious and painful. :But thedifficulty of attaining the outward position ofthe limbs is in most cases owing to our igno-rance of the proper means to be employed.

" Most beginners persuade themselves thatit is to be acquired by forcing the feet to turnoutward; and though this part may readilytake such a direction, from its being so easilymoved at the articulation with the leg, yetthis method is so far false, as it tends todisplace the anele bones, and besides has notany effect upon'either the knees or thighs.Neither is it possible to turn the knees out-wardly without the assistance of the thigh.The knees have only two motions,-bendingand extension; they have no power, there-fore, of. themselves to determine or assumean outward position, but must eventuallydepend on the thigh, which entirely com-mands all the lower parts of the body, andturns them in consequence of its own rota-tory motion; so that in fact, whatever mo-tion or position the thigh takes, the knee, leg,

24 ELEMENTS OF THE

and foot, are obliged to follow. To acquirethe outward position, the simplest and mostnatural means are those which reason andgood sense ought to adopt; and of these amoderate but continual exercise is indispen-sibly necessary.

" The practice of a circular motion orturning of the legs, both inwardly and out-wardly, and of boldly beating at full extentfrom the haunch, are the only certain exer-cises to be preferred. These insensibly givefreedom, spring, and pliancy."

EXERCISES FOR ACQUIRING AN OUTWARDPOSITION OF THE Luas, AND PREPARA-TORY TO THE LEARNING OF STEPS.

Of the Manner if Bending and Extendingthe Knees and Insteps.

BENDING and extension are two principalpoints in dancing, for these movements must

ART OF DANCING.

succeed each other alternately, commencingwith the first, and finishing with the last;and thus the great art of a good dancer isto preserve a continual flexion in the articu-lation of the knees and.aneles, and to makethese joints appear as straight as possible inrising movements, without any 'appearlUlceof stiffness.

This secret of the art is the work of timeand much practice, but when once acquired,will fully compensate for the time and labourit may have cost. Bending in the connectingof steps, produces that flowing softness whichis so captivating, and extension,firmness,and elegance. .

As soon as the learner is acquainted withthe five positions, he should bend and rise :illeach of them, always giving due attention tokeep the feet and knees turned outward asmuch as possible.

In order to facilitate this exercise, ,thelearner may at first hold lightly by some-thing to assist in preserving the equilibrium,-bending the knees and aneles as low as po&-

B

sible without raising the heels from the floor,always maintaining i.l. sufficient degree of:firmness in the waist. This exercise contri.butes greatly to the acquidng of an outwardposition of the limbs.

In rising, beginbye~tendingthe kneesuntil they are quite straight, and, keepingthem firm, gradually rise on the points ofthe toes, and ctintiilucJ3.o{or some time, ob-serving notto~ltany,part of th.e, beJdy.This' gives steadines& and firmness in theexecution of steps, and should be practisedwith the right and left foot before alternately.

In practising these exercises in the openpositions, namely, the second and fourtl1,after sliding the foot to the position, let thebody descend equally ou both legs, and inrising with both feet on the floor, balancethe body equally on both feet.

The use of stocks or boxes fOl' turning thefeet outward, being discontinued and justlydisapproved of, their place is happily sup-plied by exercises much more natural to the.formation of the legs; and it is only by pmc.tising exercises that have the effect of turn~

ART OJ!' DANCING. 27

ing the whole limb from the foot upward,that one can succeed in acquiring the au,,"ward position.

Exercise caUed Les Grands Battemens.

IN order to perform this exercise, placethe feet in the fifth position, the body up-right, as directed for the deportment; and,to assist you in maintaining the outwardposition and equilibrium, take hold of some-thing with one hand, rest the body entirelyon the leg of the same side,and raise theothet leg and thigh high, observing to keepthe knee and anele straight and turned out-ward, by turning forward the heel; .thenheat firmly, in the second position, on thepoint of the foot, slide the foot into the fifthposition, and place the heel, which muatbokept forward that you may form the positionclosely. This exercise should be practisedbehind and before alternately; then do thesame with the other legt-and if practised

n2

~ .. ELEMENTS OF THE

sufficiently, it will produce freedom andfirmness in the joints.

Exercise called Les Petits Batteme'1l8.

PLACE the feet in the third position, keepthe body upright, as already directed; restentirely on one leg, and slide the other footfrom the third to the second position, rais-ing the instep as much as possible, andmaintaining the outward position, by keep~ing the heel forward; then bring the footsmartly into the third position, keeping theknees straight, and replacing the heel. Thisshould be practised behind and before alter..nately; observing always to form the secondand third positions exactly, I would alsorecommend the practice of this exercise inthe second and fifth positions.

By a careful practice of this exercise, isacquired the habit of extending the kneesand instep, which is indispensibly requisiteto p'erform steps neatly.

All. T 0.1i DANCING.

Exercise called Lea Petits Battemens, uponone Leg.

IN order to practise this exercise, placethe body as for the other Battt:mens, sup-porting yourself by one hand, to assist inmaintaining the outward position, the kneesstraight, and feet in the fifth position; whenyou support yourself by the left hand, ba-.lance the body entirely on the left leg, raisethe heel of the right foot, and slide it uponthe point just to the second position; tllenkeep the thigh steady, and fold the knee,by bringing the point of the foot in behindthe heel of the foot you stand on, observingto keep the knee well turned to tlle side.The right foot will now be in a perpendicu-lar position, the point directly to the floor,and the heel almost touching the back part ofthe left leg. Move the foot again to the secondposition, by quickly extending the knee, theinstep being all the time bent downward asmuch as possible; then, keeping the thighstill fixed, move the foot in the same manner,

gO ELEMENTS 01" THE

in before, and out again, to the second po-sition, and so on alternately behind and be-fore, always observing to keep the kneeback, and the heel forward, that you mayform the position correctly. This exerciseproduces the requisite pliancy in the knees,and raises the instep.

When you practise this exercise with theleft foot, support yourself by the right hand,and vice versa; but endeavour, as soon aspossible, to perform it without any assist-ance.

Exercise.fOr acquiring the requisite freedomin the Joints 0/ the Haunches.

PLACE the feet in the fifth position, thebody upright, as directed for the deportment.Balance the body on the leg that is behind,raise the heel of the foot that is before, slidethe foot to the second position, and bendlow and equally on both legs, with both heelson the floor, the knees turned to the out-side as much as possible; rise by extending

A WI' 01' J)A~ClNG. :n

the knees, and bring the foot to the fifthposition before. Repeat this several times;do it as often behind, and then do the samething with the other leg; always paying thegreatest attention to keep the body, fromthe waist upwards, in n position perfectlyperpendicular.

Exerci,scfor acqui1'ing a Smooth and SteadyPnforrnance.

PLACE your feet in the fifth position, keepthe body upright, rest on the leg that is be-hind, raise the heel of the foot that is before,and slide the foot on the point slowly to thesecond position. The knee should be straight,as thefootarrives at the second position; placethe heel of the foot which you have moved,keeping it forward; rest the body on it, andat the same time raise the heel of the otherfoot, which you now slide on the point intothe fifth position before, keeping the kneesstraight, and the heel forward, that youmay form the position closely; then do the

ELEMENTS, &C.

same thing to the other side. This exerciseshould be also performed, by entering thefoot behind in the fifth position.

Then, in the same manner;' from the fifthto the fourth position forward.-Place thefeet in the fifth position, balance the body onthe leg that is behind; raise the heel of thefoot that is before, slide the foot on the pointto the fourth position forward, keeping theknees straight; place the heel, and rest thebody on the foremost leg, then slide up thefoot that is behind, to the fifth .position be-hind. Con tinue to do this several times for-ward, then backward. Do the same thingwith the other foot before.

'there are many other exercises that maybe useful, and which an experien~ed teacherwill not fail to recommend to his pupils ashe may see occasion.

PART II.

llEING A DESCRIPTION OF 'l'HE SIMPLEOR ELElIIENTARY STEPS.

IN order to form a step, tIle leg is movedfrom one position to another, to direct thebody as any particular combination of stepsmay reqUIre.

Although the number of steps, or, tospeak more correctly, the various combina-tIons of steps, may be said to be almost in-finite, the elementary steps may neverthe-less be reduced to five, with which one lllayexhibit all the different ligures that can bemade by the leg, either in walking or in(lancing. These five are,

S4 ELEMENTS 0],' THE

Le pas Droit,-or the direct step.Le pas Ouvert,-or the open step.Le pas Rond,-or the circular step.Le pas Tortille,-or the twisted step.Le pas Battu,-or the beaten step.

And the formation of almost all stepsmay be reduced to tlle following movements,VIZ.

The Bend,-or inflexion of the knees andinsteps.

The Slide,-or sliding the foot on the floor,from one position to an-other.

The Rise,-or extension of the knees andinsteps after bending.

The B01tnd,-or springing off the floor.The Turn,-or moving the body from one

side to the other, either aquartet turn, a half turn,three quarters of a turn, orquite round.

The Fall,-or the returning of the feet, orof one foot, to the -/loor af-ter a hound.

ART Oir DANCING. 35

As dancing is founded upon walking, Ishall, in the first place, describe thc actionof walking, or what in dancing is called

Le pas March!.

PLACE the heels close together, the toesturned outward, so as that the feet shallform an angle of about ninety degrees; holdthe body erect, as directed for the deport-ment. Rest the weight of the body entirelyon one leg, which will disengage the other;move the disengaged foot forward to thefourth position, the knce and instep extend-ed; place the heel, and rest the body overthe leg you have moved, raising at the sametime the heel of the foot that is behind, whichwill make the knee fold a little; hring upthe foot to the first position, preserving thesame angle as before mentioned. Whenyou wish to continue this step, move the footon to the fourth position, without stoppingat the :first position; place the heel, rest on

36 ELEMENTS OF THE

it; bring up the other foot, move it forwardto the fourth position, and so on, movingthe feet alternately; always attending tokeep the body erect, the head properly set,and to balance well on the haunches.

In describing the following steps, I shallalways refer to the directions for the deport-ment of the person. This is the more ne-cessary, as learners are generally too apt toneglect the deportment, and to allow theirattention to be entirely occupied by thesteps.

Of the Step called Assemble.

THIS step is occ!lsionally performed in allthe positions, but at present I shall only de-scribe it as performed in the fifth posi-tion.

Place your feet in the fifth position, thebody erect, (as already directed for the de-portment), and the knee:; well turned out-ward; rest the body entirely OIl the leg that

ART OF DANCING. 87is before, taking care to balance yourselfwell on the haunch; this will disengage theleg that is behind; bend on the leg that isbefore, and at the same time raise the footthat is behind to the point, keeping the kneewell turned outward; extend the knee ofthe leg that is behind, by sliding the foot onthe point just to the second position, whereit should arrive, the knee and instep extend-ed, at the same moment you cease to bendon the other leg; then raise yourself on thepoint of the foot you stand upon, and atsame time slide the foot from the second p0-sition, into the fifth position before, whenboth knees should be alike extended; gra-dually place the heels, keeping them wellforward, that you may form the fifth positionmore easily; finish the step with both, kneesstraight. This step should be performedwith both feet alternately.

To perform the Assemble in the fifth posi-tion behind, observe the same -rule, disen.gaging the foot that is before, and enteringit behind.

38 ELEMENTS OF Tln~

This step, as an exercise, gives steadi-ness, and the habit of bending and extend-ing the knees and insteps.

Of tke Step called Jete, performed in theFifth Position.

THIS step is derived from the Assemble,and, to perform it, follow the same rule asfor the Assemble in the fifth position.

The body being placed as directed for thedeportment, the feet in the fifth position,balance the body entirely on the leg that isbefore, which will disengage the foot that isbehind; bend on the leg that is before, andat same tim:e raise the foot that is behind onthe point, which will make the knee fold alittle; keep the knee well turned outward;extend it by sliding the foot on the point,just to the second position; then raise your-self on the foot you stand upon, and at thesame time slide the other foot from the se-cond position, into the fifth position before;but, instead of falling on both feet, as in the

AltT OF DANCING. 89

A88embU, fall entirely on the foot that is be-fore, and at the same moment raise the footthat is behind, by folding the knee to thesIde, the point of the foot turned directlydown, and kept near the floor, but withouttouching it. Keep the knees turned to theside, in order to preserve the outward posi-tion.

The foot that is behind being now disen-gaged, slide it upon the point to the secondposition, bending at same time on the otherleg, in order to repeat the step with theother foot, and so on alternately.

In order to perform this step behind, .ob-serve the same rule as to perform it before.Balance the body entirely on the leg that isbehind, which will disengage the foot that isbefore; .bend on the leg that is behind, andat the same time raise the foot that is beforeto the point; slide it to the second position,gradually extending the knee and instep, asyou bend on the other leg; then raise your-self on the point of the foot you rest on,andat the same time slide the other footfrom the second position into the fifth plilsi-

ELEMENTS OF. THE

tion behind; fall upon it, raising at the samemoment the foot that is before, the pointturned down, and the foot kept near theleg that is behind, the knees well turnedoutward.

The foot that is before being now disen-gaged, slide it on the point to the second po-sition, bending at the same time on the otherleg, in order to do the same step with theother foot, and so on alternately.

Of the Step called GliS8ade.PLACE the feet in the fifth position, the

body erect, the knees turned outward; ba-lance the body entirely on the leg that isbehirid; raise the heel of the foot that isbefore, bending at the same time on theother leg; raise yourself on the same leg,and at the same time slide the foremost foot,on the point, just to the second position, ex-tending the knee and instep; when the footarrives at the second position, let the bodyfall on it, and at the same time slide 'theother 'foot into the fifth position behind.

ART OF DAXCING.

\Vhell the foot, in performing this step,is entered behind, the technical name isGlissade dessous; and when the foot is en-tered before, it is called Glissade deSSlts.

How to connect three Glissades to the S(];1ncsiik, terminated by an Assemble.

PLACE the feet in the fifth position, theright foot before, the boely erect. Balancethe body all thc left leg; raise the heel ofthe right foot, bending at the same time onthe left leg; raise yourself on the left leg,and at the same time slide the right foot onthe point just to the s'~cond position, extend-ing the knee and instep; let the body fall onit, and at the same time slide the left footinto the fifth po~ition behind, bending theknees equally, but rcsting on thc left leg,so as to be ready to make 11. second Glissadein the same manner, and then a third. Af-ter having made three Glissades to theright side, balance the body on the leftleg, and slide the right foot on the point 10

c

ELEMENTS 011 THE

the second position, extending the knee andinstep; then rise on the left leg, and bringthe right foot into the fifth position behind,allowing the knees to bend, that you may beready to do the same steps to the left side.

This is one of the most simple combina-tions. It is very good practice, and shouldbe performed to the time of two bars of mu-sic, marked i or ;, the pupil or the teachercounting one crotchet to each Glissade, andone to the ~ssembl~.

Of the Step called Sissone.

PLACE the body as directed for the de-portment, the feet in the fifth position; bendequally on both legs, then by a spring raiseyourself, and fall on one foot, and at thesame time extend the other knee and instep,by moving the foot to the second position,the point of the foot kept near the floor, butwithout touching it. This step also takesthe time of one crotchet. To this you mayadd an Assemble, counting another crotchet.

ART OF DANCING.

Then do the same steps with the other foot,and so on alternately. These steps shouldbe performed both behind and before.

This, as an exercise, contributes greatlyto give the requisite pliancy in the joints ofthe knees and ankles.

Of the Step called Sissone Dcssous.

PLACE the body as directed for the de-portment, the feet in the fifth position; bendequally on both legs; rise, and fall on thefoot that is before, and at the same time foldthe knee of the other leg, keeping the footbehind, and close to the leg you rest on, thepoint near the floor, but not touching it. Tothis step you may add an Assemble before,in the fifth posi tion, counting two crotchets;that is to say, one to the Sis,yone, and one tothe Assemble. Then perform the same stepswith the other foot.

44 ELEMENTS OF THE

To peiform the Step called Sissone Dessu8.

PLACE the feet in the fifth position; bendequally on both legs; rise, and fall on thefoot that is behind, and fold at the same timethe knee of the leg that is before; keep thefoot before, and close to the leg you rest on,the point near the floor, but not touching it,the knee well turned outward. To this stepyou may add an AS8embl~ behind, in thefifth position.

Of the Step called Temps Leve.

PLACE the body as directed for the de-portment, the feet in the fifth position; ba--lance the body entirely on the leg that is be-hind; raise the heel of the foot that is before;extend this leg, bending at the same timeon the leg that is behind, upon which yourise, and in falling advance the foot a little,moving at the same time the foot that is be-fore to the fourth position, the knee and instep

AUT OJ,' DANCI}\G.

extended as much as possible. Care mustbe taken to keep the heel well forward, thatyou may form the fourth position correctly.

The Temps Leve is also performed to thetime of one crotchet.

To pc1fiJrm the Temps LevI! in the SecondPosition.

PLACE the feet in the fifth position; ba-lance the body entirely on the leg that isbehind; raise the foot that is before on. thepoint, by folding the knee a little, whichyou will take care to keep turned outward;rise, and fall on the foot that is behind, ad-vancing it a littlc towards the side to whichyou intend to go, and at the same time movethe other foot to the second position, whereit should arrive, the knee and instep extend-ed, nearly at the same time that you fall onthe foot on which you rested at the com-mencement.

When the Temps LevI! is to be followedby another step,-having moved the foot to

46 ELEMENTS OF THE

the second or fourth position, according asyou may have directed it, rest the body onit; observing always not to advance thebody until you have placed the foot in thesecond or fourth position, in order that youmay maintain an erect position of the body,and not over-step the open positions.

Of the Step called Chasse, and preceded bythe Temps Leve.

To perform these steps forward, place thefeet in the fifth position, the body erect,and well balanced on the haunches; makethe Temps Leve in the fourth position, as

.already described; and having advanced thebody, raise yourself on the foremost leg,and at the same time bring up the foot thatis behind, so that it may fall exactly in theplace where the foremost foot was, whichyou move again to the fourth position. Thisstep and the Temps Leve require the timeof two crotchets.

To continue the Chasse forward, rise a-

AltT OF DA~UNG. 47

gain on the foremost leg, and at the sametime bring up the foot that is behind, soas that it may fall in the place where theforemost foot was, which you advance againto tIle fourth position, and so on.

I have always found it to be an advantageto the Pupil, to perform this step, as anexercise, repeatedly with the same foot be-fore, then to do it as often with the otherfoot before, counting one crotchet everytime as the foremost foot is advanced.

To peiforTn the Chasse backward, p7"ccededby the Temps Lev~.

PLACE the feet in the fifth position, thebody erect; bend equally on both legs;rise,and fallon the leg that is before, slid-ing the foot that is behind back to thefourth position; rest the body on it; theknee and instep of the foremost leg will nowbe extended; rise on the leg that is bellind,and at the same time move back the foot thatis before, so that it may fall just in the

48 ELEMENTS OF THl

ART OF DAKCLlW. 49

To peifbrm the Chasse to the Lif1 Side, andpreceded by the Temps Levi.

OBSERVE the same rule as in performingit to the right.-Place the feet in the fifth

po~ition, the body erect; bend equally onboth legs; rise, and fall on the right foot,moving at the same time the left foot to thesecond position; carry the weight of thebody over it, (one crotchet); rise on theleft leg, and at the same time bring theright foot so as it may fall close behindwhere the left foot was, which you move a-gain to the second position, counting anothercrotchet.

To this you may also add a Jete and anAssembltf.

Of the Step calkd Echappe.

PLACE 'the feet in the fifth position, thebody erect, as directed for the deportment;bend equally on both legs; rise, and in fall-

50 ELEMENTS 01" THE

ing, open the legs equally, in such a manneras that the feet may fall exactly in the se-cond position; keep the heels forward, andthe knees turned outwards. Then, in orderto bring the feet together, bend, rise, andin falling bring the feet into the fifth posi-tion.

To peifbrm the Step called Echappe /i)itl~one Leg.

PLACE the feet in the fifth position, thebody erect; bend equally on both legs; rise,and, in falling, move one foot to an open po-sition; it may be the second or the fourthposition, before or behind, as the followingstep may require.

Of the Step called Pirouette.

THIS step is performed various ways, andis generally preceded by some step finishedin an open position; hut I shall, in the first

ART 01" DANCING. 51

place, describe it as a single step, and un~connected with any other.

To make a Pirouette to the right side,place the feet in the fifth position, the rightfoot before; balance the hody entirely onthe left leg; move the right foot to the se-cond position, then into the fifth positionbehind, and, rising on the points, turn halfround; place the heels, the feet being againin thc fifth position, the right foot before.This takes the time of two crotchets. Tocomplete the turn, balance the body on theleft leg, and move the right foot to the se-cond position, then into the fifth position,rising on the points, and make another halfturn, finishing in the fifth position, the rightfoot before. This also takes the time oftwo crotchets.

To make II. Pir01tette to the left side, placethe feet in the fifth position, the left footbefore; balance the body entirely on theright leg; move the left foot to the secondposition, then into the fifth position behind;

52 ELEMENTS OF THE

rise on the points, and turn half round tothe left; place the heels, the feet being a-gain in the fifth position. To complete theturn, do the same over again. This also isperformed to the time of four crotchets.

To make a full Turn in the time if ttlJOCrotchets.

To perform this step to the right side,place the feet in the fifth position, the rightfoot before; balance the body entirely on theright leg, move the left foot to the secondposition, rise on the point of the right foot,and, by moving the left leg in before theright, make a half turn; then, without stop-ping, bring the point of the left foot closebefore that of the right, and complete thepirouette, finishing in the fifth position; placethe heels, the right foot before.

ART OF DANCING. 53

To make a full Turn, or Pirouette, to theLift Side in the time if two Crotchets.

PLACE the feet in the fifth position, theleft foot before; balance the body entirelyon the left leg, move the right foot to thesecond position, rise on the point of the leftfoot, and, by moving the right leg in beforethe left, make a half turn; then, withoutstopping, bring the point of the right footbefore the point of the left, and completethe pirouette, finishing in the fifth position,the left foot before. In performing the pi-rouette, particular care must be taken topreserve the a-plomb, without which it is im-possible to perform this step, or indeed anyother, gracefully.

Of the step named Changement de Jambe.

PLACE the body as directed for the de-portment, the feet in the fifth position; ba-lance the body equally all both legs, bend

54 ELEMENTS OF THE

low by folding the knees outward, rise with-out jerking, and make the feet pass by thefirst position, the one to. the place of theother, the knees extended, and the points ortoes turned down, so as the feet may be in aline with the legs, the points near the floor,where they will fall by the weight of thebody = place the heels gently, the feet in thefifth position; keep the knees straight. Thisis performed in the time of one crotchet.

To perform this step several times, andhaving made one Changement de Jambe, inplace of keeping the knees straight when thefeet return to the floor, bend equally on bothlegs, rise and pass the feet again by the firstposition to the fifth, and so on, counting acrotchet each time as the feet return to thefloor.

This step, as an exercise, accustoms oneto continue a movement, contributes to giveperpendicularity, and exercises the articula-tions of the limbs.

ART OF DANCING. 55

Qf the step called Pas de Zlphyre, or PasBattu.

To perform this step forward with theright foot, place the body as directed for thedeportment, the feet in the fifth position, therigh t foot before; balance the body entirelyon the leftJeg, bend a little, and, at the sametime, move the right foot on the point to thesecond position, the knee and instep extend-ed; rise on the point of the left foot, andmake the right foot pass behind to the thirdposition, and successively by the first posi~tion to the fifth position before; the kneesand insteps still extended, place the heelssoftly, the feet being in the fiflh position.

To perform this step backward with theright foot, place the feet in the fifth position,balance the body entirely on the left leg,bend a little, and, at the same time, slidethe right foot on the point to the second po-sition, the knee and instep extended; riseon the point of the left foot, amI make theright foot pass before to the third position,

156 ELEMENTS OF THE

and successively by the first position to thefifth position behind, the knees and instepsstill extended; then place the heels gently,the feet being in the fifth position.

This step, as an exercise, should be per-formed several times forward and backwardwith the same foot, the pupil counting acrotchet as the foot arrives at the secondposition, and another as it arrives at thefifth position; but when joined to any otherstep, the Glissade for example, it is perform-ed in the time of one crotchet.

To perform the Pas Battu with the leftfoot, observe the same rule as in performingit with the right foot.

To peif'orm the Pas de Zephyre forward,.from the Fourth Position.

PLACE the feet in the fifth position, theright leg before; balance the body entirelyon the right leg; bend a little, and at thesame time slide the left foot on the pointback to the fourth position, observing to

ART OF DANCING. 57keep the knees turned outward; rise 011 thepoint of the right foot, and, sustaining your-self on the point of it, bring up the left foot tothe third position behind, and pass it by thefirst position into the :fifth position before,the knees and instep still extended; thengently place the heels, the feet in the fifthposition.

To peifbrm this Step forward with the RightLeg.

PLACE the feet in the fifth pOSItIon, theleft foot before; balance the body entire-lyon the left leg; bend on it, and at thesame time slide the right foot, on the point,back to the fourth position; rise on the pointof the left foot, bring up the right foot tothe third position behind, and, sustainingyourself still on the point of the left foot,pass the right foot by the first position intothe fifth position before; then gently placethe heels.

J)

58 EI,EMENTS OF THE

To peifbrm the Pas Battu backward fromthe Fourth Pos'ition.

PLACE the feet in the fifth position, the:right foot before, the body erect; balancethe body entirely on the !eft leg; .bend alittle, and at the same time slide the rightfoot on the point forward to the fourth po-sition; rise on the point of the left foot,bring back the right foot to the third posi-tion before, and, sustaining yourself on thepoint of the left foot, make the right footpass by the first position into the fifth posi-tion behind; place the heels gently, the feetbeing in the fifth position.

To peifbrm tlte Pas Battu backward fromthe Fourth Position, with tlte Lift Foot.

PLACE the feet in the fifth position, theleft foot before, and observe the same rule

ART OF DANCING. 59

as in doing it with the right foot; balancethe body entirely on the right leg; bend onit, and at the same time slide the left foot, onthe point, forward to the fourth position; riseon the point of the right foot j and, holdingthe knees firm and iusteps extended, bringback the left foot to the third position be-fore, pass it by the first into the fifth posi-tion behind, and place the heels gently.

To perform the Step called Jdi: Tendu 1)1,the Second Position.

PLACE the feet in the fifth position, theright foot before, the body as directed forthe deportment; balance the body entirelyon the left leg j bend, at the same time slidethe right foot, on the point, to the secondposition, the knee and instep extended; riseon the point of the left foot, and at the sametime bring the right foot into the fifth posi-lion before; fall on the \'ight foot, and at

n2

60 ELEMENTS OF THE

the same time slide the left foot to the secondposition, the knee and instep extended.

To perform this step with the left foot,observe the same rule as in doing it with theright foot. It is also performed from thefourth position backward and forward, andrequires the time of one crotchet.

To perform the Step called Jete du Cote.

To perform this step to the right side.-Place the feet in the fth position, the rightfoot before, the body erect; balance thcbody on the leg that is behind; bend equallyboth knees; rise, and at the same time movethe right foot to the second position; let thebody descend on it, the left foot remainingin the second position, the knee and instepextended.

This step is performed to the time of onecrotchet; and, when practised as an exer-cise, you may add an .Assemble in the fthposition, counting another crotchet.

ART OF DANCING. 61

To perform the Jete du Cote to the leftsidc, observe the same rule. I t is also per-formed by making the Jete with the footthat is behind.

-

I HAVE now described the principal simplemovements, or what may be called the Ele-ments of Dancing.

The great variety of combinations ofwhich they are susceptible, .will be moreeasily acquired, much better understood,and consequently performed with more neat-ness and precision, if the learner will in thefirst place practise the elementary move-ments separately.

Although dancing does not abound withmore fundamental steps than music doeswith notes, yet, like the latter, it has itsoctaves, breves, semibreves, minims, crot-chets, double and treble crotchets, times tocount, and measures to follow. This mix-ture, however, of a small number of steps,

6~ ELEMENTS OF THE

properly adapted to music, furnishes a mul-titude of combinations, and a variety offigure~, so that taste and genius can alwaysproduce novelty, by arranging them in diffe-rent manners, expressive of various ideas.

As the premature study of the more intri-cate combinations of steps, in which themovements are doubled, and in which the PasBattu can be introduced with a good effect,would not only retard the improvement ofthe learner, but tend to destroy that glidingsmoothness of execution, which ought to becarefully cultivated from the commencement,and which even the more difficult combina-tions of steps will receive in their turn; Ishall, therefore, describe such combinationsonly as are requisite for the Quadrille, to-gether with the principal figures in that ele-gant style of dancing, and then add a va-riety of steps proper for Balancer, or whatis commonly called setting.

ART OF' DANCING.

-

63

N. B.-Before commencing any of thefigures, the right foot is to be placed beforein the fifth position"', the body erect as di-rected for the deportment. Each figureshould be begun with the right foot, andfinished with the same before, in the fifthposition.

I shall now shew how a succession of threeChassCs are connected by the Temps Leve,and terminated by the Jete and .LI.ssembU, towhich a reference will be occasionally madein describing the figures.

Place the feet in the fifth position, theright foot before, the body as directed for

The teachers of dancing of mOllt repute in Paris, commence the steps for the Quadrille from thethird position, nndfinish them in the same. Those who prefer this mode, caneasily use the third instead of the fifth position; but when

chi~dren are allowed to do 60, I believe they genemlly fall in.to n slovenly wny of performing their steps, unlcss Illey havetaken great care to acquire nn outward position of ilia limbs.

64 ELEMENTS OF 'l'lLE

the deportment. Make the Temps Leve. IIIthe fourth position forward, and Chasse alsoto the fourth position *; the left foot willnow be in the fourth position behind, anddisengaged; pass it by the first position,and make the second Temps Leve andChasse to the fourth position, with the leftfoot before; the right foot being now in thefourth position behind, and disengaged, passit by the first position, and make the thirdTemps Leve and Chasse to the fourth posi-tion; then bring up the left foot, and moveit to the second position, in order to makethe Jete and Assemble in the fifth positionbefore.

This succession or Enchaznement of steps,requires four bars of music, marked ~ or t

Great care should be taken to keep the knee straight, insliding the foot to the fourth position, otherwise it will be im-possible to exhibit that dignity and elegance so conspicuous inthose who have been taught to pert'orm these steps in thismanner.

ART OF DANCING.

PRINCIPAL FIGURES IN THEQUADRILLE.

Chaine Anglaise, or Right and Lift.

65

'THIS figure is performed by making ,theTemps Leve, and three Chasss connectedby the Temps Leve, as already described;then the Jete and Assemble.

'Two Gentlemen opposite, with their La.-dies, commence with the right foot, makethe Temps Leve and Chasse, and at the sametime raise the right arm, in the manner di-rected for the arms, in order to receive theright hand of the opposite person; in makingthe second Chasse, with the left foot before,they turn a little to the right, quit the righthand of the Ladies, and give the left to

66 ELEMENTS OF THE

their partners, turning a little to the leftside, make the third Chasse with the rightfoot before, then the Jete and Assemble,placing themselves on the left of their La-dies, who at the same time perform thesame steps. Thetwo couples will now haveexchanged places; this is called Demi ChaineAnglaise.

To complete the figure, they perform thesame over again to their original places.

This fjgure requires eight bars of music.

For Balancer, or to Set to your Partner.

MAKE a Glissade Dessous to the right,.and Jete before with the right foot; a Glis-sade Dessous to the left, and Jete beforewith the left foot; the same again to theright, then an A8semble before with the leftfoot, and Changement de Jambe *.

. - I have at present mentioned the most simple movements,having promised to give a variety of steps for Balancer, afterthe description of the principal figures. .

ART OF DANCING. 67

This encha'inement requires four bars ofmUSIC.

Tour de Mains, to TuNlt1}our Partner with,botl~Hands.

A Gentleman and his Lady, facing eachother, join hands, raising' the anns in themanner already directed, and at the same timemake the Temps Leve with the right footbefore; then three Chasses connected by theTemps Leve:, as already described, the Gen-tleman turning' towards the right of. theLady,' and the Ll1dy towards the right ofthe Gentleman. At, the commencement ofthe third Chass6, the Gentleman quits theright hand of the Lady with his left, andboth finish in their respective places withthe Jete and .Assemble, facing thc centre ofthe dance.

This fig;ure is performed to four bars ofmUSIC.

68 ELEMENTS OF THE

Chaine des Dames, or Ladies' Chain.

THIS figure is performed by two oppositecouples, with the same steps as for ChaineAnglaise; viz. three Chasses, connected bythe Temps Leve, and terminated by a Jeteand an Assemble.

Two Ladies cross over, giving the righthand to each other as they pass; they thengive the left to the opposite Gentleman, whocommences at the same time with the Ladies,by making a Chasse to the right, in order toplacc himself in a situation proper to receivein his left hand the left hand of the Lady;both make a turn to their left, into their re-spective places.

The Ladies repeat the same figure andsteps to their original places, while the Gen-tlemen make another circular turn to theleft, receiving with the left hand the lefthand of their Ladies as they advance, and,turning into their places, finish, facing themanner of the dance.

This figure requires eight bars of music.

ART OF DANCING.

Demi Promenade.

69

THIS figure is performed by two oppositecouples.

The Gentlemen receive in their right handthe right hand of their Ladies, and in theirleft the left hand, raising the arms a little,and holding them rounded, as aheady direct-ed; the couples change places, passing eachother on the left, and performing threeChasscs, JetG, and Assemble. In doing this,the Gentlemen lead tlleir Ladies a little for-ward on their right, that they may arrive attheir proper places on the right of theirpartners, where they quit hands, facing thecentre of the dance.

This figure is performed to four bars ofmUSIC.

En Avant et en Arriere, or to Advance andRetire.

To perform this figure, make the TempsLevi to the fourth position before; the

70 ELEMENTS OF THE

Chass~ also to the fourth position before;bring up the left foot to thdifth position be-hind; move it to the second position; thenmake the Jete and the Assemble in the fifthposition before, bending to prepare for thefollowing step, viz. Eclwppewith the leftfoot back to the fourth position; the Chasseback also to the fourth position; then movethe right foot back to the fifth position be-fore, and out. to the second position; makethe Jete and the.,4ssembUbehind in the fifthposition; or the Jete before with the right,and the Assemble behind with the left foot.

This is performed to four bars of music.

A Droite et aGauche, or to Damce to tkeRight Side and to tke Ltft.

To perform this, make the Temps Levewith the right foot to .the second position;the Chasse to the right side; then the Jetewith Ithe left foot in the fifth position before;also the JeU with the right foot in the fifthposition before. 'l'he left foot being now

ART OF DANCING. 71

disengaged, make the Glissade Dess0U8 twiceto the left side; then the Jete with the leftfoot, and the Assemble with the right footin the fifth position before.

This figure requires four bars of music.

Traverser, or to Cross over to the oppositeSide.

THIS may be performed with three Chassesconnected by the Temps Levf, and termi-nated by the Jete and A,YsemblG in the fifthposition before.

Also with the following steps ;-Make theTemps Lev6 and Cltass6 in the fourth posi-tion, with the right foot before; the GlissadeDessous to the left side; and Assemble behindwith the left foot. Repeat these steps, mak.ing a half turn to the right, in order tofinish in the place opposite to that fromwhich you set out, and facing the centre ofthe dance.

'l.'his figure is performed to four bars ofmusIc.

72 ELEMENTS OF THE

Dos-a Dos.

THIS figure is performed by a Gentlemanand the opposite Lady, advancing to theright of each other; then passing each otherback to back *, and retiring to their places;making three ChasMs connected by theTemps Leve, and terminated by the Jeteand the .Assemble.

Or with the following steps ;-The Ladyand opposite Hentleman advance to the rightof each other with the Temps Leve andChasse; make a Jete before with the leftfoot; a Glissade Dessous to the right, pass-ing each other back to back; then retire totheir places by the Temps Leve and Chasse,making a turn to the right,a Glissade Des-sous to left, and an .Assemble behind with.the left foot.

In performing this figure, the Lady and Gentlemansometimes pass each other face 10 face; ant! this has a verygood effect, when done with genteel address.

ART OF DA~ClNG. '73

This also is performed to four bars ofmUSIC.

Cka8se Croise.

THE Gentlemen pass behind their Ladies,performing the Temps Leve and Chasse tothe right; the Jete before with the left foot,and the Assemble before with the right foot;the Sissone Dessous and Asscmble beforewith the left foot, the Sissone Dessous andJete before with the right foot, (four bars).Then the Glissade Dessous twice to the left,repassing behind their Ladies; the Jete be-fore with the left foot, and the Assemble be-fore with the right foot; the Sissone Dessousand the Assemble before with the left foot;also the Sissone Des80us and Asscmble be-fore with the right foot, (four bars).

The Ladies at the same time pass beforetheir partners, performing the Glissade Dcs-sous , twice to the left, the Jete before withthe left foot, and the A8sembU before withthe right foot; the Sissone Dessous and the

E

74 ELEMENTS 'OF TImAssemble before with the left foot, also theSissone Dessous and the Assemble beforewith the right foot. Then the Temps Leveand Chasse to the right side, repassing be-fore their partners; 'the Jete before with theleft foot, the Assemble before with the rightfoot, the8is9orte DessrJus and Assemble be-fore with the left foot; also the SisstineDel:f-sousarid Assemble before with the rightfoot.

The 'figure 'Chasse Croiseand Dechasse,is perforrnedttnJight 'oars of music.

Figurer aDroite sur les Cotes.

'To perform this figure, two Gentlemen'opposite receive in their right hand 'the lefthand ;of their Ladies, 'ondadvance ;{o thecouple 'Oil 'their tight''li'erotming the TempsLeve, Chasse, ,Jete, :l1nd.Assemblibefdre.Then all do 'the Sissone'DeS96tts anll A

AR'J; OF DAN.CING. 75

Then, to perform what is called ChasseOuvert, and performed by eight.-The Gen-tlemen, and the Ladies who are before them,join both hands, and all do the Chasse, (theLadies tathe right, and the Gentlemen tothe left); each Gentleman makes a half turnwith the Lady who goes along with him,and places her ou his right, the whole form-ing two lines opposite each other.

This also requires four bars of music.

En Avant les Huit.

ALL eight being in two lines opposite eachother, the four in each line join hands, andadvance with the Temps Leve, Chasse, Jete,and Assemble; then retire a little with theSissone Dcssous and the Assemble beforewith the left foot, the same also with theright foot. Then each Gentleman and hisLady join hands, and turn into their respec-tive places, performing three Cha.yses con-nected by the Temps Leve, and terminatedby the Jcte and the Assemble.

This is performed to eight bars of music.E

76 ELEMENTS OF THE

I T may be seen, from the figures which Ihave described, that the QUADRILLE maybe performed with a few steps, properly ar-ranged. Yet a great variety may be intro-duced, especially in -figures performed bytwo; and a person of ingenuity and tastemay easily form a variety of combinationsof the steps which I have described.-I shallgive a few examples

For Balancer~

BEIWRE commencing the following steps,the feet are to be placed in the fifth position,the right foot before:Bar

1st. Make the Glissade Dessous to the right,Cltangement de Jambe. passing theleft foot to the fourth position be-fore.

AnT OF DANCING. 77Bar

92d. The Jete before with the left foot, mov-ing the right foot to the second posi-tion, and the AssembU with the rightfoot in the fifth position behind.

3d. The Glissade Dessous to the left,Changement de Jambe, passing theright foot to the fourth position be-fore.

4th. The Jete before with the right foot,moving the left foot to the second po-sition, and the Assemble with the leftfoot in the fifth position behind.

This Enchaznement is performed to fourbars of music.

Another.

1st. The Glissade Dessus to the right, theSisso'ne Dessous with the right foot.

IJ!d. The Jete before with the right foot, andthe Assemble before with the left foot.

3d. The Glissade Dessus to the left, theSissone Dessous with the left foot.

78 ELEMENTS 0.1' THE

Bar4th. The Jet~ before with the left foot, and

AS8emble before with the right foot.

Another.

18t. The Jete before with the right foot,moving the left foot to the fourthposition behind; the Pas de Z6pkyreforward, passing the left foot to thefourth position before, and at thesame time turning a little to the right.~. The Jete Tendu with the left foot be-

fore, and the .As8embU with the rightfoot in the fifth position behind.

3d. The Jete before with the left foot, mov-ing the right foot to the fourth posi-tion behind; the Pas de Zepkyreforward, passing the right foot to thefourth position before, and at thesame time turning a little to the left.

4th. The Jete Tendu with the right foot be-fore, and the .A88embU with the leftfoot in the fifth position behind.

ART 01

80 ELEMENTS o}' THE

Another.Bar

1st. The Glissade Dessous to the right, theSissone Dessous with the left foot.~d. The Glissade Dessous to the left, the

Sissone Dessous with the right foot.gd. The Pas de Zephyre forward, and Jete

before with the right foot.4th. The Glissade Dessous to the left, and

AssembU behind with the left foot.

Another.

1st. The Jete before with the right foot, thePas de Zephyre forward with the leftfoot.~d. The Jete before with the left foot, and

the Pas de Zephyre forward with theright foot.

gd. The Jete before with the right foot, andthe Gli8sade Dessous to the left side.

4th. The Jete before with the left foot, andthe Assemble before with the rightfoot.

ART OF DANCDlG. 81

The examples which I have now givenwill, I hope, be sufficient to shew how thesteps may be varied.

I do not think it necessary to describe anyof the moreeomplicatedcombinations of steps,my principal object in this publication beingto induce those who study dancing, to ac-quire in the first place a competent know-ledge of the ELEMENTARY STEPS. It willthen be no difficult matter to acquire a suffi-cient variety of combinations.

OF THE TIME.

THE music for the Quadrille, marked ! ori, should be played about the time 88 or 92of MAELZEL'S METRONOME beating twocrotchets in a bar; that is, about forty barsin a minute. If the music be too quick, ortoo slow, it will be impossible to preservethe true elastic movement in dancing.

ELEMENTS OF THE

In each bar of music the dancer performstwo of the simple steps, and each of theseis accompanied by a bend and rise; conse-quently, in a figure of four bars, there aresixteen movements, and even more in stepswhere the movements are doubled; for~ asthese must be reduced to the same value,that is to say, performed in the same time,the music should not be played too quickly.

As two of the simple steps are performedto each bar, it is therefore improper to ob-serve rests of longer duration than the timeof a quaver, in the airs for the Quadrille,unless they are filled up by accompani-ments.

The airs for the Minuet should be play-ed about the - time 72 of MAELzEL's ME-

TRONO~1E beating three crotchets in a bar,which will be about twenty-four bars in aminute.

ART OF DANCI1'W.

IT may be expected that I should heregive some directions concerning the man-ner of coming into and retiring from com-pany.

To teach this, as far as respects the de-portment of the person, is certainly the pe-culiar province of teachers of dancing. I amconvinced, however, that no written rules,unless they are accompanied by example, willbe sufficient to impart that easy, dignUied,and engaging manner, which never fails todistinguish a polite person.

With a view to convince young people ofthe importance of a GE NTEEL AND PREPOB-SESSlNG DEPORTMENT OF THE PERSON, Ishall quote a few observations on this pointby the late Sir John Gallini.

" Among the advantages aimed at inmaking the art of dancing a part of genteeleducation, that of its improving tlle naturalgraces lIlay be justly considered as the capi-

84 ELEMENTS OF 'l'HE

tal one. Thence it is, that the barc teach-ing the execution of the steps, with the dueattention to the music, and to the figure orlines traced by the composition of the dance,is, though a necessary part of the art, a veryinferior one to the indispensihle concomitantof those points,-the learning withal a nobleand distinguishing air or port of the person.This is what both Gentlemen and Ladiescannot have too much in view, or at heart,if they would do justice to their own dignityof birth or station; it is also what ought tobe recommended to all ranks of life, sincethere are none that do not, or ought not, toaspire to make the best personal figure pos-sible.

" The object of dancing is not to stiffen.the carriage or air of a person, but to giveor improve the suppleness of the motions ofthe body, and thereby to preserve or infusethe graces of ease, so as to give a sort ofheightening to the charms of native simpli-city. A habit this, which, owing its rise tothe tendency of nature to perfection, is to becontracted with more ease than a bad one, if

ART OF DANCING. 85

such a right habit is properly taught and at-tended to.

" Of how many captivating graces is notthe deportment susceptible, where a ,propercare is taken of improving the gifts of na-ture? And in what does a graceful deport-ment consist, but in holding up the headwithout stiffness, and keeping the body up-right without affectation? Ease in the variousattitudes,-a gay, modest, and open counte-nance,-a firm assured gait without heavi-ness, light or airy without indecency or preci-pitation,-a certain flexibility in the limbs,-a muscular agility, for the readily makingall the movements requisite for expressing adue regard to one's company,-to all thesethe body bas, from its very infancy, so na-tural a disposition, that there is nothingmore than a moderate cultivation needful toaccomplish one in them, joined with a littleof habit and attention to keep them up-

" Wh~n once a habit of easy dignity,with an unaffected air of portliness, has beensufficiently familiarised, it will constantlyshew itself in even the most indifferent ac-tion of the possessor; and only the more soo,

86 ELEMENTS OF THE

for his being himself unconscious and insen-sible of it. Does he come into a room?-his air immediately strikes the company inhis favour, and gives a prepossessing ideato his advantage. He will then have nothingto do but to keep up the impression he willhave made.

" Should a person even not have beenfavoured by nature with the happiest offigures, it is still in his 'power,if not totallyto cure that defect, at 'least greatly to mendit, by the acquisition of such a noble orgrace-ful air as may give all possible advantage tohis appearanc6 and demeanour" and in somemeasure atone for the injuries of nature.

" It is of great moment to inspire a justidea of the importance of acquiring a dis-tinguished air and deportment into the ear-liest youth, at the season of life when theyseize every lesson with the greatest vivacity,and when every lesson makes' the strongestand most durable impression on their tender,minds. Then it is, that, in the very dawnof their reason, which it is so indispensiblea duty for those who have the care of theireducation to watch and to improve; not

ART OF DANCING. 87

only in this but in other points, it will heexpedient to apply to that innate pride,which, by giving to it a proper direction,and by fixing it on groat or noble objects,becomes 'even.a virtue.

" It is hardly possible to recommend toomuch the power of this art, to assist youthin forming such a noble and distinguishingair and deportment, as will give them thatever-valuable advantage of favourable im-pressions at the first sight,-a prejudice noteasily to be cancelled; but the means to pre-serve those impressions, by a continuance ofthat winning air and manner which will havelit the first made them. An air that oftenrenders evcn silence eloquellt,-an air thatalways implies an excellcnt education, andsometimes supposes a natural elevatiollofmind, even where it does not always exist,,though without it such an air is rarely in-deed attainable to any degree of perfection.,Hnever fails of raising, to all appearance,mediocrity many degrees above its real stan-dard of merit. And who does notkllow theforce and impol'tance of appearances?

" Yet that air, the acquisition of which

88 ELEMENTS OF THE

I am recommending, must never appear tobe the effect of study,-the beauty, theenergy of it, is to seem something innate,and not acquired; the whole grace of it va-nishes, when it is perceived to be an art. Itmust have been insensibly melted into thewhole frame and behaviour,-a natural, notan adscititious advantage.

" But, as every different pupil requiresin some degree different lessons, accordingto their peculiar turn or dispositions, it isevidently impossible to convey, by writing,such general instructions as would be of useto the public.

" Practice, personal observation, and thelessons not only of the teachers of this art,but the advice of' such parents and guardiansof youth as are themselves masters of goodbreeding, and knowledge of the polite world,must be the best means of forming the ob-jects of their care and tuition to that desire-able point of perfection, in especially whatrelates to the AIR or PORT of the PERSON,of which one of our celebrated poets had sohigh a conception, that he said it might ofitself stand for a patrimony.

FIGURES

OF THE

jfabouritt duabrtllt,IN FRENCH AND ENGLISH.

No. I.-Le PantakYn..No. Bars.1. Chaine Anglaise, 82. Balancez a vas Dames, 43. Un Tour de Mains, 44. Chaine des Dames, 85. Demi Promenade, 46. Demi Chaine Anglaise, 4

Contre partie pour les quatre Rutres.

1. Right and left, by the first and thirdcouples, 8

F

90 FIGURES OF THE

~ .~~. Set to partners, 4g. Turn partners round, 44. Ladies' chain, 85. Half promenade, 46. Half right and left, 4

The other four repeat the same figures.

No. 11.- L'Et!.

1. En avant deux et en arriere, 42. A droite et it gauche, 4g. Traversez, 44. A droite et agauche, 45. Balaneez it vos Dames, 46. Un tour de mains, 4

Contre partie pour les six autres.

1. The first Gentleman, and oppositeLady, advance and retire, 4

2. Dance to the right, and to the left, 43. Cross over, changing places, 44. Dance to the right, and to the left, 4

FAVOURITE QUADRILLE. 91

No. BlIIllo5. Dance forward to partners, 46. Turn partners round, 4

The same figures by the other threecouples.

No. IlL-La Poule.

1. 'l'raversez deux en donnant la mamdroite, 4~. Retraversez en donnant la main gauche,

les Dames donnent la main droite aleur Cavalier, 4

3. Balancez quatre sans vous quitter, 44. Demi promenade, 45. En avant deux et en arriere, 46. Dos-a.-dos, 47. En avant quatre, 48. Demi chaine Anglaise, 4

Contre partie pour les six autres.

1. The first Gentleman and opposite Ladycross over, giving the right hand, 4~. Cross over again, giving the left hand,

92

No.

FIGURES OF THE

Bars.

which they retain, and give the righthand to their partner, 4

3. All four set, without quitting hands, 44. Half promenade, 45. The Lady and Gentleman who com-

menced, advance and retire, 46. They advance again, pass back to back,

~drefu~ 47. Four advance and retire, 48. Half right and left to places, 4

The other six perform the same figures.

No. TV.-La Trenise.

1. Chaine des Dames, . 8~. Balancez et un tour de mains, 83. Un Cavalier conduit sa Dame en a-

vant deux fois, et la laisse alagauchedu Cavalier de "is-a.-vis, 8

4. Les deux Dames traversent a. la placeopposee, et font une chasse-croisependant que Ie Cavalier figure de-vant elles,-idem, 8

FAVOURITE Q.UADRILLE. 98

No. Bam.5. Balancez it. vos Dames, 4

Un Tour de mains, 4Contre partie pour les six autres.

1. The Ladies' chain, 82. Set to partners, and turn partners

round, 83. The first Gentleman and his partner

advance and retire, he leads her a-cross, leaves her on the left of theopposite Gentleman, and retires tohis place, 8

4. The two Ladies cross over and changesides, while the first Gentleman passesbetween them, and sets to them.-This figure is repeated, 8

5. Set to partners, and turn into places, 8The same figures by the other six.

No. V.-La Finale.

1. Chassez-eroisez les huit, et dechassez, 8~. En avant deux et en arriere, 4

94! FIGURES OF THE

NIJ> B.ars.3. A droite et a g~uche, 44. Traversez, 45. A droite et agauche, 46. Balancez en avant et un tour de mains, 8

Contre partie pour les six autres, apresquoi chassez croisez tous les huit, etdecl)assez.

1. All eight.ha.'i~e across, and set at the. corners ; all return to their places,and set, 8

reo The first Gentleman and opposite Ladyadvance and retire, 4

3. Dance to the right and to the left, 44. Cross over, changing places, 45. Dance to right and to left, 46. Dance forward to partners, and turn

them round~ 8The others repeat the same figures, af-

ter which all Cha88~ across, and backagam.

FAvoURITE QUADRILLE. 95:

No. VI.-Le Due de Bourdeaux *.N~ Bm.1. Chaine Anglaise, 82. La Dame seule, 8S. Le Cavalier de vis-a..vis,-idem, 84. Moulinet de Dames, 85. Balancez tous les huit, 46. Promenade it vos places,. 4

Contre partie pour les autres.

1. Right and left, 8~. The first Lady dl\Jlces alone, 83. The opposite Gel).tleman dances alone, 84. The Ladies do hands across, and back

again; they 'hold the left hand ofeach other, and give the right to

th~ir partner, 85. All eight set, 46. The Ladies quit the left hand of each

This figure was the favourite Finizle last tilne !-Was inParis, (1821.)

96. FIGURES OF THE

~ B~other, and promenade with partnersinto places, 4

The others do the same.

No. VII.-Les Lanciera.

1. La grande chaine, 16!il. Les quatre Dames en avant et font

un tour aquatre a gauche, tandisque les quatre Cavaliers font untour admite en dehors des Dames, 8

3. Balancez les huit, et un tour demams, 8

4. Le premier Cavalier avec sa Damefont un demi tour adroite, 4

'5. Le second couple-idem, 46. Le troisieme un tour, 47. Le quatrieme idem, tous les huit se

trouvent en deux lignes, 48. Chassez-croisez les huit et dechassez, 89. La procession, 8

10. Chassez ouvert, 4Une pirouette a droite et balancez, 4

FAVOUR.lTE QUADRILLE. 97

No. BIU"L11. En avant les huit et en arriere, 4

1~. A vas places, 413. Le grand carre, 16

1. The grand chain, 162. Thdour Ladies advance,join hands,

set, and go round to the left,while the four Gentlemen go roundto the right, outside of the Ladies, 8

3. All eight set, and tum partners intotheir places, 8

4. The first Gentleman leads his Ladyhalf round, and both face thehend of the room, 4

5. The second couple the same, finish-ing behind the first couple, 4

6. The third couple make a full turn, 47. The fourth couple do the same, thus

forming two lines, 48. All eight chasse across, set; back a-

gain, and set, 89. The first Lady turns to the right,

the other three Ladies follow; the

98 FIGURES, &c.

No. Bars.first Gentleman turns to the left,the other three follow; all go to-wards the fOOL of the room, whereeach Gentleman receives the handof his partner, leads her up themiddle, forming again two lines, 8

10. All eight chasse apart, the Ladies tothe right, the Gentlemen to theleft, 4

All turn round to the right, and set, 4n. All join hands; advance and retire in

two lines, 41~. Each Gentleman, and his partner,

turn into places, 413. The grand square twice over, ]6

FINIS.

JOHN PILLAN5, Printer.

CoverContentsElements of the Art of Dancing1. Of the carriage or deportment of the bodyThe manner of holding the armsIllustrations: Proper stanceHow to give the handPositions2nd Position3rd & 4th Position5th PositionExercises for acquiring an outward position..Les Grands BattemensLes Petits BattemensLes P. Battemens on 1 legFreedom of the haunchesSmooth & steady performance

2. Description of the Elementary StepsPas MarcheAssembleJete in 5th PositionGlissade3 Glissades & AssembleSissoneSissone DessousTemps LeveTemps Leve + ChasseTemps Leve + Chasse BackwardTemps Leve + Chasse to Rt. SideEchappe on 1 legFull turn in 2 CrochetsPirouette to leftPas de Zephyre or Pas battuJete Tendu 2nd PositionJete du Cote

Principal Figures in the QuadrilleChaine Anglaise or Right and LeftBalancer or Set to your PartnerTour de Mains or Turn Partner with both handsLadies ChainDemi PromenadeDance to Rt & Lt.Traverser or Cross to opposite sideDos a DosChasse CroiseFigurer a Dt sur les CotesEn Avant les HuitBalancerOf the Time

Figures of the Favorite Quadrille