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Explained by

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READING and FIGURES;

Whereby die

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Manner of Performing the S T E V S

•IS M A D E'.E A 'S'Y ,"•..'•:.;-;>-•';,.-•... •

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By a New and Familiar M E T H ODj

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O RIG I N A L W O R K

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Firft Defign'd in the Yia* 1714, ..

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And now Publilhed bf ~

KELLOMTOMLINSON, Dancing-Mafter.

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In Two BOOKS.

•7W/V alter Hotnres.

LONDON.

Printed for the AUTHOR:

, at the Red and G«W Plewtr Pet next Door
ift the Bull and G«/*, in Hi^b-Holbmrm.
MDCCXXXV.

AUTHOR of the Original 'A'Jffof DANCING, CompofiTiTVritCTofjBjjWaB
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The First Book treats of the beautiful Attitudes or Poftures of Standing, the
different Pofitions from whence the Steps of Dancing are to betaken and performed t
and like wife of the Manner of Walking, gracefully. The fcveral Sorts- of Bows and
Courtesies arealfo foUy defcribed, and all or mpft of the: Steps ufed in Genteel
Dancing, as weH as many of t&ofe properly belonging to the Stags : Illuftrated with
fixteen Copper Plates containing twenty, nine Figyres.

The Second Book contains fourteen Plates, confuting of twenty eight Figures of
Gentlemen and Ladies,- oneof each in a Plate* as dancing a Minuet i begimmg
from the RtrsRENCEor Bow/and proceeding regularly on 'till the whole is finifh'di
Jhewing the beautiful Attitudes, ^nd graceful Deportments of the Performers, in the dif-
ferent Figures and Circles of that celebrated Dance ; together with the Inftruftions for
underftanding and keeping Time, and Directions for the Elevation, Movement, and
graceful Fall of the Arms m Da no no. To which are added at the Requeftof {bme par-
ticular Perfons of Quality, fome Inftruftions concerning Country Dances.

• *

The whole Work is adorned with thirty Copper Plates, confiding of fifty feven Fi-
gures ; with five other additional Plates, marked A. E. I. O. U. containing all. the
Steps defcribed in this Txratife, written in Characters; for the Amufcmcnt of the
Curious, the farther Illuftration of this Work, and the lnftru&ion of fuch as are defirou*
to underftand the Characters of Dancing*.

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THESE are to certify, That the following Work, entitled, thi
Art op Dancing explain'd, was defigtd and compofed
by Mr, Kellom Tomlinfon in the Tear 1726 in the fame Manner in
which h now aft fears, we having feen the /aid Work in theYear above
mentioned, wbtcb be told us he intended for the Prefsasfbon as his Sub-
fcription was full', in Witnefs whereof and in Jufiice to the Author we
have hereunto fei our Hands this twelfth Day of February 1728*

Joseph Sandys, Gent, .
Henry Carey, Mafier of Muftc.

Ct<9Mft$$$$&&ft$&$&$&ft€f@&&&&$$$$$40^&M-

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To the Right HoKO'bki'ht .•■-■

C A i H E R 1 N E

Vifcountefs FAUCONBERG.

MaDAMj

^^p.HE Work I here prefume to offer

11^11 your Ladyjbip, treating of a Subject
iSssS&i .... i it

in which you are not only well ver-

fed, but even excel; it was natural and obvi-
ous

DEDICATION.

ous for me to dedicate it to you, confiding

that, under fo honourable a Prote&ion, it

may at lead be skreen a from fuch unjuft Cen-
fures as Malice or Envy ordinarily produce.

It may perhaps be expe&ed that I fliould fay
fomething of the Nobility and great Endow-
ments of your Anceftors, as is ufually done
in Dedicatory Epiftlesi but the World is fo well
acquainted with your Ladts hip's illuftrious
Families, botlf that from which you came as
well as that td which you are happily ally'd,
that to mention any thing of them would ra-
ther be derogating from their Praife, feeing all
I could relate would be inferior, both to
their Merit and to the Opinion of all thofe
who know them. All that I will venture to lay
is, that your Candour, Affability, Sweetnefs
and Charity, joind to all your other great
Qualities, give as great a Luftre to your Fami-
ly, as what you receive from it. .

BtfT

DEDTCZTiaa

: :B tf.T o£ : all: your Perfefffofl^ whit' tdtttKQ
Viie tl^fce tnoft; isyooc greats Taleiftitf tlftfA'ii
of Da n c 1 n g, which I can fpeak the more free-
ly of, as I was not only a Spedator, but had
the Honour to contribute to/for fome Time:
Not that I pretend to arrogate to myfelf the
Glory of the great Proficiency you made (for
that was wholly due to your natural Genius
for that Science) but only think myfelf hap-
py in having had the good Fortune to give Let
ions to a L a d y that perform'd in a Manner no
lefs elegant than uncommon.

N o r do I fo much wonder at the Progrefs
your Ladt ship made in this Science/ when
I coniider your wonderful Genius and ex-
quifite Taffe for Mujic, which is one of the
greateft Helps to a perfed Performance in
Dahcikq. All thefe rare Talents give me a

greater

DEDICATION.

greater Title to your Lad r ship's gracious Ac-
ceptance of this Works at leaft it gives me an
Occafion of affuririg you how much I am, with
all Refpe# aad: Efteem, , / .; t i

o:„.t jja ,:..». ■£..,• j t a +j ..i«.^

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mvj? obedient} and ;•

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tnofi bumble Servant^

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KELLOM TOMtlNSON.

LIST

OF T H E

SUBSCRIBERS NAMES.

N. "R fhit + Mark Jbews that the Subfcriber, he/ore -wboft Name it is placed,
ated while this Work bat been carrying on.

A. . Mr. Jonath. Aylcworth Dartcing-Majer.

THE Right Honourable the B.
Lord Alton.

The Hon. Edward AAon, Efq\ Sir Edward Blount, of Soddington in

'the Hon. Mrs. Catherine Afton. tie County of Worcefter, Bart.

Sir Francis Andrews, Bart. 'the Lady Blount.

Sir John Aftley gfPatfliuUm Stafford- f Sir William Blacket, of Newcaftle,

fliire Bart. Barf.

William Andrews Efq; John Bafker, Efq; three Setts,

■f Mrs. Eleanor Andrews. B. Bagfhaw of Wigwell in Derby Shire

Mr. A. LabW, Dancing-Majterto their Efq-,

Royal Higbnejfes the young Prineejfei. Edward Brett: Eainbrigg of Derby Efq\

B EJ.

* VN

Subscribers N A MES.

Ed. Bigland of Long W— n near Lough-. John Clark Engraver* ." * ^
borough I§/ip -: Afr. Henry Carey Af*/fer g/* Mufic,

•f- William Bourke, Gtorf. Mr. Ben. Cole, Engravers f

JtfiTr Bullar. ;' # * Afr. Thomas Gobi* ■. '".':'.

Mrs. Grace Brown, g^BentleywParr \., '• •""*>' , '

bythire. * •. -.V - • .; : : \\ ! ••',."' "V~~ \- •

iWri.Deborah Bowdlere/QueenViquarc.' - / " . •

Mrr. Catharine Bird. Jfrr Excellency the Marquefs D'aix, LtfdJjr

Richard Boftock, M. D. * of Honour to the late Qpccn of Sardinia.

Ctyf. William* Brooks, of Derby E#; F. D^r^ll £#< ' '

Mrs. Margaret Butler, of Maryland. Kenelm Digby, of North- Luffinghaox

Mrs. Booth the celebrated Dancer. in the County *f Rutland, Efo

Mrs. M. Boftock, Paintrcfs. Mrs. Ann Darnall, of Maryland.

Mr. John Brograve, ^Rudglcy, Dan* John Dalton, Gent.

cing-Mafer. Mr. J. Dupree, Dancing- Mafier at the
Mrs. Bullock, Dancer^ at the Theatre Theatre Royal in Covent Garden.

in GoodmanVFields. Mr. Lewis Duplefly Dancing-Mafier.
Samuel Buck, Engraver, for two Setts.
Mr. Geo. Bickham junior, Engraver.

_..»«

C The Right Hon. Hannah- Sophia, Coun+

tefs of Exeter.

The Right Honourable James, Earl of The Right Hon. the Lady Maty E .

Caftlehaven. Henry Every of Egginton in tit Count}
The right Honourable Elizabeth, Cgun» of Derby JEJy;. .. , ^-_

. tefs of Caftlehaven. Charles Edmonds Efy\

•}- The Right Honourable Ann, Countefs Mr. John Eflex Dancing-MafUr*

Dowager of Clanrickard. Mifs Evcret.
\Tbe right Honourable the Lady Frances. . M - - '.• •' -'"

Clifton* 4$*

Sir Richard C/bet, Bart - '

The Lady Curzon gjf Kcdlcfton in Der- The Right Hon. Thomas, Vifcount Fau*

byfture. conberg.

Mrs. Anna-Maria Calmady, of Devon. The Right Hon. Catherine, Vifcoun-
•f- Francis Cottington, of Founthill-Gif- tefs Fauconberg.

fard, Efji fT^Ltf^Fuft^Hill^MrGloucefter.

W C , Efp C. Fleetwood, # Gerard s-Bromlcy i*<

Mrs. Elizabeth Cannon Daughter to the Staffordshire, Efp

late Dean of Lincoln. Mrs; Mary Fairbrother.
Richard Crcffwell, of Bridgnorth in

Shropfliire Efq\ G.

Rowland Cotton of Etwall in the Coun-

// of Derby EJf, Mrs. Giffard, */* Chilling ton.

Mr. Thomas Caverley, ^Queen-Square H. Gaylor, M. D.

Dancing-Afafier. Mr. Leech Glover, Dancing- Mafier.

+ Tht

SI .- - -

UBSCRIfigRS NAMES..

- «. ' Rl ^>*rf Langley, of Grim/ton

1 J Howard- £ Workfop. r ' *:' r • "* fc>k L«ScS»£& - ' - •

the Hon. Mn. Winifrede 1 Howard, i/ ^ Mary Lewi yTtrra^/, ^
-%"•:; „ : ■" ,1 V marthenflure South Wales. , ^

Tbe^iitnJ^ ° f MacclesfielA ^..Daniel Lewis ,/ Br^lS^
iDeiaaay Hanmer. % . , Matter • <• '. - -. • *

Leicefterfliire, Btfrf. j/ r . Edward j^ J Dancing Mafier

• > * ... • r nil* • *• ti.

William Herbert, Gent, w:ii;-«. »#„„ :*• »>"T WC, .^I'

George Hills, G«tf, „ rey,££. ^^, .

^n *^J*?V g "' °f Ncwark » ^ JaS Mechel >^/m : ; I 7 : -
Da«ctng-tfafter r . ; ^- A. Morczu Dancing-MaJIer *t tie'

Theatre in Dublin.

J. • r -

■- » » . . . » • A *\.

fbeRigbtHon.Sir*. J— -Jr. A ;",'.'. ; .'.

^^o^jaWo, ■"." ■'.-:: f*<^-*^'w^vite

^l!icSii ennenS 8/G ° pflMU «'^ Edward I^grNorfoll,.
Mr. jofcph Jackfon, DmS*U*r. ^fig^r*** f*"*"*

v • " • >ir . ^ J ane . Needier, ef Hollyland in

Surrey. •:

t J* V »* * ^ Franc ^IfSJiSlK • /BUt,0B *"
Keightlcy.

Mr. Afcough Kirk, vf Stamford, Dan- ; q

cing-Mafter. . / • • •

Jl/#«r, Knapton Bm|^x Jofcph offlcyf fl/ n^^, ^.

** t Thomas O'Brien, Efo

S/r William Lemon, gf North-hidl, .

Hertfordihire^ Bart,

Subscribers NAMES-

-\- William Somerfet, Gent*
P. Richard Stanley, Gent.

WUliam Stukefcy, M.D.
His Grace William Duke of Fowls. Mr. P. Siris, Dondng-Majltr.
Her Grace Margaret Dafltyf^Pordand* Mr. William Sawyer, of Rudgkf m
f J. Pcarfon, M. D. Staffordlhire, £>anciug-Ma/Ur.

Mr. P. P. *f T,kchfidd. Mr. Robert Smith, Dancing-Major*

Mrs. Parkhurft.

Mrs. Mary Peacock. Y. . .

Mrs. Charlott Pigott.

*f* Mr. Edmond Pemberton Dancing- the Hon. Mrs. Talbot, of Longford. .
Majer. Tie Hon. Mrs Ann Thompson,

Wilbraham Tufton, Efo\ .
R. + John Tufton, Efe

Mr. James Tutty, Dancing-Ma/ler.
AymorRich,o/'Bullhoufe,York{hireE J /J; Mr. John Topham, Dancing-Mafia**
Mrs. Catherine Rolf, sf Lynn. John Tayleur of Roddingtoa «» tbt

John Rich, Efp Mafier of the theatres County of Salop Efo
Royal m LincotnVInn-Fklds , and Mr. W. H. Toms Engraver.
Covent-Garden. y ■■
Mrs. Mary Ricardv* W*- * •

Richard RuffeJ (Sent. • ... ,..--.-.-

f& Him. Lady Webb, «/ Canfbrd.

S. JM».Webb, of Hidtharp.

Mrs. Mary WingfieB

f TberigUHon. William EarlofSuffatd. William Wool fe, $f QueenWquare, igfc

Tbertgb't Hon. Ann C»untefs of Snfford. Edward Walpolc, cfDunftoo in Oft

be Btgbt Hon. Mary , Omntefs of County of Lincoln, Effr.

Shrewibury. Mrs. Alcthea Walpok.

fix Right Hon. the Lady Frances Shirley, «f» Mrs. Mary Walpok.

The Right Hon. the Lady Ann Shirley. Ernie Wambourne, of Waihbourne*

The Hon. John Stafford, Ffq; in Worcefterfhire, Efo '

Sir Thomas Sam well, of Upton ms Nor- Thomas Wollefcot, of Gray's-Inn, GmT.

thamptonfhire, Bart. John Walkinihaw, Gm&

Robert Sutton, Efq\ Aylifie White, Gent.

Samuel Sanders of Caldwell In the Court- Edward Wright, Gent.

ty of Derby Efq\ Afrj. Jane Williams. -

ty In- the County of

Sir Edward Stanley, " Bart. ' Derby Efk

f* Mrs. Elizabeth Smith of Great Mr. John Weaver Dancing-mafia^:

James Street.
Thomas Southcote, Efq\ Y.

John Southcote, of Blyboroogb In

Lincolnflure, Efqy Charles Young of the Friers/* Shrews-

J. Strickland, Gent. ' bury Gent.

v. '.

THE

FACE.

IAfow at tafl have the Pleafure ofprefenting to- tbt World a WorK
which has been long promt fed; tut which, through the Difficulty
of the Undertaking itfelj ] and the many Ob flack* to the Execution
of it, J was not able to finifb before. • •- * i

This Undertaking muft needs have been attended with great Diffi-
culty, becaufe it was really the firjk of the Kind. For tbo* Mow*
yfrtfrBeauchamp lay d the firfi * Foundation, upon which MonfieurFcn*
illet built, (asfome more ingenious Per/on may perhaps improve upon
mine); yet the Works of both relate only to the CharaBers of
Dancing', which, like the Notes ofMufic, can be only ufiful to Met*
fiers, and cannot be under flood by any other without their particular
InftruB'tom. But the Piece which there offer to the World will hi
of generalise to alt, who either have learned, or are learning to dance:
the Words describing the Manner in which the Steps are to be taken s
and the Figures repreftntin& Perfons as oBually taking them; both
which together will make the Learning more pleafant to the one, and
ferve as a continual Remembrancer to the otter.

As mofi other Arts and Sciences,, reduced to certain. Rules, have
been now long fince taught in Books, I have often wondered no one
fhouldhave hitherto paid the fame Regard to the Art of Dancing.
This is what I have endeavoured to do* in the following Work*,
wherein / have not pretended to advance any new Laws for Dancing
unknown before; but only to colleB andfubmit to view thofe Princi-
ples and Rules, which I bad. feen taught with ths greatefi Succefs

THE PREFACE.

Try the moft eminent Majiers in the genteel Way. As the Notes of
the Mupc are placed on the Top of every Plate, the Char afters of
the Steps marked below, and the Figures rebrefent two Perfons in the
very.Jfffion of Dancing; whoever has made any Progrefs- in the
Knowledge of mufical Notes and of the Char aft eri of Dancing will he
able by intently viewing one oftheje Plates, at one and the fame T$me t
to call to Mind the Tune, to know the Order of the Steps, and to put
the Body into the proper Attitude to take them. And tho* this Book,
like all others which treat of any Art or Science, cannot be perfeBly
underflood without fome Study and Application ; yet by a little

^fiance from the Author, or others of the P r of effion properly qualt-

f, all the Difficulties will be foon fur mounted. The figures in each
Plate are defigned only tojhew the Poftures proper in Dancing, but
not to bear the leafl Refemblance to any Perfon to whom the Plate
is infer ibed; which it had been ridiculous to have attempted: The fole
Intent of the Infcription being to do Honour to myfelf, by thisfmali
Teftimony of my Gratitude to fome honourable Perfons. The con-
tinual Change of the Fafkion will afford, 1 pre fume, afufficient Ex-
cufefor the Drapeiy of the Ftgures: and Gloves were dejsgnedly o-
mitted, on Purpofe to fbew the beautiful Shape of the Hands. The
Faults, which may have happened in the Execution, either of the
Printing, or Jngraving, wilt, I hope, be the more eafsly excufed, if
the Nicety of the Subject be conftdered, together with the Difficulty of
the Performance, and the many Hands through which it has paffed:
efpecially if it be remembered, that this is not only my firfi Attempt*
but Tike-wife the fir Jl that has been made of the Kind.

It mayfeem a little Jlrange, that Ifhouldclaim the Honour of having
firfl treated of the Art of Dancing; when a Book upon the fame Sub-
jeft was publifhed in France as long ago as in 171^. But the fol-
lowing Account will, I hope, clear up all Doubt in Relation to the Juf-
tice of my Pretenfions.

Jn Mift's Journal Sat. Jan. 1 3 1718, appeared this Advertifement,
« Next Week will be publifhed The Dancing- Matter or The Art of
" Dancing explain'd hy Morifieur Rameau '% Thh gave me no fmall
Surprize, hazing never before heard of either any fitch Book, or Au-
thor,.

THE PREFACE.

thor. Hdd'it been my Fortme to have known, either before, or after
1 undertook to write on this Art, thatfuch a Book was extant, myCfa
riofity would certainly have led me to have .conftdted it • and had 1.
approved it, */« highly probable I /hould have given the World a ^
Tranfiation of it, with fame additional Obfervations of my own. Tbtt
had been a much eafter Tajk, than to compofe a Work entirely new
upon the fame Subje ft : which 1 had aft u ally finifhedin 1714 ready
for tie Prefs, as it is now publifhed, without any material Altera*
tion, a full Tear before the Publication of Monfieur Rameau'x Booli
and near four Tears before this Advertifement appeared, the Truth-
whereof feveral credible Wttneffes have teftified under their own
Hands.

/ advertifed this Work of mine the firfl Time, as ready for the
Prefs, and that it only waited for a fufficient Number of Subscriber r
to defray the Expence, in Berington's Evening Poft, Oft. iy,\
17KS, and again in the- fame Paper 0&. n. This Advertifement
was repeated in The White-Hall. Evening Poft, Nov. 1 2 . and, m;
The London Journal, Dec. 3. In Mift's Journal of March 4; 1717,/
gave Notice of the Publication of my Propofals, together with fome
Plates done by Way of Specimen; and renewed that Notice on iZth;
bt Berington's Evening Poft, and again on Ode. iZ.in the fame Pa*
per. From this particular Account it appears, that I bad publifhed
/even Advertifements concerning my Work; the fit ft of which war
two Tears and three Months, before ever the Translation of Mon-
fieur Rameau*s Book was advertifed in Mift's Journal Jan. 13. 1718..
To fecure my felf in fome Meafure from the Damage I might re*
ceive by this Advertifement; I thought it neceffary topublijh one my .
felf a few Days after, in Mift's Journal Jan. 17. To which I pre-
fixed this Motto from Virgil, Tulit alter Honores; intimat-
ing, that another Perfon had attempted to bear away the Honour of
my Invention', and I may jufily add, the Profit of it too. That
this was his Intention is very plain from two Circumftances: the Ad-
dition to the Title; and the Alteration of the Form of Monfieur THa.-
meau's Book, The Title of his in the original is onely The Dancing
Mafter; to which the ingeniousTranfiator, or perhaps Bookfeller, thought

proper: ,

THEPR EFAC B.

proper to add thai of mine, The Art of Dancing cxplain'd : The m
French Original was publifbed in Octavo; but tbeTt (inflation was mag-
nified to a Quarto, almoft the Size of mine, and yet propofedtobe fold
at half the Price. Tbeaffuming thus the veryTttle and Form of the Book
propofedto the Publick by me, feems to nave been done with no bet-
ter View', than to- raife an Advantage by anticipating my Defign ;
and to obfiruB the Succefs of it, by making hfeem to be onpy afervile
Imitation of the original Invention of Monfieur Rameau. This' Con-
trivance was the more likely to have the defired EffcB, from the un-.
favourable Situation in which the Propo&ls/or the Subf caption to my
Book might at that Time appear. It was above two Tears fince it
bad been advertifed as ready for the Prefs: and this delay in the
Publication, the not fixing any certain Time for it, and the Diffi-
culty in procuring Subfcriptions, upon the Number of which the Pub-
lication mufi depend, might probably induce many Perfons to fufpeB
that it would never be publi/bed at all. And this Difficulty would
be much htcreajed, by offering to the Public a Book on the fame
SubjeB, with the fame Title, and of almofi the fame Size, winch
yet fhould cofl no more than half the Price of mine. To make
which Book appear Jlill more perfeB and complete, and mine lefs ne-
ceffary, or ufcful, the Gentleman who publifbed ft was not fatisfied
to prefent it to the IVorld merely as a Tranflation of Monfieur Ra-
meau*; IVork, approved by Monfieur Pecour, the great eft Mafter in
France; but was prompted by his Ingenuity andGenerofity to make
fuch furprizing Improvements in the figures, as will be a lofting Mo-
nument of his great Abilities in the Art of Dancing.

Before I conclude this Preface, // feems neceffary to fay fome-
th'mg more particularly of my felf for the SatisfaBion of thofe to
whom I may not have the Honour to be known ; who will naturally
expeB, before they encourage a Piece of fuch an extraordinary Na-
ture > to receive fome Evidence, that the Perfon who undertakes it is
in fome meafure qualified for the Performance.

In April 1707. / was placed as an Apprentice with Mr. Thomas
Caverley, now living in Queen VSquare, St. George the Martyr ,
with whom I continued till the Tear 17x4. During which Ttme, I

bad

THE PRE FACE.

hadlikewi/e the good Fortune to be further inflrutledin the Theatric*?
Way, by that great Performer Mr, Chcrrcir, once contemporary
with the inimitable Mr. L' Abbe, with whom alfo I have bad the
Happ'tnefs of a perfonal Acquaintance, Mr, Chcrrcir s great Merit,
after he quitted the Stage, was fupported a long Time by the late
Mr. John Shaw, who was juftly efieemed not only one of the fine ft
Theatrical Dancers, but one of the mofi beautiful Performers in the
Gentleman-like Way : the Acquifition of both which Excellencies in
PraBice, mufi be chiefly owing to tbofe admirable InflruBions in the
Theory, which he received from Mr. Caverley, when He and I were
fellow Apprentices to that great Mafier %

I beg Leave to mention in the next Place two of my Scholars, who
have appeared upon the Stage with no /mall Applaufe, The one
was Mr. John Topham, who danced upon both Theatres under the
Name of Mr. KellomV Scholar, when he had been with me no lon-
ger than betwixt two and three Tears. The other was Mifs Frances,
who, on the Theatre Royal in Little Lincoln VInn-Fields, performed
the Paflacaille de Scilla, confifling of above a thou/and Meafures or
Steps, without matin'' the leafl Miftake; but/he left me in the midft
of her Improvement.

To this I hope it will not be thought improper to fubjoin afbort Ac-
count of fome of my Compofttions, which have been well recei-
ved by the I For Id. The Paflepied Round O in 1 j i y dedicated U
Mr. Caverley; the Shepherdess in 17161 the Submiffion in 1717,
which, by the Name of Mr. Kellom's New Dance, was performed
by Monfteur and Mademoifelle Salle, the two French Children, on
the Theatre in Lincoln's- Inn-Fields, to very conjiderable Audiences,
every Night, for a whole Week together. To which I beg Leave
to add the Prince Fugene in 1 7 18 ; the Addrefs the next Year\ the
Gavot in 1720; and the Paflacaille Diana the Tear following, de-
dicated to Mr. L' Abbe. All which I compo/ed y wrote in Charact-
ers y and puhlijhedy for the Improvement of the Art of Dancing.

/ might here add a long Account of the Honour done me by many,
of the Nobility and Gentry in employing me to teach their Children ;
and in permitting me to publifh it to the World by the Ded/cation of

b my

THE PREFACE.

my Plates. But I have perhaps dwelt too long upon this Subject al-
ready, which I hope the candid Reader will excufe; and not impute
this Account of my /elf to Vanity or Conceit , hut to an earner! De-
Jire in me to give the utmost Satisfaction to my Sub/bribers, and to
remwe all Su/picion of my Want of Talents proper for the Execu-
tion of this new Undertaking. And this was the more neceffary to he
done, hecaufe of the Difadvantage to which I have been expnfed by
gring accidentally under two different Names, Kellom and Tomlirr
fon ; being known formerly by tbefir/l, but of late only by the last j
the Occafton of which it may not be thought improper to relate.

During the Time of my Apprentice/hip I went generally by the
Name of Kellom, a Corruption <?/Kenclm my true Ch rift tan Name;
as it is very common for young Perfons to be called Mr. John, Mr.
William, and the like, without the Addition of their Sur-name.
At the Expiration of my Apprentice/hip, fever al of my Friends out
of Refpett called me by my Sur-name of Tomlinibn ; but, being un-
willing to decline the Advantage I might probably receive from the
Reputation of having learned the Art of Dancing under fo great a
Matter as Mr. Caverley, / cbofe rather to retain the Name of Kellom,
by which I had been fo untverfally known to have been under his In-
flru&ion. This Duplicity of Appellation turned afterwards to my
great Difadvantage: many of the Nobility and Gentry, who would
have had their Children taught by Mr. Kellom, refufmg to employ
Mr. Tomlinfon tbo recommended to them; and many t who would
have employed Mr. Tomlinfon, rejecting Mr* Kellom. To pre-
vent which Gmfufionfor the future, I /hall acknowledge my felf obli-
ged to thofe, who, in/lead of either fingly, Jball be pleafed to call
me by both conjunctly, Kellom Tomlinfon.

T H B

ONTENTS-

+***—+*•)*' ■ * *' '■

•* . % »*■ « . *

B O O K I

III. 0/ Bowing, or the different Setts of Honours. 7

IV. 0/ /& Dancing-Room. IS

V. Of the Coupee of one Step or Half Coupee.

VI. Of /i* Coupee.
VIL 0/ /& Coupee tw/i two Movements.

vra.

?//2

•7

TX. Of the lk>urcc with two Movements. 3*

March.

XI. 6/ riv Point <mi March, J,

XII. 0//Ar Spring or Bound. • jt

XIII. Of the Clofe or Tump. 37

XIV. Of the Spring «r Leap. 30

XV. 0/" r& Rigadoon-Step 0/ 0** S/mrg-, o/*» in the fame Place and dole. 41

XVI. 0/ fir Rigadoon-Stcp of two Springs or Siflbnne, 44

XVII. 0//^ Gall iard^ni Falling Step. 48

XVIII. O/*^ Bouree wVA a Bound. p

XIX. Of the Slip J«/or# and then behind, or Slip behind and afterwards before,
and Half Coupee Jideways. 54

XX. Of the Hop or Contretemp. #8

XXI. Of the Chaflee or Driving Step. 64

XXII. Oft be Chaffee or Driving Step of two Movements or Bounding Coupees. 71

XXIII. Of the Beaten Coupee or Hop. 74

XXIV. Of the Chaflee or Driving Step, of three Springs in the fame Place, from
the third Pofition. 77

XXV. Of the Flying Chaflee or Driving Step backwards, with a Clofe and Cou-
pee to a Meajure. 70

XXVI. Of fir Hop gf /tw Movements, from the fifth Pofition round in two half
furns. 81

XXVII. Of the Chaconne or Paflacaille Step. 83

XXVIII. Of the Hop and two Chaffee* or Drives round in the fame Place. 84

ha XXIX.

The CONTENTS.

Chap. XXIX. OftbeTatt, Spring witb both Feet at tbefame Time, <W Coupee
toaMeafitre. page 86

XXX. Of tbe Clok beating before and falling behind* in the third Toftion, upright
Spring changing to tbefame before^ and Coupee /• a Meafure. 88

XXXI. Of the Pirouette. * ( oo
XXXIL Of the Pirouette introduced by a Coupee. 96
XXXIH. Of the Bouree before and behind, and behind and before, advancing in

a whole Turn, 98

B O OK. II.

Chap. I. f~\Ftbe Minuet S&f. *J*/&3

\^J II. Of the Hop tn /A? Minuet, 113

IIL Of the Double Bouree upon tbefame Pisa. 115

IV. Of the Balance. 1 18

V. Of the two Coulees or Marches. no

VI. Of the Slip behind and Half Coupee forwards to the right and left Hands,, each
- to a Minuet Step. rao
And of Dancing the Minuet in general 124

VII. Of the Figure of$ reverfed or fecund Dtvifon. 1 26

VIII. Of Prefcming //* right Arm or third Part. 128

IX. Of the fourth Divifon or Presenting of the left Arm. 13 1

X. OftbefjfibDivifionorfecond$. 133
XL Of tbe fxtb Dhifion for Prcfcming of both Arms and Conclujum. 135 *

XII. Of tbe Miftakes in Dancing of a Minuet, witb their Ocafions and Rules
to prevent them. 137

XIII. Of Time, orfome Account what Time 1/; witb Rules to be obferved in Keep-
to st. 141

XIV. Of the Movement of tbe Arms in Dancing* 152

XV. Of Country Dancing. ifit

An Ex*

i Explanation of the CbaraBers or Steps contained in the Tablet
of Plate E, in the exact Order they are treated of in this Work,
(hewing the different Ways in which the (aid Steps are performed
whether forwards, backwards, tideways, or round, &c in
which you will fee the Steps treated of in fVirds written down
in Char afters and Figures, which will not only convey a ftronger
Idea of the Steps, but aUb be very entertaining to die curious

Reader.

.•.-■-••-

The Steps treated of in BOOK L .

Table t The HALF COUPEE.

Fig. i. Forwards w ; tb ettk* Foot.

Fig. 2. Backwards with either Foot.

Fig. 3. Sideways to the right, andjide-
ways to the left.

Table 1L The COUPEE.

Fig. i. The Coufee forwards withes- *
t her Foot.

Fig. 2. The fame backwards with ei-
ther Fcot tn two Movements, or plain,
as Fig. i.

Fig. 3. Sideways before in two Move-
ments with either Foot, or plain, as Fig. 4.

Fig. 4. Sideways behind with either
Foot.
Table III. The BOUREK

Fig. 1. Forwards with either Foot.

Fig. 2. Backwards with either Foot.

Fig. 3. Sideways before with either Foot.

Fig. 4. Sideways behind with either Foot.

Fig. c. Sideways before and behind with
either Foot.

Fig. 6. Sideways behind and before with
either Foot.

Fig. 7. Twice behind and the third Step
forwards with either Foot.

Fig. 8. Bouree and Bound with either
Foot forwards.

Table IV. The MARCH and POINT
and MARCH.

FiGt it Forwards with either Foot.

Fig. 2. Point fdeways with either Rot.
Fig. 3. Forwards wtth either Rot. -

Table V. The BOUND.
Fig. 1. Forwards with either JFW. -
Fig. 2. Backwards with either Foot.
Fig. 3. Sideways before with either

Foot.
Fig. 4. Sideways behind with either F00G
Fig 5 Twice to a Meafitre.
Fig. 6. Thrice to a Meafitre.

Table VL The CLOSE.
Fig. i. With either Foot into the firft

Pofition forwards.
Fig 2. frith either Foot backwards ssh

to the firfi Pofition.
Fig. 3. Forwards with either Foot into

the third Pofition inclofd before.
Fig 4. The fame backwards with either*

Foot inclofed behind, and a Walk for*

wards to a Meafure.
Table VII. The LEAP or JUMP.
Fig. 1. Forwards.
Fig. 2. Backwards.
Fig. 3. Sideways to the right Hand.
Fjg. 4. Sideways to the left Hand. 1
Fig. 5. The upright Sprit*,
Fig. 6. Round in an upright Spring.
Fig. 7. 'Two Springs and a plain fir aight

Step forwards to a Meafure.
F10. 8. Three Spring* to a Meafure for-
wards.

Fig. 9.

Fig. 9. The upright Spring and plain

Step Jorward* to a Meafkre.
Fig. 10. Two Spring* to a Meafurejor-

Table VIII. The RIG ADOON STEP
ofom Spring open in the fame Place.

Fig. 1. Upon the fame Place with either
Foot in tbefbrfi Pofition.

Fig. 2. Upon the fame Place with either
Foot incofing into the third Pofi-
fion forwards.

Fie. 3. The fame inckfng into the
third Pofition, backward*.

Fig. 4. Upon the fame Place inchfing
into the third Poftion, firfi before and
then behind^ upright Springy and Change
of the bind Feet firjt with either Foot.

Tig. $. the fame with either Fbot w frJl
behnd and then before, upright Spring
into the Jirft Po/ition, and plain Step
forward* to a Meafitre.

Fio. 6. The fame in the JSrlf Pofition.
1 able IX. The RIGADOONSXEP

of two Spring*.
Fig. 1 . Forward* with either Foot.
Fig. 2. Backward* with either Foot.
Fig. 3. Sideways croffmg before with

either Foot.
Fig, 4. Sideways crofjing behind with

either Foot.
Ta*le X. The GALLIARD and

FALLING STEP.
Fig. i. Forward* with either Foot.
Fig. 2. Backward* with either Foot.
Fig. \. Sideways to the Prefenee with

either Foot.
Fig. 4. Sideways with either Foot in a
' quarter if urn facing the Side* of the

Fig. jc. Sideways with either Foot in a
half Turn to the Bottom of the Room.

An Explanation of the Char after* or Step* contained in the Ta-
bles of the Plate marked I. as firft Supping before^ and then
flipping behind^ &c.

Table XL The SLIP BEFORE, the third Pofition.

SLIT BEHIND, and HALF Fig. 2. f be fame backward* witb either

COUPEE.
Fig. 1. Sideways with either Foot before

and behind to the Prejence.
Fig. 2. The fame with a Bound behind

and before with either Foot.
Fig. 3. Sideways with eitier Foot before

ana behind in a quarter Turn to each

ether.
Fig. 4. The fame behind and before in

a half Turn to the Bottom.
Fig 5. Sideways with either Foot twice

flipping behind.
Fig 6. The fame flipping twice before.
Table XII. The HOP or CON-
TRET EM P.
Fig. i. Forward* with either Foot from

Foot.
Fig. 3. With either Foot advancing to

the Side* of the Room in a quarter

Turn.
Fig. 4. The fame with either Foot to the

Bottom in a half Turn.
Fig. 5. Sideways cro/fing before with eU

tber Foot to the Prejence.
Fig. 6. The fame with either Foot in a

quarter Turn facing the Sides.
F:c. 7 The fame in a half Turn with

either Foot to the Bottom.
Fig. 8. With either Foot Jepping Jide-

way* and a Draw behind
Fig. 9. The fame in a quarter Turn to

the Side*.

Fig. jo.

Fig. xo. Sidewqft crojbg before with
either Foot from the fourth Pofition.

Fig. ii. The fame with a Bound.

Fio. 12. From the fourth Pofition ad-
vancing up the Room with either Foot.

Fig. 13. The fame with a Bound.

Fig. 14. Backwards from the fourth
Pofition with either Foot

Fig. 15 The fame with a Bound.

Table XIII. The C HAS SEE or
DRIVING STEP.

Fig. 1. Of three with either Foot from
the fourth P of J ion to the Prefence.

Fig. 2. The fame fideways.

Fig. 3. Of four to the Prefence with ei+
ther Foot from the fourth Pofition.

Fig. 4. The fame fideways croffing the
third of the four Steps before.

Fig. 5* The fame in a quarter Turn to
the Sides with either Foot.

Fig 6. The fame in a quarter Turn
more to the Bottom.

Fig. 7. The fame advancing, turning to
each other upon the Half Coupee, or
lafi Step of the four.

Table XIV. The BEATEN COU-
PEE, or HOP and DRIVING
STEP of two Movements.

Fig. x. The Beaten Coupee forwards
with either Foit.

Fig. 2. Driving Step of two Springs
backwards with either Foot.

Fig. 3. Beaten Hop forwards with ei-
ther Foot.

Fig. 4. Driving Step of two Springs
with either Foot fideways.

Fig. 5. The Jame of three Springs.

Fig. 6. The fame of two Springs and a
Clofe orjoin.

Fig. 7. lot fame of one Spring and
a Clofe.

Table XV. The C HAS SEE or
DRIVING STEP of three
Springs upon the fame Place.

Fig. x. Of three Springs to the Prefence

with either Foot.
Fio. a. The Jama to the Sides of tU

Room.
Fig. 3. The fame of two Springs to the

Prefence.
Table XVI. Fig. i. The FLYING

CHASSEE or DklFING

STEP retiring backwards, CL OSE

and COUPEE to aMeafurewitb

either Foot, and HAL F COUPE B.
Table XVII. Fig. i. The HOP of

two Movements with either Foot from

the fifth Pofition upon the fame Place.
Table XVIII. Fig. x. The PASS A-

CAILLE STEP with either Rat

to the Prefence.
Table XIX. Fig. i. The HOP ami

two CHASSEES or DRIVES

round upon the fame Place with either

Foot.
Table XX. Fig. i. The FA LLan^

SPRING with hth Feet at the fame

Time, &c. with either Poet.
Table XXL Fig. i. The CLOSE

heating before and falling behind, up-

right SPRING, and COUPEE

&c. with either Foot.
Table XXIL Fig. i. TU fame beat*

iw before and f alii w behind in a whale

Turn, &c with either Foot.
Table XXIII. Fig. i. The BA*

LONNE with either Foot.
Table XXIV. T/r TURN upon a whole

Pofition, a quarter, half, three quar*

ter, Sec.
Fig. 1. A quarter Turn with either

Foot to the Sides of the Room.

Fig. 2. A half Turn to the Bottom with

either Foot.
Fig. 3. A three quarter Turn to the

Sides with either Foot.

Fig. 4. The Jame with either Foot and a
whole Turn.

Table

Table XXV.Tht PIROU Eft E

crofjirig behind.

Fig. i. A quarter Turn with either
Foot to the Sides.

Fig. 2. A half Turn to the lower End
with either Foot.

Fig. 3. A three quarter Turn with ei-
ther Foot to the Sides.

Fig. 4. 7 be fame with either Foot quite
round.
The PIR OUETTE croffmg befcre.

Fig. 1. A quarter Turn with either
Foot to the Sides.

Fig. 2. A half Turn with either Foot
to the Bottom.

Fig. 3. A Three quarter Turn with ei-
ther Foot to the Sides.

Fig, 4. The fame with either Foot quite

round.
Table XXVI. The PIROUETTE

introduced by a COUPEE.
Fig. 1. The Coupee with either Foot

Fig. 2. The Pirouette with either Footl

Table XXVrtl. The BOUREE before
and behind \ and behind and before 9 ad-
vancing in a whole Turn.

Fig. i. Before and behind with either
Foot in a half Turn.

Fig. 2. Behind and before with either
Foot in a half Turn more to tbePrefence.

Table XXVIH. The fame before and
behind^ and the COUPEE introdu-
cing a HOP or C HAS SEE.

Fig. 1. Before and behind in a half Turn
with either Foot.

Fig. 2. The Coupee in a quarter Turn
to the Sides with either Foot.

Fig. 3. The fame bef ere and behind in a
half Turn with, either Foot.

Fig. 4. The Half Coupee opening the
dif engaged Foot in the Airfetting down
incloid behind the Foot on which the
Weight is, with either Foot.

An Explanation of the Characters or Steps contained in Plate O, in

the regular Order treated on in B O O K II.

Table II. Fig. i. The MINUET

STEP of two Movements or ONE

andaFLEURET.
Fig. 2. The fame open offfideways to the

right Hand.
Fig. 3. The fame croffing behind to the

left fdeways.
Fig. 4 The fame of three Movements

croffing behind to the left.
Fig. 5. The fame of three Movements

be j ore and behind to the left.

Table III. Steps by Way of GRACE.
Fig. 1. The Hop or Contretemp in the

Minuet forwards.
Fig. 2. The fame backwards.
Fig. 3. The Double Bouree upon the

fame Place, tbefr/l, Fig. 1. the fe-

cond* Fig. a. forwards.

Fig. 4. The Double Bouree forwards
tbefr/l Fig. 1. and the fecond Fig. 2*

Fig. c. The Balance, tbefirfl Fig. 1.
end the fecond Fig. 2.

Fig. 6. The two Marches, thefirfi Fig. 1.
and the fecond Fig. 2.

Fig. 7. the Slip behind and Step for-
wards to either Hand.

The Slip behind to the right* Fig. I.

The Step forwards* Fig. 2. Slip behind
to the left* Fig. 3.

The Step forwards* Fig. 4.

Fig. 8. The fame in two Meafures.

Plate U. contains the whole Form of
the Minuet in the exaft Order treated
on in BOOKIL

THE

ART of DANCING

E X P L A I N'D.

BOOK the FIRST.

CHAP, t
Of STANDING.

■. I proceed to treat on Motitn, I apprehend it
« neceflary to confider that Grace and Air fo
ily requisite in oar Pofition, when we flmi
lompany; for, having formed a true Notion of
, there remains nothing farther to be obferved,
wucn we enter upon the Stage of Life, either in
Walking or Dancing, than to preferve the fame.

And, for the better understanding of this important Point, let

us imagine ourfelves, as fo many living Pictures drawn by the

mod excellent Matters, exquifitely defigned to afford the utmoft

Pleafure to the Beholden : And, indeed, we ought to fet our

A i Bodies

4 The Art of Dancing exphhti. r

Bodics in fuch a Difpofition, when we (land in Converfation, that,
were our A&ions or Poffcures delineated, they might bear the
(IricYeft Examination of the mod critical Judges.

Let us, therefore, to draw nearer to the Subjeft in hand, inquire
into the Nature of thofe Portions that mull be obferved, in order
to attain this fine and becoming Prefence : And that our Readtrt
raay be furnifhed with proper Directions to arrive at the fame, tho*
perhaps, our Rules may not be fo perfeft as could have been wtfheby
we flatter ourfelves they win* be of no fmall Ufe and Advantage;
wherefore, without farther Apology, I (hall enter upon the De-
fcription of Pofiio* in general

Pofeion, then, is the different Placing or Setting our Feet on
the Floor, whether in Converfation or Dancing; and thofe for
Converfation, or when vrtjlani in Company, are when the Weight
refts as much on one Foot as the other, the Feet being confider-
ably feparated or open, the Knees (height, the Hands placed by
the Side in a genteel Fall or natural Bend of the Wrifts, and
being in an agreeable Fafhion or Shape about the Joint or Bend of
the Hip, with the Head gracefully turning to the Right or Left,
which compleats a moft Heroic Pofture; and, tho' it may be impro-
per, in the Prefence of Superiors, among Familiars, it is a bold and
graceful Attitude, called the Second Pofitionf: Or, when the
Heel of the right or left Foot is inclofed or placed, without
Weight, before the Ancle of that Foot by which the Poife is fup-
ported, the Hands being put between the Folds or Flaps of the
Coat, or Waifle-coat, if the Coat is unbuttoned, with a natural and
eafy Fall of the Arms from the Shoulders, this produces a very
modeft and agreeable Pofture, named the Third Pofition inclofed ft:
Or, if the inclofed Foot be moved open from the other, fideways,
to the Right or Left, about the Pittance of half a Foot, or as
far as, in fetting it down to the Floor, the Weight of the Body,
reding on the contrary Foot is not cufordered by it, with the
Toes handfomely turning out, the Hat under one Arm, and the

t Sec Plate III. g S« the Feet in Place IV*

other

The Art of Dancing expkittJL i,

other in fame agreeable Adion, the Head alfo turning a little from,
the Foot on which the Poife refts, this we (tile the Fourth PouV
tion open, and it may be very juftly efteemed a mod genteel and.
becoming Pofture *. ,

The Pofitions, from which Dancing dates its Original, confift.
of five Principles : As, firft, when the Toes turning outwards,
the two Heels are equally placed together (a). Secondly, when
both Heels are confidently feparated or open (b). Thirdly, when
the Poife refts upon one Foot, the other being indofed or placed
before the Ancle of that Foot by which the Weight is fapported(c)u
Fourthly, when the indofed Foot is advanced upon a right line^,
about the Length of a Step in Walking (d). And, Fifthly, when,
the Heel of the advanced Foot is fo eroded and placed before the
Toe of that Foot on which the Body refts, as that the Turning
may be made, and yet one Foot not. in the lead, interrupt the
other (e). Having briefly defcribed the moil agreeable Poftures o£
Standing in Converfation, and laid down the Rudiments of the
whole A r t of D a n c i n g, I (hall now proceed to treat on Mfftim r
the Refult of Pofition, and firft begin with fPalhtg.

m
• • m

CHAP. n.

Of W A L KING.

"VV7ALKING confifts of Motion and a Change of Place, by trans*
** ferring the Weight or Poife of the Body from one Foot to the
other, by ftepping or advancing the difengaged Foot (whichsoever it
be) from the firft Pofition f to the fourth advanced ||, and fo alter-
nately, concluding as at firft f, but always on the contrary FootTIn^
order to "walk gracefjliy, it is to be obferved, that, during the
Step or Motion made by the difengaged Foot, as above ||, the-

* Sec Plate VIII. (a) See Plate II. (b) See Plate III. (c) Sec Plate IV. (d)See
Plate IX. (e) Sec Plate XI. t Sec Plate I. I See Plate IX.

B a whole*

6 The Art of Dancing explain' J.

-whole Weight of the Body mail reft on the fame Foot as at com-
mencing it f, until the ftepping Foot is advanced its due Length
of Step ||; and, on its receiving the Poife or Weight on the Ball
or full Part of the Heel, upon fetting it to the Ground or Floor,
the now difengaged Foot, which at firft fupported the Weight,
becoming by this means releafed, attends the Poife in a gentle and
eafy Motion, until it arrive in its former Pofition f; but on the
contrary Foot for the Step next enfuing, which is made in like
Manner, and fo on; for if, inftead of the Body's waiting or attend-
ing the Motion of the ftepping Foot, as above delcribed ||, it
fliould either go before or along with it, the Grace that ought
to accompany our Steps, in JVtdlang, is loft, becaufe the Foot
mud conftantly go before the Body ||, to receive it, other wife it
will always reprefent the Body in a falling Pofture.

And it is farther to be noted, that, in Walhng with a good
Grace, Time and Harmony muft be obferved, as well as in Danc-
ing: For Example, the fetting down or receiving the Poife, at
the End of the Step, is upon One; the taking up the difengaged
Foot, by a gentle and eafy raifing the Heel and pointing the
Toe, in one intire Motion, which is the Manner of taking up
the Foot to ftep, is upon Three \; and TW is in the coming up
of the difengaged Foot, after the Step has been made f , which
may be continued fader or ilower, but muft always be in one
certain Time, counting One, Two, and Three, as in Mufic. And,
by this Method, the Body with a good Grace refting or (land-
ing, 'till two Thirds of the Three we count, muft neceflarily add
great Beauty to our JFaHdng, which is the Cafe under Confedera-
tion; ibr the Step is made upon One\\, the Preparation or Taking
up the Foot, to make the Step, Three j*, and Tow is in the coming
up of the releafed Foot, to continue our JVafling.

And, as to the Motion of the Arms in fPalHng, they will na-
turally have their due Courfeor Swing, in a continual Contraft or
Oppofition to the Feet; for, whan the right Foot fteps for-

f Sec Plate I. | Sec Plate IX.

wards %

The Art rf Dancing expkuti. 7

wards (f), the left Arm advances, in Contradi&ion, as the right
Ann does, when the left Foot ileps forwards (g), and fo alter*
nately; and the like in Walking backwards, in Relation to the
Contrail, but not with Refpe& to the Arms, beeaufe, in Waiting
backwards, the Contradi&on is between the fame Arm and Foot;
for, when the right Foot ileps back (h), the right Arm advances
in Oppofitioh, as, when the left Foot ileps backwards (i), the
left Arm advances, as aforefaid, and fo on, if continued. Having,
I hope, offered what will prove fatisfa&ory, on this Head, I (hall
next inquire into the different Sorts of Bows and Cottrtefcs in.
Convention.

C H A P. Ill

Of BOWING, or the different Sorts of

HONOURS.

TD OWS ot Comefics are the outward Marks of Refped we pay
•■-' to others, which, in one Sex, are fhewed by bowing the-
Body, but, in the other, by bending the Knees ; and, if made in-
a. regular Manner, they are, indeed, very grand, noble, and highly
ornamental. They accompany our Converfation, as well in Stand-
ing as Walking', in the former, on breaking off a Converfation, as
in taking Leave, or by way of Acknowledgment for fome Favour
or obliging thing fpoken in our Praife; and in the latter, when-,
we enter a Room, or meet a Perfon parting either on the Right
or Left. Thefe are the two different Clafles or Sorts of Bows and-
Courtepes y which are, as it were, . founded on the two preceding
Chapters of Standing and Walking; and, to begin with leaving a
Room, which relates to the fir ft of the faid Orders, I (hall ob*

(f ) See the fecond Figure or Woman's Stfe in Plate IX. (g) & e the firft Figure
in Plate IX. (h) See the firft Figure in Plate IX. (i) See alio the fecond Figure in.
Plate IX.

ferve^

8 The Art ^Dancing explabfd.

lerve, that Taking Leave in Converfation confifts in {lepping
afide, bowing, and leaving the difengaged Foot pointed, fide-
ways, in one intire Motion to the firft Divifion -of the Bow or
counting of 0»cf, during which it remains the Refpe& or count-
ing of Twof; and, in the graceful Railing of the Body upon
Three y it is drawn pointed, with the Knees {freight 'till it erodes
behind the Foot on which the Poife reds, and (lands erect- on the
Foot that it crofles behind ||, to be repeated as. often as Occafion
requires; and it is to be noted, that the Refpe&, if repeated, is
always made to the fame Hand ; if the Leave be taken to the
Right, the Stepping afide is always with the right Foot $, as it
is always to the Left, if taken the contrary Way (k).

In Converfation with a Gentleman or Lady {landing, the very
lame Bow is made, as in leaving a Room, the receiving the Poife
on the Foot drawn behind excepted ||; but, inftead thereof, it
remains, on Conclufion of the Bow, in the Third Pofition, upon
the Point, without Weight, behind the foremoft Foot which here
fupports the Poife, in readinefs to repeat the Refpe&, if necef-
fary (1), becaufe, in this Bow of Repetition, it always (leps firft
to one Handf, and then to the other f, in order to preferve the
fame Ground; otherwife, if made as leaving a Room(m), it
would have the contrary Effect and caufe the Perfons to retire^
inftead of retting in the fame Place; and it is a very genteel and
becoming Bow, if the Stepping afide, Bow, and Point of the dif-
engaged Foot, be made, at oncef, and a Paufe or Counting
of Two is obferved between the Stepping afide and Bowing f,
and the graceful Rifing up again from thence, in drawing of the
pointed Foot up, at the fame Time, into the abovementioned
Pofition*, be alfo in one intire Motion. As to the Reverence
or Courtefy of a Lady, on the prefent Occafion, with Regard to
the Feet, it is much the fame, but not fo, in Relation to the
Body ; becaufe, as I have already faid, the Refped the former

t See the 2d and 4th PLites in the 2d Book. B See the 3d Plate in Book the ad.
$ See the 2d Plate in Book the 2d. (k) See Plate 4 in Book the 2 J. (1) See the Feet
in Plate 5. (m) Ssc Plate 3, Book the sd. ♦ See the Feet in Piate 5.

(hews

The Art o^ Dancing exphhfd. 9

(hews to any is by bending the Body, bat the Courtefy or Refpect,
which a Lady pays to thofc of either Sex, is by a graceful Bend-
ing of the Knees f, accompanied with a becoming and fuitable
Difpofition of the different Parts of the Body: As, haying the
Hands before them, in fome agreeable Pofture fupporting, as it
were, the flanting or falling Shoulders, which, at toe fame Time,
lengthen and more gracefully expofe a fine Neck, as well as a
beautiful Face compofed of fo many delicate and charming Fea-
tures, with which they are ufually adorned by the Bounty of
Nature; and, tho' it may be, in fome Meafure, prefumpjtuous to
attempt any Addition to the natural Charms of the Fair Sex, I
flatter myfelf they will forgive me, if I acquaint them, that a
modeft Look or Direction of the Eye, an agreeable Smile or a
lively and pleafant Afpett, with a Chin neither poked out nor
curbed in, but the u hole Countenance erect and graceful, will add
a Luflre to the whole, where any of thefe are wanting, whether
in one Sex or the other ; and, together with the eafy Situation
or Pofture of the whole Head, Neck, and Arms, with the hand-
fome Turn of the Feet, they compleat the intire Fafhion or
agreeable Difpofition of a fine accomplifhed Lady, as well in
Converfation in general, as the Courtefy j, or WaJhng y from its
being thus difpofed, from Top to Toe, is only to preferve the
graceful Pofition of the Body, as above defcribed.

It only now remains to inquire, whether a Lady Heps afide and
makes her Honour, in the Manner we have (hewn a Gentleman'
leaves a Room, after flepping afide $, by drawing the dilen-
gaged or pointed Foot f into the firft Pofition, equal to the .
Foot, which flepped afide||, inftead of drawing it crofting be-
hind, as aforefaid(n); or that Courtefying, without ilepping afide
at all ||, as fome do, is only to let the Weight or graceful Fafhi^-
of the Body, as jufl defcribed, fall, or rather feat itfelf, as on

t See Plates 2d and 4th in Book th : 2 J. $ See Pb e t' e 2d :n Book th: 2d. ( See
Plate the 2d. (n) Sec the 4th and 1 1 -h Plates.

B Chair

io The Art of Dancing txpkhfi,

Chair or Sterol, 'without Diforder, upon that Foot which is
drawn or crofted behind (n), as m leaving Company, or on both
Legs equally alike ||, if the pointed Foot be drawn into the firft
Portion |[; and the like, if made on both Legs, "without moving
from the fame Place ||, only with this Difference, in Relation to
the Weight's coming upon the pointed Foot f or that which
is crofted behind (n), after touching the Heel of the Foot on
which the Poife Tefts*, in like Manner as when the Gentleman
takes Leave f , and retires back, as it were a Seat for the Weight
to reft upon(n), whilft the Cmrtejy or Lady's Refpe& is paid,
upon the Beginning or firft Divifion; whereas, in a Bow for the
Man, it does not receive the Weight, 'till the third Divifionf,
refting the Counting of Two for the Refpe&, as we have ob~
ferved, in the Contrary Sex; and, upon counting of Three at com-
pleating the Courtefy, it rifes in the fame flow, graceful, and de-
liberate Manner, 'till it (lands upright on the crofting behind
Foot **, as at firft it feated itfeff thereon, in the Courtefy or
Bending of the Knees f, compleating the Refpeft or Courtefy^
on a Lady's, leaving a Room, in the difen gaged or foremoft
Foot's being at Liberty to renew the Refpe&, ' as Occasion
squires**.

As to 'which Foot the Stepping afide 'begins with, in Rela-
tion to taking of Leave, it is altogether the fame, as was
defcribed for the other Sex; but, as this Courtefy or Refpeft has
the like ErTe£t, as I obferved, in treating of the Bow in Con-
vention with another; viz. Retiring from each other, it is to
be evaded in riling, by transferring the Poife from the hindmoft
Foot to the foremoft, which, being then at Liberty, is ready to
repeat the Complaifance on the contrary Side, and fo to pre*
ferve the fame Ground. And the like may be faid, in Rela-
tion to concluding the Courtefy on the ftepping afide Foot,

(n) See the 4th and nth Plates. See Plate the 2d. f See Plates die 2d and
4th in Book the 2d. * See the Feet in Plate 5. ** See Plate the 3d in Book the
ad.

when

The Art ^Dancing explain I u

when the pointed Foot is drawn into the firft Pofition*; or the like*
without ftepping at all, by fwaying or waving the principal
Fart of the Body, as Occanon offers, either upon the right (o)
or left Foot (p), as will be moil to Advantage, in the graceful
bending or finking down upon the Knees || ; which Wave or
Sway of the Body not a little contributes to the Beauty of the
Courtefy, as does alfo the handfome Pofition of the Waifte,
neither too much forwards nor backwards, the whole Poife of
the Body being beautiful and upright, as before defcribed,
directly perpendicular or right down over the Heel or Heels,
on which the Poife reds (q); and this, I think, concludes all that
is neceflary to be {aid, concerning the Reverence or Cmtftcfi
made by Perfons of either Sex, according to the firft Oafs,
relating to Pofiion or Standing, at leaving a Room, or in Con-
verfation with others.

I now proceed to the Second Sort of Honours, viz. thofp which
are introduced by Motion, as in Walking, &c. and I (hall, firfl, &mfb
what concerns the Ladies, before I return to the Gentlemen, who
are to obferve, that, at the End of the laft Step, after, their
Entrance into a Room, before they pay their Refpe£t or Hm*r f
they are to make a graceful Paufe or Stand upon the Foot
that made the laft Step, which, as has been already {aid. m
Walking, is compleated upon counting of One, fo that the whole
Perfon refts the counting of 7W, in the coming up of the
difengaged Foot into the firft Pofhion, equal to the Foo£ wftqh
made the laft Step preparatory for the Courtejy (r) ; and Three
is the Reft it makes, when thus joined in the graceful Disposi-
tion of the whole Faftiion, or upon taking it up, if afterwards
flapping afide (s), and thus ere& from Head to Foot , it is
duly prepared to make the Courtefy in that fmooth Manner of
bending the Knees we have defcribed, directing the Eye* as Occa-

mp*m** ■ ». ■ j. i ... mj

*^^

• See Hate the 2d. (o) See the 2d Figure or Woman's Side in Plate 1. (p) See

the ill Figure in Plate 1. fl See the 2d and 4th Plates in the 2d Book, (q) Stc
Plate 2d in the 2d Book, (r) See the 1ft and 2d Plates, (s) See Place 1.

B 1 fion

12 The Art of Dancing explantJL

(ion requires; or the like, if the Court ejy be made in ftepping
afide, as in taking Leave f, for there is no other Difference be-
tween the Honour or Refpett, on leaving Company and coming
up to them, than that, as I have obferved, the former proceeds
from Pojhim or Standing || , and the latter is introduced by Mo-
tion or fralksng^; but, having (hewn, what that Preparation is, there
is no Occasion for any farther Enlargement.'

If a Lady makes an Honour Pajpng, either on the Right or
Left, or in meeting any One, in Convcrfiuon, Waiting, or the

of th

like, at the End of the Step preceding the Comphifance or
Refped, (he turns about half way towards the Perfon, upon Con-
clufion of the faid preparatory Step or Counting of One ; and,
upon Counting of 7w, (he lets the difengaged or coming up Foot
touch the Heel of that Foot which (lepped, crofsways, Tbefore
the faid coming up Footff, which now attends the Poife, in
order to make the Honour ; and, upon Three , (he fets it down,
fomewhat obliquely or flanting off from the Perfon to whom
the Refoe£fc is paid, without Weight**, and thus becomes duly
prepared to make the Courtejy*; I mean, when the Head is
beautifully turned to the Right or Left, according to the Side
on which the Refpeft is made, in a graceful Contraft of the
whole Fafhion; and, being fo difpofed, (he makes the Honour
by a fmooth and eafy Bending of the Knees. The whole Poife
of the Body, during the Counting of One or Bending, as' afore-
faid, reds the Counting of 7W*, or, as we have already faid,
the Refpe& in a fine Contraft; and, upon the third Divifim or corn-
pleating the Courtefi, it rifes gracefully from the Foot on which
k refted, all the while, in this becoming Twifl, palling on, 'till
it (lands erecV upon the Foot which was placed or advanced for
that Purpofe **, by transferring the Poife from the Foot that
made the preparatory Step for this Refpe&, which, being now at

. t See Plates 2d and 4th in Book the 2d. p See the 4th, 5th and 8th Plates.
$See Plate 1. ftSee the Feet inPlate 5. •• See the Feet in Plate 10. * See Piatet
2d and 4th in Book the ad.

Liberty,,

The Art gf Dakcing explaUtJb: ij

Liberty, is ready to repeat the fame, as often as Occafion requires $£
and from hence it becomes a Kind of fPalfctv Court ejy y chang-
ing the Poife from one Foot to the other. And it is to be notea^
that it muft always be the Foot next the Perfon, which make*
the laft Step in Wdfaig, before the Refpe£t : For Inftance, if
the Perfon be on the Right, the right Foot makes' the Step; and
the left, if the Honour be paid to the other Side, turning, as
before defcribed, towards the Perfon or Foot which made the
Step in Preparation for the Court:Jjr 9 and directing the Eye, fide*
ways, upon the Perfon to whom the Refpe& is paid, inftead oC
right forwards, as when entering a Room, or meeting One, which
is the only Difference. And it is to be farther obferved, that,
tho' this Comphifance may be repeated, once. or more, after paf-
fing a Perfon, it mud never be made, before we come " parallel
to the Perfon to whom we pay this Refpeft ; and if Occafion
requires its being transferred to the other Side, whicfi often
falls out, as when Company are feated or Handing, on both Sides,
of a Room or Gallery, &c. we continue walking on. till we arrive-
at the next Occafion of paying this Refped, as when Cempany
are fcattered, at fome Diflance, and then make the Paufe or
Stand, at the End of the Step next the Perfon or Perfons,,
by turning, &Pc. as before; or if the Change or Transferring. ma v
be fooneft performed,- as when Company are thick on. both Sides^.
it muft be divided by two Steps made between the preceding
Court cfies, the fecond Step preparing to pay the Refpe&, as i
have already (hewn, which will be the left Foot, the foregoing
Honour being fuppofed to the Right; and the right Foot, if the
Complaifance be firft paid to the Left. And, in thefe Poflbm
Honours, it muft be noted, that no Regard is to be obferved,
with Refpect to the Quality of »the Perfon, but only Conveniency,
in Relation to the Right or Left, as the. Company firft prefent
themfelves, as we pafs along; nor, indeed, can it well be otherwife,

§ See Plate i.

becauie

14 The Art of Dancing explained.

beeaufe they are all ta receive it, in their Turns. As what ha*
been faid is all that I apprehend to be material, relating to
the Ladies, I flatter myfelf, that they -will not he wanting in
putting thefe Rules into Practice, fince I have been at fo great
Pains in compofing them for their Service. '

I (hall now proceed to the Conclusion of what I have to offer
to the Gentlemen, on this Head, which is much to the like Effeft
with what was obferved to the Ladies; for, when a Gentlemen
enters a Rodm, the graceful Stand or Reft he makes, as already
clefcribed, in the Courtcjy for a Lady on this Occasion, mull be
always made on the laft Step before Bowing, which may be oh
the left Foot; whilft the right, in coming up, as aforefaid. in its
Attendance on the Poife, inftead of ending in the firft Poutionf,
as in Walking, is placed considerably more open> fideways, without
Weight, the Heel being fomewhat raifed, the Ball or Ififtep point*
ed or preffing lightly on the Floor, the Knee ilreight, and the
whole Weight of the Body, in a Gentleman-like Manner, retting
on the left Foot||, bows, as Occafion requires, by bending the
Body and (craping the open Foot, at the fame Time, in one
mtitt Motion forwards; upon the Counting of One**, remains the
Refpeft or Counting of 7w, in this refpe&ful Pofture, with
the Knee on which the Body reds bended, to prevent its being
awry, which otherwife would be the Confequence, and the Arms
naturally hanging under the Shoulders; and, upon three, it rife*
from this humble Pofture in one intire (low motion, 'till it ftands
ered on the right or (craping Foot; and the left, at the fame 'Time,
being releafed from the Weight of the Body, falls into the firft
P option, as in Wdhng *, to repeat it, if it be necefiary.

The Bow Paffmg differs, in no Refpe&, from that advancing or
coming into a Room, except in the Situation of the Perfon : For
Inilance, in entering a Room, the Perfon is before us, but only

t See Plate i. | See the Feet in the ad Figure or Woman's Side of Plate 6.
** See the Feet of the 2d Figure in Plate 9. * See the 2d Figure in Plate 1.

upon

The Art gf Dancing explahfJi t$

upon one Side, on the prefent Occauon. From hence it appears,
that, after the Step preceding the Bow and Paufe, placing the
contrary Foot or reparative^ is made f, the Refpeft is paid int
the very fame Method, as forwards, only that the' $ody is. tnrneo
in -a beautiful and agreeable Twift or Contrail, tideways, tookinop
upon the Perfpn to whom we pay the Refpeft; if the Bow be
made upon the Right, tlie antecedent Step is made with .the

left Foot, and the right, daring the Paufe ? is placed for the
Scrape in Bowing f; as, if. it be 'made on the contrary Side, the
right Foot makes the preparatory Step, and the left wiE be
placed, as aforefaid, to pay the Refpeft*; and, if repeated, it
will always begin and end with the fame Foot, 'till changed
by adding a fecond Step, which transfers die Bow to the other
Side, as Occafion* offers. This Bow is alfo made, in waflting
with a Gentleman or Lady y upon fome obliging Exprefliqn in
Converfation, once or oftener, as Neceflity requires,' with the
right 'Foot fcrapirig, if the Perfon be on the Right, out the
contrary Foot, if the Perfon be on the Left. It muitatfbbe
noted, that the Step made, before placing the Foot for thtBow r
is to be made with the contrary Foojt^ to the Side the Perfon i$»
on, to -whom the Refpejft is paid, and the placed Foot is that
next the Perfon; tho it is the Reverfe in the Ladies, becaufe
the Step preparatory for this Refpe& is made with the Foot
next the Perfon, and the contrary is the placed Foot.

It will not be improper, before I conclude with the Gcntlcmc*^
to take fome farther Notice of a Difficulty that may arife, Hi the
Application of the Bow F offing \ I mean, the Changing or Tranf-
ferring it from one Side to the other, becaufe, in parting through
a Lane or Room full of Company, we cannot, as I have already
obferved to the Ladies , bow on both Sides, at once ; and therefore
the Rule is, to pay this RefpeA to thofe that firft fall in our Way,

t See the Feet of the ad Figure in Plate 6. • See the Feet of the lA Figorc at
Plate 6*

• *

and

i4 The Art ^Dancing, explaktd,

and, if poffible, conclude on that Side, and then, by walking two
Steps or more,, to make -the like Compliments on the other;
which will be, by bowing and fcraping the left Foot£, if the
firft Refpecl.be paid to the Right, and the contrary Foot, if it be
firft paid to the Left *. And if it fhould fall out, as in St. y<xmes\
Parky or other publick Places, where you may walk, perhaps, a
confiderable Way, before you find an Occafion for paying this
Refpeft, you are to note, that thefe Bows, as we faia, in Rela-
tion to the Ladies Courtepes, are never made, before you come
equal to thofe you falute; and, if it be a Perfon of Nobility or
extraordinary Fafhion, an additional Bow, fideways, as when
leaving a Room, may be added, with the contrary Foot to that
which made the Scrape, turning full to the Perfon to whom you
pay this uncommon Refpe&, in $<$>% ; nor . muft you forget,
that, in entering a Room, or meeting any one, it is always to
be added to the Bow Forwards, as being of lingular Ufe, in paying
Refpe& to the Company in general, as the former is to the
Perfon we falute in particular, by a Call of our Eye round the
Company, omitting none, for an Omiffion may, many Times,
be e (teemed an Affront and ill Manners. It will be like wife
expedient to obferve, that fome Ladies make the Paffhig Honour
the very fame, as that I have defcribed for the Gentlemen; the
only Difference is, that, after placing the Foot f , inftead of lowing,
in the Scrape of the Foot ||, they courtcjy to the Right** or
Left ff , as Occafion requires, in the graceful Contrail defcribed
for the other Sex's Bowing y concluding on the fcraping Foot||;
which, if on the Right, will be the right Foot ^, and left at
Liberty to ftep and place the preparatory Foot ; as, on the con-
trary Side, it will conclude on the left Foot =, and the right will

$ See the Feet of die i ft Figure in Plate 6. * See the Feet of the 2d Figure in
Plate 6. f See Plate 6. flSte the Feet in Plate 9. •* See the Feet of the 2d Figure
in Plate 6. ft See the Feet of the ift Figure in the fame Plate. $$ See the 2d
Figure in Plate 9, and 2d of Plate 1. «" See the ift Figure in Plate 9, and ift of
Plate 1.

then

The Art of Dancing explain d. 17

then be in Readinefs to make the Step, and place the Foot, in
order to its being repeated, according to the various Occasion,*
• before mentioned. Some alfo ufe this Method of Courtcjyiqg,
when they enter a Room, or meet a Peribn, which is, in all
Re(pe&s, agreeable to the Gentleman s Bow, as above deferibed,
except in the Scrape or Sliding of the prepared Foot forwards f,
viz. to bend both Knees, at the Cunt Time, and to let the Poife
fall gracefully upon the hind Foot, during the firft and fcccnd
Divifions; and afterwards the Body riles beautifully, as aforefoid,
'till it ftands on the advanced Foot f, by transferring the Weight
from the hind Foot, which, being releafed, is ready to«tu/%(t), and
place the contrary Foot, in order to repeat it, in like Manner, if
necefiary : Or, if the Ccurtejy ufed, at leaving a Room, be
added *, it will then, in all Reipe&s, be anfwerable to the Gen-
tleman's Bow, at coming into a Room. But in Fine, let the
Bow or Court eft, notwithstanding all the various Methods, and
the feveral Occasions, here deferibed, be made in which of thofe
Forms we pleafe, they cannot fail of being performed to Ad*
vantage, but mult neceflarily produce a good EfTeft, provided
they be made in the Manner already (hewn, upon Counting of
One *, the Paufe or Reft Two*, ana the Riling upon Three (uY.
Having, therefore, in this Difcourfe upon Honours in genera],.
endeavoured to take Notice of every Particular, that might prove
ufeful or inftru&ive, fo as to omit nothing material, I natter
my felf, that, if it be not, in all Refpe&s, accompliihed, . accord-
ing to my Intentions, the Difficulty of the Subject will plead
my Excufe; and, as I have, in the preceding Chapters, regularly
gone thrcugh what I apprehended neceflary, upon Standing,
Waling, and Honours in general, under the laft of which Heads,
as the Reader will eafily perceive, it was fcarce poflfible to avoid
fome Repetitions, in my treating di ft i nelly on Bowt and Cour-
tcjies, I {hall now proceed to the various Steps of Darning,

— ■ — ■ — II — -^— — — — ^— — — , , II ■— — ^ M ■ !«■■■ ■■ lmm

t Sec the Feet in Plate o. (t)Sx Plate 1. * See PUtes die 2d and 4:11 ia Book
the 2d. (u) Sec Plate 3d in BaSk the ad.

c CHAP.

i8 The Art of Dancing expbm'J.

CHAP. IV.
OftbePJNCING-ROOM*

BEfore I enter upon the various Stefs of Dancing, it will be
neceflary to defcribe the Room in which the Dancing or Stefs
are to be performed; which indeed feems to claim our more
immediate Notice, fince it will greatly affift us, in forming clear
and di(lin£t Notions of the enfuing Work.

Firft then, you are to obferve, that the Shape and Figure of
Rooms differ exceedingly; for fome are of a. direct Square, others
not fquare but oblong or longifh, namely, when the two Sides
are ibmewhat longer than the Top or Bottom, and various others
that, in Reality, are of no Form at all; which renders Dancing
extremely difficult and confufed to thofe, who have not a jufl
and true Idea of the Room, in its different Situations; becaufe,
if this be wanting, altho' they may perform very handfomely,
at their own HouJes y or in School with a Mailer, yet, in Affem-
tiies or Rooms Jbroad. they are as much difordered and at a
Stand, as if in an Uninhabited IJland. I therefore conclude, that the
Crime, if it (hould by any be efleemed fuch, of dwelling fome-
what longer than I intended on this Subject, will the more
eafily be pardoned by the Ladies and Gentlemen, when I acquaint
them, that it intirely proceeded from the earned Defire I have
of rendering them Service, by endeavouring to remove the above
mentioned Caufes of Diforder and Confufion; which I cannot but
perfuade myfelf will meet with a favourable Reception, efpecially
from the Hands of thofe who, by this Means, (hall receive Improve-
ment.

Encou-

The Art of Dancing explaittd. 19

' Encouraged by fuch a pleating Profped, I proceed to inform,
the Gentlemen and Ladies y that, when they are about to dame
in a Room of the firft Sort, viz. a direct Square (a), the dame
may be begun, at any of the four Sides or Parts of the Square
or Room; but then they are to note, that the Side or Part,
on which the Dance begins, is always called the Bottom or Lower
End (b); the Side or Part which they face, the Preface ot Utter
End (c); and the two remaining Parts or Sides of the Room
receive their Names, according to the Hand they are on: For
Inftance, the Side, to which the right Shoulder points, is calTd
the right Side (d) y and the other the k/f(e); from whence it it
to be understood, that the Back is to the Lower End of the
Room, and the Face to the Upper, (b that, if, inflcad of Begin-
ning, as aforefaid, you was to commence, either upon the right
or left Sides, they would not be then Sides y as before, but the
Uffer and Lower Ends of the Room; that is to lay, if upon
the right Side (f) the left would be the Preface or Ufper End(g) f
and if upon the left (h) the right (i), and confequently the Parts
or Sides, which at firft were the Lower (k) and Uffer Ends (IV
now are the Sides ; but all this is fubfement to, and depends
upon the Company, who muft always be feated at the Preface
or lifter End.

As to the longtjb or fecond Sort of Rooms , they differ from the

/pare; in the Sides being longer than the Ends(m); and it of

Courfe follows, that the Dance muft begin, at one of the faid

Ends(n), which is like wife decided by the Company; or, if the

Door be hung near the End of one of the Sides, as ufually it is,

(a) See the Square or Room, marked i, in the ift Plate diftinguifh'd by the Let-
ter A. (b) See the Letters A B in the faid Square. (c) See the Letters C D.
(d) See the Lettei. E F. (e) See the Letters G H. (f) See the Letters A B in
the Squat e mark'd 2. (g) See the Letters CD in the laid Square, (h) See the
Letters A B in the Room or Square marked 3. (i) See the Letters C D in the
faid Square, (k) See the Letters A B in the Square marked 1. (I) See the Letters
C D in the fame Square. Cm) See the Letters E F G H in the Rooms marked
4> 5» o. (n) See the Letters A B in the Rooms marked 4, 5, 6.

C a the

20 The Art of Dancing cxplahtd.

the Dance commonly begins, at the End next the Door(o).
However that be, the Dancers mail have a particular Regard to
the Prefince and Bottom of the Room, where they began, other-
wife it is no Wonder that thole, who are of a timorous and balh-
ful Nature, with the Fears of being out together with the
various Turnings and Windings of fome Dances y fnould be per-
plex'd and nonplufs'd ; and this I have perceived to be the
Cafe, when I have (een a Minuet begun at the Bottom of the Room,
and ended at the Upper End; which could not poflibly have
happened, had they obferved the preceding Rules. .

I (hall, for the more fully Clearing of this Point, add an Obfer-
vation or two more that may be of Service: Suppofing one Page
or Leaf of the Book you now read, or any other, to be the
Room or Floor in which the Dances or Pra&ife of the Steps
contained in the following. Work are to be perform'd, lay it flat
and open upon a Window or Table, at the Upper End of the
Room ; and if, when the Book is open, the two Pages make
a Square, it will be agreeable to the firft Room, and the one
half or (ingle Page to the longifb or Jecond; but you are to
take fpecial Notice, as to the Part or End of the Room intended
for the Prcjince, that the Title or Page of the Book be fo placed
or laid upon the Table or Ground, as that, when you (bind at
the Bottom facing the Upper Part of the Room, to perform
the forefaid Steps or Dances y you can read the laid Book : Or,
fuppofing the whole Floor to be the lame Book, and to contain
the Matter written in the Page or half Page, the Book lying
nVd and immoveable upon the Table or Ground, let the Turn be
made to the Right or Left, in a Quarter, Half, or Three-quarter
Turn, and you cannot poflibly make the lead Miflake ; for tho*
the Book, by which you are directed in Compliance therewith,
turns along with you, yet any other you fhall lay upon the
Ground will remain fix cl; fo that from what has been laid upon

f o) See the following Mark f in the Rooms aforeiatd.

this

The Art of Dancing explahtd. 21

this Head, I think it plainly appears, that the Lower End of the
Page or -Leaf is the Bottom of the Room, and the Title above
the Pretence or Upper End ;' the Beginning .of the Lines, as
you read thefe in Dancing, is the left Side, and the' Breaking
off of the Lines the right (p), tho' the Sides of the Book are
not fo term'd; The Reafon of this may be underftood, by plac-
ing a Perfon at the Upper End of the Room facing the Bottom-, -
holding a printed Book or written Paper perpendicular in his
Hands, fo as that you can read it ; for you will find it the Re-
verie to Dancing, in that the right Hand will hold the Part of -
the Paper from whence the Lines begin, and the left that where-
they break off. It is farther to be noted, that, iuppofing the
Dance for one Perfon alone in the fquare Room or two Paget-
of the Book, as juft mentioned, the Dancer places him or her-
felf in the Center, or upon the Joining of the two Pages, which,
when open, is dire&ly in the Middle (q); or, to pra&ife any Step*
of this Book, the Cafe is the lame; but, if the Dance be of Muol
the Lady takes the right Side of the laid Center or Line (r), ana
the Gentleman the left (s) , fo that the joining or prefenting of
Hands, if neceflary, would fall upon the Line or Center upon
which the {ingle Dancer begun (q) ; in which it is to be noted,
as on other Occasions, that the Lady takes the Right of the
Gentleman:

And as I have now faid what, I hope, will prove fufficient
to remove all the Difficulties that may arile, in Dancing, on Ac-
count of the Room, or in Relation to the Steps I am about
to explain, I fhall no longer detain thofe who are ambitious of
attaining to Perfection in a Science, of which I have the Ho-
nour of being a Profeflbr ; but, having prepared and made them
thoroughly acquainted with the Room, in which the Steps of Danc~~

(p) See the 7th Example of the Book in the Plate of the Room. (q) See the
Letter S in the {kid 7th Example, (r) See the Letter W in the Example afore&id..
Xs) See the Letter M in the before mentioned Example.

•St

32 The Art of Dancing ext>kut4*

ing are to be performed, I (hall invite them into the lame; but,
before I defcribe the various Steps of Dancing, I (hall, in a few
Words, endeavour to prepare their Minds to form a clearer and
more diftin& Idea of the following Deferiptions.

As the Human Strufiure is compofed of different Parts, vk..
Head, Neck, Body, Arms, Legs, Feet, &c. fo likewife is
Dancing of Portions, Steps, Sinking, Ruing, Springing, Caper*
ing, Falling, Sliding, Turning, Figures, Cadence or Time, tfc.
And as the Head confifts of Eyes, Ears, Nofe, Month, &c. the
Arms, of the Shoulders, Elbows, Wrifts, Hands, Fingers, and
Joints of the Fingers, the Body, as it were, remaining in the
Center or Middle of the Human Frame, fupporting the (aid Arms,
as the Legs, which fupport them both, are compofed of the
Hips. Knees, Ancles, Feet, Toes, and Joints f of the laid Toes,
on the firfl of which the Riling upon the Inftep is always made;
and as all thefe different Parts have their peculiar Excellencies,
to adorn the Whole, lb the Eyes give Life to the Face, as well
as direct the Steps; the Ears mark Time to the Tune; the
Nofe, as it were, points out the graceful Twills or Turns the
Head makes, in Oppofition to the other Parts of the Body,
whilft the Mouth, at the lame Time, adds thole becoming Smiles,
which, together with the Brightnefs and Luflre of the Eyes,
compleat a mod agreeable and pleafing Countenance. The Neck
too, in its graceful Compliance with the Turn of the Head; the
Shoulders, in their natural Riling, Falling, or Hanging down(v);
the Elbows, in their eafy Ben dings, according to the Occafion(w);
the Wrifts, in their pliable Correfpondence with the Elbows and
Shoulders, as the handfome Shaping or Bending of the Thumbs
and Fingers produces beautiful Hands compleating the Arms(x);
which, in their refpe&ive Oppofing the Head, in Conjunction

-)- See the Figure in Plate III. (v) See the different Pans, as above deJcribed, in the
Ladies Figures contained in the 2d Book. (w)Sce the Figures in Plate 10. (x) See
the Ports above mentioned in the Arms and Fingers contained in Plate 13.

with

• f J - • •

The Art 0/ Dancing exphutJL 23

with the Body, is a farther and large Addition to the Whole (y);
the Legs, in the gracefully fupporting the Frame of the Body,
Head, Neck, and Arms (z); and the Hips or Joints, which unite
the Legs and Body, agree with the various Movements or Bend-
ings and Rifings of the Knees or Inftcpsf, the Pofitions or
handfome Turn of the Feet coinpleating the Beauty of the Legs>
on the neat Management of which the Perfection of Dancing
(6 much depends * ; and thefe together, in Confederacy with
the Head, Oppofe the Body and Arms, rendering the whole-
Body compleat and capable of Dancing, in all its various Attl*
tudes or Poftures **.

Having, by the foregoing Simile or Companion, given an Ac*
count of the outward Form of the Human StruBure, fo far as*
it relates to, or correfponds with Dancing, or may, in any Re(pe&,
conduce to the better Underftanding of the enfuing Subject, by
running over the different Parts of the Body, from the Head!
to the Feet, which compofe the Pofitions, with a fhort Exphr
nation of the faid Parts, (hewing how they agree in forming,
the moil pleafing Obje&, to grace the Art of Dancing ff,
before I proceed to treat on its various Steps, I (hall, by the way,
obferve, that the foresaid Particulars, from whence the whole
Body or Art of Dancing is produced, namely, P option, Ssnke
ing, Stepping, Rifi/tg, Springing, 4?c. are of the very fame Ufe, in:
Dancing, as the Aphafat, in the Compojhim of Words ; for as
Words vary and are produced, according to the different placing;
of the Letters; and different Subje£b, Languages, &c. accord*
ing to the different Compofition of Words; or, as in Muflc,
by the different placing of the Notes, that compofe the Gamut
upon the Scale or Spaces between the Lines, are produced dif-

(y) Seethe Turn of the Head, Body, and Arms, of the Figures in Plate 6, or in the
4th, 5th, 7th, 9th, nth, 1 ith, and 14th Plates, (z) Su-e the Figures contained in the
3d, 6th, and 8th Plates. f Sue the Figures in the 3d and 10th Plates. * See
the Feet of the Figures in general. ** See the Figures in the 4th, 6th, otb,,
nth, 1 2th, and 14th Plates. ft See the Figures in Plate 13, tec.

ferent

24 Thc-ART of Dancing explain^

• ».

ferent Sounds, which, as they afcend or defcend, compofe various
Bars or Meafures, that may be compared to Words, and the
various Bars and Measures compofe the various jriecei of M"/jf>
in different Keys and Movements; fo the different Siefs o£ Dotting
are produced, according to the various Placing* of the Sinkr,
Rifiigr, Bounds , &c. upon the Step, whether confiding of one,
two, three or more Steps to the Meafure, and . the different
Steps produce Variety of Dances, according to the Compofef**
Fancy, upon all Sorts of Movements in Mupc, whether grave
or brisk.

We are, next, to (hew, how thefe Actions or Motions of
the Body, which, as we laid above, compofe the whole Art
of Dincing, correfpond with the Portions and. various Mo-
tions and Steppings of the Feet, in composing the following
Steps and Movements ; and the Manner, in which they are
made, will fully appear from the Defcription I am .about to
give of the laid Steps, beginning with the Half Coupe e,
the Movement that fir ft occurs in Dancing. .

• - •

ft ■*

CHAP.

- r

The Art of Dancing exfUmfJL 2$

'». ' m - I * 1 r » 1 r *. ', '«! '"< r «i T »i f • ' •"•<!■ ■*»' '»• '■' ' k '« '■•• ' » ' '«• *»• ••' •• ^» — •

C H A t. l -V£

0/ ri&e CO VP E £ of che Step," or HALF

COUP E E.

• #

, • . f * * ..■•• * > g

t , » » I ' ♦ -

Eis, firft of all, to be obferved, that the Half Coupe y tHo*
1 very agreeable Step in Dancings as well as one of the molt'
:ult to be performed well, by Reafbn of its Ptainndi,
is originally nothing more than a '{ingle Step, made with either
Foot, from one Place to another with the additional Oraa-
ment of a Movement or Bending or Rifing of the Knees in
Time to Mufc ; and it is moil amiable, when executed in- that
gentle and graceful Manner it ought to be, whether upon the
Toe or Heel "; : •••- -

The Half Coupee may be performed various *• Ways, as
by Sinking, Rifing, and Stepping forwards ; and the like back*
wards, tideways, to either Hand, or in turning a quarter or half
Turn (a), Vc. It ufually takes up a Time or Meafure of the
Tune, and, being continued, transfers the Weight, as in Walk-
•% from one Foot to the other; and, in Diftin&ion from
the reft, the Dmctng-Ma/lers have named it a Half Coufee,
tho' I think it may rather be called a Coupee of one Step, as the
Title above Ipeeifies : But, as I (hall have Occafion to give a
farther Account of this Step, when, in treating of the Bouree or
Fttttrety I carry on a Companion between that Step and the
lid' ' Confee y I (hall, in the mean Time, proceed to the Cmfee,
the Movement that next occurs in Danzig.

(a) Sec the Explanation and Tcbfe of this Step in tie Hue na k*d E.

D CHAP.

XBfr.N%ftx> tf ;D a #<ai ^Oi-«#WrfSK

♦ \i/»>^»»^

iV»

'lO -i.'> r, 5,-»

• I

.3. a r ii'oo

HE Coupee, on the other Hand, is a compound Step;
thftt isto fay > it is formed of two Steps, joined together,
wmcn, however, are to be accounted but as a tingle. Step: The firft
Movement of which begins in . * Sink and Rife. If the Tune,' to
which, \t hf performM,; be. of triple Time (as a Saraband, i pr ln~
ftance, which admits only of three Notes in a Bar) then the
firft Step takes up one of the three Notes, and the other two*
Notes, arfe counted in the remaining Step. ! The Weight of the
Body mqft , always reft .on the contrary Foot to that r on which
you begin; fo that, if you begin your Coupee with thei right
Foot r the Poife mud be on the left f , and continue fa to be,
'till you have cpmpkated the firft Step of the two, which,
as I (aid, compofe the Coupee. The firft Part being finiihed^ the
right Foot immediately receives the Weight, * in the rifing from
the Sink which is made, at commencing the Step, and in the
fame Inftant beats Time, as we call it, to the firft of the three
Notes contained in the Bar; fupporting the Body ||, whilft the
left Foot, to compleat this compound Step, Hides with a flow
and gentle Motion, filling up the remaining two Notes of the
Bar or Meafure ** , and the whole Step is compleated, at the In-
ftant when the left Foot a fecond time receives the Weight ff.
This Step, like the Half Coupee , admits of being varioufly per-

i-See the i ft Figure or Man's Side of Plate I. * See the fecond Figure or
Woman's Side in Plate 9. tf See the 2d Figure or Woman's Side of Plate I.
** See the ift Figure or Man's Side in Pure o. +t See the 1 ft Figure of
Plate I.

formed,

The An t of D a K c i : n g explain J. 37

formed, as forwards, back wards j fideways, and circularly (b). It
differs, indeed, from the Half Coupee^ in the Continuance of* per-
forming it; for whereas the Half Coupee y at in flatting, transfco
the Weight, every Time, from one Foot to the other, the OcitPee
does the very Reverie, in that it always begins with the " fame
Foot : For, if you Begin it with the left Foot, it will end with the
right; and, if with the right, it concludes cui the left (c); Jsuafl
fo mutually, as often as ever it is repeated, and until it is changed
hy fome other Step. It is called a Coupe , from its containing two
Steps inflead of one, which is all that the Half Coulee employs* t

' » \ « „ #« • •*..* .• i » _

:-./::'.; . i :,..!; :. :V ." iA *> : .^ ;> Y}M* , •; on:.?' srl; ?"; 3; t£ : i

:, b/ Ik 'cpupEzm : t^)m^tt^

H £ Coupee with two Movements is comp&eb^rqurritfM

Cw^pftf I have already explain'd, of two Steps ; but it dif-
this, that whereas the Coupee treated of before confifls

ters m

only of one Movement, that is to fay, of one Sink and Rife,
which is what we call a Movement y and made to the firft Step;*
fo it confequently follows, that there muft be another Movement
added to the fecond, tho' different from the firft:; for in that
the Sink is made, before the Foot moves; and the Rife, after;
the Foot has moved, that is to fay, when you have made a
Step, as I have already obferved, as in walking either forwards,
backwards, or fideways, &c. but, in this additional Movement,
the Sink and Rife are together in the Midft of the Motion the

I'i J '

* A m

(b) Sec the Explanation a: d Table of the Couple in the Plate mark'd -with the
Letter E. (c) Sec the Tabic and Explanation, as aforefaid, of the Plate of Tables
mark'd E.

D a Leg

28 The Art of Dancing explain' i.

Leg makes, in (tepping, as in the preceding; andfuppofing the
Step is to a Louvre, or fuch like (low Air, it is performed in the
Manner following, viz. to make the firft Step which is to fink,
before the Foot moves f , and rife in moving, or immediately after
it has moved || ; which faid Rifing and Receiving of the Weight
upon the Foot, that made the firft Stepf , marks Time to the
firft Note of the three, which each Bar or Meafure contains.
The fecond Note is taken up with the Sink of the fecond Move-
ment; and the Rife from it takes up the third Note of the
fame Meafure, and compleats the Step ; fo that the firft Move-
ment and Step are made to the firft Note of the three, and the
fecond to the remaining two, and may be performed the dif-
ferent Ways aforefaid, as forwards, backwards, fideways before,
or fideways behind, &rV. (d) and, as to its Continuance in Dane-
ing y it is the fame as the Coupee of one Movement , that is, always
beginning with the fame Foot, whether right or left : It h
named a Coupee of two Movements, from its having the Addition,
of a fecond added to the former ; which fecond Movement is
made fometimes fmooth upon the Floor, and fometimes by
bounding off. :: . .." i-:: "' " '

Mi » v «•

t See Plate i. | See Plate $. (d) See die Explanation and Table of this Step in
the Plaie mark'd E. ....

» .

CHAP.

The Art e/" Dancing explahfi. 29

CHAP. VIE.
Of the BOUREE-STEP or FLEURET.

TH E Bottree is compofed of three plain (height Steps
or Walks, except the firft, -which begins in a Move-
ment, and is to be performed in the fame Method, as the
Half Coupee, or Coupee with two Movements, that is to fay, mud
always fink, at the Beginning of the Step or Walk, and rife
at, or gradually before the End of it ; which is the Manner
in which the firft Step is ufually taken,' in the Performance of all
Steps, except Springs, Bounds, Hops, or Cbaffecs,j&c. wherefore,
for the Future, I need not fay any more of the Method of be-
ginning thefe Sorts of Steps, in Dancing, otherwife than to make
a Movement, without mentioning how* the Sink and Rife are to
be made, fince they have been already explained.

A Bouree or Fleuret, as I have obferved, confifb only of three
plain (height Steps ; but a Movement is added to the firft of
them, the Rife of which Movement, as has been faid, always
ftrikes the Cadence or Time; and, if this Step is done to a Tune,
of three Notes in a Meafure, the firft Step anfwers to the firft
Note, the fecond Step to the fame Note, and the third Step
to the lad Note of the Meafure, concluding together.

You are alfo to note, that tho' in the Bottree there are three
diftinft Walks or Steps, yet neverthelefs, thefe three Steps are
to be efteem'd but as one Step, in Regard of its being a com-
pofed Step; as will appear by the Half Coupee, which, tho' no
more than a (ingle Step, is, however, a Step, becaufe it generally
takes up a Meafure, but more efpecially in Tunes of triple Time;
and it is made by a fmooth and eafy Bending of toe Knees,
fifing in a flow and gentle Motion from thence; which Rifing,
as I have faid, is upon the firft Note of the Meafure, the Weight

3q The Art of Dancing. explaittj.

of the Body being fupported by the Foot that nude the Step,
during the Counting of the fecondand third Notes of the Bar.

The graceful Pofture of the Dancers Standing adds not a little
to the Beauty of this Step, who, 'till the Time be expired,
is to wait or reft ; by which it is evident, that the HalfCoufve,
tho' a {ingle Step, is equal, in Value, to any compound Step
whatfoever, whether of two, three, Four, or more Steps in a
Meafure. .

But to return, the Bouree-Step may be performed various Ways,
as forwards, backwards, tideways, eroding before, the fame
behind, before and behind, behind and before, ^rc(e), the
Explanation of which, I think, may not be improper, in this
Place; and therefore I (hall proceed to (hew the Method of
their Performance, one after the other, in the Order above fet
down, except the Fleurets forwards and backwards; which being
fo intelligible of themfelves, and having Occafion hereafter to
fpeak of this Step, by way of Grace to the Minuet , inftead of
laying any thing farther of them here, I (hall begin with - the
Bourcc-Stef cr offing bcfirc^jidtw.iys; which is to be performed, as
follows, either with the right or left Foot : For Inftance, pro-
vided you begin with the Latter, the Weight mufl be on the
right ( f); and the left Foot, which is at Liberty, commences by
making a Movement and Step, to the right Side of the Room,
eroding before the Foot on which the Body refts jr , . the Face
being to the Upper Part of the Boom, and it receives the Weight II.
The fecond is the right Foot, which Heps the fame Way*; and the
third and laft, which is with the left, erodes before, as at firft f,
only without a Movement ||. The Bource croffmg Icbind^ fdeways.
differs from the Former in this, that whereas that was before,
this is behind ; that is to fay, the Weight being, as aforefaid (f ),

(c) See the Explanation and Table of the Bouree in the Plate mark'd E. (f ) See
the ad Figure or Woman's Side of Plate I. f Sec the firft Figure in Plate 4, and
the id Figure or Woman's Side of Plate XL J Sec the firft Figure or Man's Side of
Plate 5. • See the 2d Figure in Plate 6.

the

1 * \ «

The &KTdfD A fcei na exphittA. %t

the left Foot, inftead of making the Movement and firft Step
crofting before the right, it now ts made cro fling behind it;'
and the next Step, which is with the right Foot, moves the
fame Way, after which the third and kft Step with the left Foot
is drawn behind the right, and concludes. The Bouree before and
behind is, when the firft Movement and Step are made eroding
before the Foot' on which the Weight is, whether right or left,
the fecond Step moving tideways, the fame Way, and the third
drawn behind it, facing upwards, as before. The Bouree behind
and before is done in the like Manner, only the firft Step is not
crofs a before but behind, the fecond ftepping fideways, and
the third drawn eroding before. The Bouree, which I call two:
behind, is made as follows: Suppofe, for Example, you make fc
Movement, ftepping backwards with the right Foot (g), into
the third Pofition inelos'd behind the left on which the Weight-
is, and releafing it (h) ; upon which it makes the fecond Step
of the Bouree, in a plain Step backwards, receiving the Weight*
inelos'd in the third Pofition behind the right ( i ) , which then;
performs the third Step of the Bouree, in a plain Step for-
wards f.

There are many other Ways of performing this Step, which*
would be too tedious to be mention d here; and, as they are not:
to my prefent Purpofe, omitting them, I ihall only obferve, that,
this Step, continued feveral Meafures, changes the Foot^ every
"Step, as has been taken Notice of in the HalfCmfee; but witn«
this Difference, that whereas the Half Coupee changes the Weight,
every fingle Step, as in Walking, the Bouree or Ftcuret only changes,
it, at the End of every third Step.

(g) See the i ft Figure of the ift Plate, (h) See the ift Figure of the 4?h Plate;.
( i ) See the 2d Figure of the 4th Plate, f See the 2d Figure in flatc 9. .

C H A.R.

32 The Art of Dancing explatfcL

JKESCSKSftS^^

i.-V^i -< ¥ -.r» 'i/"> 'jP , .^ "iP .P ~ .^ '. ,~» ^.-) ^ ~r- ,> > -<

CHAP. DL

i ~

0/ d* B 0U R E E with two Mwments.

_ •

THE Bowree with two Movements confifts of the lame Nam- •
ber of Steps, as the former; but as that was of one Move-
ment y this is of two; which fecond Movement is added to the lad
of the three Steps of which the Bowree is compos'd. This Step, in
EfTe&, contains in itfelf two diftin& Steps, namely, the Whole and .
Half Coulee; only it is not the lame, in the Manner of its Perfor-
mance; for they, as was already obferved, in treating of them,
are both equal to a Meafure of themfelves, but, in this Step, they
are both to be performed to a Time or Meafure, and mull be ac-
counted only as one Step: For Example, to a Tune of three Notes
in a Bar, aamiting it begins with the right Foot (k),, it is to be
like wife granted, that the Weight mull be on the left (k) , which
fupports the Body, 'till tbe firfl Step and Movement are made*;
the Rife of which Step is to the firfl of the three Notes belong-
ing to the Meafure, on which the Weight refts, until the fecond
Step is performed, that anfwers the fame Notef and ends the
Coupee ; whereas the fecond Step of the Coupee to a Mea-
fure takes up the fecond and third Notes, and confequently is as
{low again, in its Performance, as this; which third Note of
the Coupee to a Meafure is taken up in this Step with the Rife
from tbe Half Coulee, and is the third and laft Step on which
the fecond Movement falls*, from whence this Step derives its
Name.

flO See the lft Figure of Plate the fiift. * See the 2d Figure in Plate 9.
f Sec the ift Figure in Plate 9.

From

Tin Art ^Dancing explained. 33

From what has been obferved we may fee, in what this Step
differs from the two (aid Steps before defcribed. In the Conti-
nuance of this Step the Weight changes (1), as in the Bottree with
one Movement^ and may be perform'd forwards, backwards, fide-
ways, circularly, &c. Note, this Step may be done with z Bound,
that is to fay, on the laft Step upon which die fecond Movement
is made, with a Spring from the Ground, which is what we call a
Bound-, and of this I (hall take Occafion to fay fomething in its pro-
per Place, and give it the Name of Bottree with a Bound, as not be-
ing made on the Floor, as the Bottree with two Movements,

CHAP. I
Of the PASGRAVE or MARCH.

THE March is originally a fingle or plain Step, as the Half
Coupee, but different in the Manner of its Performance, in
that the Half Coupee bends or finks, before the Step is performed,
and rifes, after it has been made ; whereas, on the contrary, in
this Step, the Movement or bending and rifing are made together,
as in the fecond Movement of the Coupee with two Movement!,
after which commences a Slide; and the Sink, Rife, and Slide
compofe this Step, which, in its Performance, is as follows: For
Example, if forwards, the Foot, you defign to begin with, is to be
intirely difengaged from the Weight behind the Foot on which the
Body refts in the third Pofition, that is to fay, the Ancle of the be-
ginning Foot muft touch the Heel of the Foot that fupports the
Weight (m) ; from which Pofition this Step always begins and is per-
Jbrmed by making a Sink and Rife; but inftead of flepping for-
wards, as in the Half Coupee, you rife and point the right' or left
Toe, tideways, according to the Foot you commence with, about

(1) Sec the 2d Figure in Plate I. (m) Seethe ill and 2d Figures in PUtc V.

E the

34 The Art of Dakcimq explain d.

the Diftance from the Foot the Body is upon, as half the Step you
take in Walking (n). ^

After this the Foot moves flowly forwards +, prefling the Floor,
as it paffcs along, about the Length of a Step in Waiting t; which'
Prefling of the Toe or Inftep to the Ground, as it moves +, is what
we call a Slide in Dancing, And as to its Agreement with the Notes
of triple Time, as mentioned before, you are to obferve, that the
Rife or Point || marks Time to the firft Note j the March or flidV
ing forwards of the Foot + takes up the fecond and third Notes,
on the Expiration of which it receives the Weight, concluding in
the third Pofition, as at firft, but on the contrary Foot *. This is
one of the mod agreeable Steps in Dancings and it may be perfor-
med either forwards, backwards, or tideways, &c, and in Perfor-
mance, when continued, it transfers the Weight from one Foot to
another, as in the Half Coupee.

CHAP. XL
Of the POINT ani MARCH:

TH £ Point and March is Co call'd from having a Point more
added to the March, which Point is equal, as to its Time,
with a March,, and in its Performance, the fame, except that, in-*
(lead of the fecond and third Notes being taken up in the marching
or Aiding of the Foot forwards or backwards + &c. they are
counted, during the Time you (land or reft, in the graceful Man-
ner before obferved in the Half Coupee; only with this Difference,
that the difengaged Foot, inflead of being in the firft Pofition, as-
in that, is upon the Point here, as may be feen- by the Beginning or
firftMovcment of the forefaidA/*ra& |L The Point is made with either

(n) See the firtt and. fecond Figures in Plate VL t See Plate IX. I See Plate VI*
See Plate V..

Foot*

The Art of Dancing explained. 35

as has been obferved in the March (o), which Point is per-
formed with a Toft eafy riling from the foregoing Sinkf, made to
the firft Note (o) ; in which Pofture it remains the counting of the
fecond and third Notes of the Meafure, concluding what we call
the Point (o), the Body all the while refling upon the fame Foot at
at commencing; after which follows the Marat H.; as it has been be*
fore defcribed, and the Point (o) and March il, generally fill up two
Meafures of die Tune, tho* fometimes they are both performed to
a Meafure.

It will not, I think, be here improper to take fome Notice, how
the Point (o) and March H agree with the Notes of the Meafure :
For Inftance, if you make a Movement and Point, fideways, the
Rife of the Point anfwers to the firft Note (o); the Rife of the fecond
Point or Movement, which immediately enfues upon die fame
Place, on which the firft Point was made, marks die fecond Note(o),
and the third is counted in the March or Progrefs of the Foot, ei-
ther forwards or backwards from thence || ; which are the two Me-
thods, in which this Step is ufually perform'd. But when this Step
is perform'd to two Meafures of die Tune, die Point (o) and Time
you reft upon it, that is to fay, the counting of the fecond and third
Notes, whilft you are beautifully ftanding (o), takes up the firft
Meafure. The fecond is in the March or Slide II, and, if continued,
transfers the Weight every other Step, as in the Half Coupee; and
in fine, as to the Manner of performing this Step, it is fully fhewn
in the March, fince it is no more than the firft Movement, or Sink
and Rife thereof, on which Rifing and Pointing of the Toe or In-
ftep (o), you paufe or reft, until the Meafure is expired *.

(o) See the Figures in Place VI. f See Plate V. See Plate IX.
• See the Explanation and Table of this Seep in the Plate madtedJS.

E » Of

36 The Art of Dancing explained.

■

CHAP. XII.
I 0/ ffo SPRING or BOUND.

i .""■ 'HE Spring or Bound is produced from a plain and {ingle Step,

JL as the Half Coupee, or March, but it very much differs from
t them in Performance ; for, as they are both made on the Ground,

1 the Bound (prings off from thence. For Example, fuppofe you was

e • about to perform a March, then, inftead of unking and ruing on

the Floor, you are to fink, and, in the Spring or Rife from the
(aid Sink, throw the Body into the Air, off from the Foot on which
the Weight was, when you begun, and light upon the contrary
Foot; that is to fay, if the Bound is on the right, the Weight is to
come from the left (p), where it was upon commencing this Step.
And in like Manner, if performed with the left Foot f. One Bound
alone rarely, if ever, anf vers to a Meafure ; but, in Tunes of com-
mon Time, or of four in a Meafure, as in Rigadoons, Marches, &c.
two Bounds anfwer a Time; and, in Sarabands or flow Tunes of tri-
ple Time, three of them may be done in one Bar. .

This Step may be performed various Ways, as forwards, back-
wards, fideways before, or fideways behind, as alio in turning ei-
ther to the right or left, &c. (q). And it is farther to be noted,
that the Foot, on which the Bound is to be made, commences from.
the third Pofition behind the Foot upon which the Weight refts, as
in the March, and advances, much in the fame Manner, from the
third to the third Pofition ; only that it bounds off from the Ground,
and if continued to a Tune of common Time, as above, changes
the Weight twice, in every Meafure, and in triple thrice.

(p) See the firft and fecond Figures in Plate V. t See the fecond and firft Figure*
of the forefkid Plate. (q) See the Explanation and Table of this Step in the Plate mar-
. kedE.

. . CHAP.

J&*Art of Dancing explained. yj

gg§§33B§§83§3S828288§g§§8§§8iSS§B8S5S§§§8§§88§88§^S88

CHAP. XIII.'
Of the CLOSE or JUMP.

WHAT we call a Clofe in Dancing is, when, the Weight
being upon one Foot, we fink, and in the Rikjumj) or
clofe both Feet equal one to the other, in the firft Portion (r), or
the Feet areinclofed either before or behind, in the third Pofition f;
and this Step generally concludes in the (aid Pofitions or Poftures.
It may be performed two different Ways, viz. on the Ground, and
off from the Ground, as in the Bound; but it differs in its Method
of Performance, for as that advances forwards or backwards, about
the Length of the Half Coupee, or March, this never proceeds far-
ther than from behind the Foot which fupports the Body, either to
the firft Pofition even, or to the third inclofed before or behind, as
aforefaid.

I fhall, in the firft Place, begin with the Defcription of the Clofe
in the firft Pofition, which is as follows : For Inftance, the Foot
that is free from Weight begins whether it be the right or left, in
making a Movement, or Sink and Rife from the third Pofition behind
(s), as when you begin the March ; that is to fay, fb far as the
Point || ; but, inftead of pointing the Toe to the Ground as in that
here , in rifing from the Sink aforefaid, preparing for the Clofe en-
fuing, you give a Kind of a Spring upon the Toe or Inftep of the
Foot the Weight is on, and the fame Time or Inftant botn Heels
come to the Floor together, and receive the Weight equal alike (t);
but you are to obferve, that the Body is' thus thrown into the Air
by the Spring of the Inftep, I mean no higher than you can rife

(r) Sue the Figures" in the firft and fecond Plates. + See the Figures of Plate IV.
(s) Sec the Figures of Plate V. fl See Plate VI. (t) See Plate the |cond.

without

* t

38 The Art of Dancing explain d.

without quitting the Ground with your Inftcp or Toe, and from
hence it is call'd a Clo/e on the Ground.

To clo/e in the third Pofition is performed intirely in the fame
Manner, except that, in lighting on both Feet in the firft Pofition
as before (t), the Fall or coming down is in the third; that is to fay,
the Feet are inclofed one before the other, the Heel of the foremoft
Foot touching the Ancle of the hind Foot (u). In the Performance
of this Step backwards it :s the very fame, only, inftead of begin-
ning from behind the Foot on which the Weight is, it commences
from before the fame, or fourth Pofition open in the Air "f; fo
that what we have defcrib'd forwards is to be accomplifhed back-
wards in the fame Method: For Example to clo/e backwards in the
firft Pofition H, or tncUfi backwards into die third (u), when this
Step is performed off from the Ground, the Difference is only in
this, that you fink, in order to fpring, as before; but,.inftead of
rifing to the Extremity or Point of the Toe, you only fpring quite
off from the Floor, lighting on both Feet in any of the before men-
tioned Portions, whether forwards or backwards, and it is called a
Clo/e or Jump.

You are alfb to obferve, that this Step never advances either for-
wards, backwards, or fide ways, as is utual in others, but is always
perform*d upon the fame Place; for, altho* the difengaged Foot
moves from behind or before that on which you (land, the Weight
always comes down in the fame Place : For Jnftance, fuppofe you
was to be in the third Pofition on the left Foot (v) and to perform
this Step to the firft Pofition even from behind, die right Foot it
brought .equal to that on which the Weight is, the very Inflant the
Clo/e or Jump is made (w),- and, if the Fall or coming down be in-
clofed in the third Pofition before the Foot (x ) y inftead of joining
,cven to the Foot on which the Weight is (w, 1 , the Heel of the right

(u) See the Figures in Plate IV. f See the Figures of Plates the IVth, IXth, Xlth,
XlVth, or X Vth. H See the Figures in the firft and fecond Plates, (v) See the firft Fi-
gure or Man's Side of Plate V. (w) See the firft Figure or kft Side of Plate J. (x) See
(he fecond Figure or Woman's Side of Plate IV,

Foot

The Art cf Da n c i n <* explain d. $9

Foot is inclofed or joined before the Ancle of the left (x), and the
fame backwards from before.

This Step in Dancing much refembles a Period or full Stop in
Letters ; for, as that clofes or (huts up a Sentence, the Clofe in Dan-
cing does the very fame in MupCy nnce nothing is more frequent
than, at the End of a Strain in the Tune, to find the Strain or Cou-
plet of the Dance to conclude in this Step, as alio at other remar-
kable Places of the Mufic, Befides, this Clofe gives great Life and
Variety in the Compofition of Dances ; for whereas mod other Steps
lead the Dancers a regular Figure, and confequently render a-
Change thereof more difficult, in this Step, the Body being as
much upon one Foot as the other, the Change is more familiar^,
fincc it is as eafy to take up one Foot as the other. This Step ge-
nerally takes up a Meafure, that is to fay, with the Time you reft
or ftand ftill : For Inftance, to a Tune of triple Time the Clofe is per-
formed to the firft of the three Notes, and the fecond and third are-'
counted, during the Time you reft; but to Tunes of common
Time, as Marches, Gavots, Rtgadoom y &c. this Step and Time fc>
is to reft (bmetimes are a Meafure, and at others not, as having
a plain Step or Walk added thereto, which (aid Clofe and Step to*
gether fill up the Time*

C HAP. XIV.
Of the SPRING or LEAF:

r TP HE Spring or Leap is the fame as the latter End of the fore-

-1: going Clofe or Spring from one Foofupon both, except that

the Clofe or Jump always begins from. one Foot +,'the Weight

conftantly coming down in the fame Place *, whereas this Step be*

f See the Figures of Plate V. * See the Figures in Plate L

gins

40 Tbehur of Dancing explain d>

gins and ends upon both Feet %> whether in the firft or third Por-
tion f* and may be performed feveral Ways, viz. forwards, back-
wards, tideways, to the right or left, upright and circularly $*;
but, when it is performed either of the two latter Ways, the Weight
comes down in the Place from whence the Spring was made, as in
the Clofe aforefaid, tho' in any of the former, as forwards, back-
wards, &c. they fpring or leap, about the Length of the Half
Coupee or Afarcb, and light on both Feet, as in Leaping.

As to the Agreement of this Step with the Notes of the Tune, it
is uncertain ; for to a Tune of three it fometimes takes up a Mea-
fure, and at others not: For Example, if you fpring upright in this
Step, the Fall marks what we call the Time or Cadence upon the
firft Note, whilft the other two are counted during the Time you
reft; and in the like Manner, when it is performed circularly up-
on the' fame Place. Upright and circularly are the two Ways in
which this Step is performed, when it ftngly anfwers to a Bar, as it
frequently happens on the ending of a Strain or other remarkable
Part of the Tune ; and when it does not, as it rarely, if ever, does in the
otherWays of performing it, we often meet, inftead thereof, twoLeaps
and aplain ftraight Step in a Meafure, which together with the two
Springs agree with the Notes of the Mufic $ and manyTimes we find a
third Spring added , inftead of the plain ftraight Step ; which three
Springs agree with the Notes, as before, tho* they are (eldom ufed
except in Comic Dancing and Tunes of common Time, that is to
fay, of four in the Bar, as in Gavots, Marches^ Rjgadoons^ &c, in
which this Spring or Leap on both Feet is the fame, in its anfwering
with the Notes of the Tune, except that, inftead of two Springs and
the plain ftraight Step to a Meafure, or the three Springs, as in
triple Time, in thefe of common there is but one Clofe and the
ftraight Step; and alfo, inftead of three Springs or Leaps, here are
but two, which Steps agree with the Notes, as follows : The Fall or

X See the Figure in Plate II. +* See the Figures of Plate IV. j* See the Step*
in the fecond Plate and the Explanation and Table of this Step in the Plate of Tables mar-
ked E."

Coming

The Ait if Dancing explained. 41

Coming down of the Weight from the firft Spring beats Time to
the firft Note of the Bar ; and the fecond and third Notes are 'count-
ed , during the Performing of the plain Step. 'Hie fourth Note it
always taken up with the Sink which prepares for the nicceeding
Step; and consequently it is very neceflary to take Notice, that the
two Leaps are performed in the fame Method. The Coming down
of the firft Spring, as I (aid befoie, marks the Time or firft Note;
the Sinking or Bending of the Knees, in order for the fecond Rife
or Spring, anfwers the fame Note ; and the third is in the Coming down
of die Weight in the Sink, &c. as was juft obferved, which Step, if
continued, is a fort of an harmonious Leaping to Mufic either for-
wards or backwards, &c. (y). It is to be likewife noted, that die
upright Spring or Clofe affords the Dancer the like Opportunity of
changing the Foot, during the Time of refting as in the foregoing
Clofe, the Difference being only in its beginning and ending on
both Feet ; and, if performed on the Ground, it is intirely in the
lame Manner, as we have already defcribed it in the Jump or Qofe
from one Foot. .

CHU XV.

Of the RIG A BOON STEP of one Spring open

in the fame Place and Qofe.

" 1 'HE Rigadoon Step of one Spring open upon the lame Place is
-I- compofed of two plain Steps or Motions of the Feet, except
that the firft commences with a Spring or Hop\ which faid Spring
and plain Step is to aMeafure, and introduces the upright Sprmgoc
Clofe on both Feet, before treated of, to another Meafure in its At-
tendance on the former, from which it is almoft infeparable; info-

(y) Sec the Table of the Leap or Jump, in the Plate marked E or fecond Plate.

much

41 ™* AtT °f. P*»«m« explain' J.

%?££?%* V ^ *»«*■«** G«ce and Beauty thereto,
and being from ^thence fc firifily united that, akho* in iemfelvw

tfeT tW °. d ^ *Jft «* *« "ever appear* but concluded

W r ZSffi 'SteS W^ ~ TT"?*

ronnon, or the Feet join d even one with the other,

1rom wm.~. thc &nk "*"*«**" for **&** taken, and
may be done with either t£* H ™ever, for the better Undcr-
ftanding thereof I (hall defcribe it, wi£.™ «#* Foot: Therefore*
as has been already obferved, the Weight being On i&& Feet inthe
firft Pofition (z), you fink and give a Rife or Spring, either off from
the Grounds or upon it, as you {hall think moft agreeafcte, finer
it may be perfbrm'd both Ways t which laid- Spring is mad* u poa
the left Foot, in riilns from the aforefaid' Sink bv taltib* the

leRoonr

the Length of a Step

gaged, moves open tideways in the like Manner (b), ahdj in
turning, receives one half of the Weight- in the fame Pofition as at
firft {z) j after which comes tfce£lofe on both Feet JcJ which fome-
times is to a Meafure, and at others, not, in that there often follows
in Rtgadoon Movements,- a, plain Step or Walk in the Time or Mea-
fure, as for Example, you'll find' in this Movement of the Brctagnty
that is to fay, the Beginning of the fecond Partis the. very fame Step
I have here defcribecL

As to the Agreement of this Step with the Notes of the Tune;.
which is of four in the Meafure, the Serine or Hod. that is made

(z)Sec the Figure in Plate I!, only inftead of facing down the R6om : yp»nuy fup-
pofe it looking to the Prefence. (a) See in fome Meafure the Feet in die fecond Fi-

gure of Plate XV. (b) See the Feet in the firft Figure of Plate XV. (c) See Plate II.

upon
S

The At t of Dancing explain*^ 4^

upon the left Foot, on the taking up of the right, marks the Time
or firft Note; the letting of it down the fecond ; the third is in the/
letting down of the left Foot; and the fourth and* laft Note, in the
Sink tor the enfuing Clofe that attends this Step, which together
compofe one of the moft agreeable Steps in Dancing. • ' •* y

There are, befidcs thele already defcribed, many other Ways of
performing this Step, as in the third Pofition forwards, and the fame
backwards; but, for the better Understanding of this, fuppofeyou,
are (landing in the firft Pofition, or the Feet are joined even to each
other (d), you perform this Step into the third Pofition, that is>
you make the firft Step which is with a Spring, and inclofe it before'
the Foot on which the Weight refts(e), and the fecond before that
(f ) in the like Manner.

To perform this Step backwards differs in this, that as the fore-
going was inclofed before, after the Spring, this is inclofed behind the
Foot that fupports the Weight(g), and the fecond Step behind that (h);
or elfc the firft of die faid two Steps, namely, the Spring, may be*
done in the third Pofition before (i), and the fecond behind (j) j or
the firft with a Spring behind (k), and the fecond Step before (1),
and are to be performed from either of the faid Pofitions, whether 1
the firft or third, as is alfo the Spring or Clofe that follows them,
whether upright or changing of the Pofition ; that is, inftead of co-
ming down in the firft, or in the third, as at Beginning, the Feet
are changed, for Inftance , the firft laft, and the laft firft (m). '

mmm

(d) See the Figure in Plate II, fuppofed to be looking up the Room. (c) Se:the fe-

cond Figure of Plate IV. (f) See the firft Figure of Plate IV. (g) See the

firft Figure of the faid Plate IV. (h) See the fecond Figure of Plate IV. (i) Ste

the two firft or inclofed Feet of Plate IV. ( i ) See the two bind Feet of Pit :e IV.

(k) See the hindmoft Feet in Plate IV. (1) See the inclofed Feet in Plat: IV. .

^m) See the. Table and Explanation of this Step in the Plate of Tal les m irked E.

Fi chap;

44 The Art of Dancing explain*!.

U. *.a. „»

CHAP. XVI

Of the RIG A DO ON Step of two Springs

or SISSONNE. •

•

TH £ Rigadoon Step with two Springs differs from the former
of one in this, that whereas the aforefaid is performed in the
lame Place, and only with one Spring, this is of two; the firft of
which advances or retires, about the Length of a March* whilft
the fecond Spring is in the fame Place upon one Foot.

This Step may alfo be perfbrm'd tideways eroding before, or
tideways eroding behind, either to the right or left, or turning f >
&c. the Difference of which, in the Manner of Performance , I
{hall defcribe in their Order. . For Example, Mi forwards, which
may be done with one Foot as well as the other ; yet, for the more
eafy comprehending thereof, I intend to explain it, beginning with
the right Foot, which is as follows, viz. the Weight is on the left
in the third Pofition, and the right behind ; that is to fay, the An-
cle of the right Foot refts againft the Heel of the left, but is intirely
free from any Weight of the Body (n),« from whence you make the
firft Spring which is upon the left Foot, whilft the right, at die
feme Inftant , moves diredly the fame Way, as in the March* ex-
cept that the March is performed on the Ground from a Bend and
Rife only, but this off from thence, by an upright Spring into the
Air from the Sink you make upon your left Foot, on which the
Weight falls in the fame Place, the right advancing, as has been al-
ready obferved, about the Length of a March ; but it does not re-
ceive the whole Weight of the Body, as in that, by Reafcn of its
continuing principally on the fame Foot on which it was, at com-

t Sec the Explanation and Table of this Step in the Plate of Tables marked E. (n) See
the firft Figwre of Plate V.

mencing j

The Art of Davciixg explaiffd.- 45

mencing; fo that, altho* the right Foot is advanced before the
ther, it receives no more than its own Weight, the whole being to
follow on making the fecond Spring (o). Having thus far only
concluded the firft Spring or Movement, the fecond is made from
the aforefaid Pofition divided ; that is to fay, the right Foot is, near
the Length of a Step in Dancing, before the left ; in which Posi-
tion or Pofture both Knees bend, the right to receive the Body, and
the left to be difengaged from it, as it intirely is on giving the
Hop or Spring ; for, at the Inftant the Foot on which the Weight
was, is taken from the Floor, the other receives it, ending the Step
in the third Pofition upon the right Foot , the left being behind
but free from any Weight; the Ancle of which refts againftthe
Heel of the Foot that fupports the Body, in the fame Pofition in
which it begun, only with the contrary Foot (p), and may be con-
tinued from one Foot to the other, as in the Marchy &c. .

This Step backwards is performed in the like Manner as forwards
except that forwards it is taken from the third Pofition behind, but
in this begins from the fame Pofition before; that is, the Heel of
the right Foot .touches the Ancle of the left on which the Body
refts (q), from whence you make the Spring in the fame Method
already defcribed in this Step forwards y viz, the right and fore*
moft Foot, at the fame Moment the Spring is given upon the
left , moves backwards, as in the March , much about the like
Diftance, and receives half the Weight, at the fame Time the other
half comes down upon the left, leaving the Weight divided to the
flrft Spring or Hop (r) ; and the fecond is made on the right Foot,
in the taking up of the left, which falls inclofed in the third Pofi-
tion as at beginning except that the contrary Foot is foremoft (s),
and the left is ready to commence , as before. This Step Side-
ways croffmg before is fo called , from its being eroded before the
Foot on which the Weight of the Body refts, and it chiefly differs
from the two Ways already defcribed namely, forwards and back-

(o) See the fecond Figure in Plate IX. (p) See the fecond Figure, of Plate V.
(q) See the fecond Figure of Plate IV. (r) See in fonoe Meafure the firft Figure in
Plate IX, or fecond Figure in Plate XI. (s)Sec the firft Figure in Plate IV.

wards

4<5 The A*t qf Dancing explain d.

wards, in that it begins from the third Pofition behind, as aforefaid(t),
but inftead of the right Foot's moving, as in them, you in this give
the Spring and Fall in the fifth Pofition, the right or beginning
Foot eroding before the left, the Weight being divided, as before;
that is, the Heel of the right Foot is equal to the Toe of the left (u),
which Manner of placing the Feet we call the fifth Pofition, The
fecond Spring or Hop is made upon the right Foot on the taking
up the left, which is then brought into the third Pofition behind,
and the right Foot into the fame Pofition as the beginning but con-
trary Foot (v); which faid Foot is ready to perform the fame Thing
cither fideways crojjing before the right on which the Body is, or
fideways crojjing behind, the latter of which I fhall explain, in the
next Place, and it is as follows.

Sideways crojjing behind varies from the former only in this, that,
inftead of commencing from the third Pofition behind, it begins
from before: For Example, the Weight being upon the left Foot (w)
you fink and make the nrft Spring with the right, falling in the fifth
Pofition crcfUng behind ; that is, die Toe of the right Foot is equal
to the Heel of the left, the Weight being divided, as has been al-
ready explained (x). The fecond Spring is performed upon the
right, on the lefts being taken up from the Ground, as aforefaid,
which falls inclofed in the third Pofition before ; that is, the Heel of
the left Foot is joined to the Ancle of the right, and, being difen-
gaged from Weight, is at Liberty to perform the fame with the left
Foot, as we have defcribed with the right (y).

Having now fhewn, how this Step is performed fideways croj^
fing before, as alfo the fame behind, it is unneceflary here to take
any farther Notice of this Step fideways to the right, than that it dif-
fers in Nothing from what we have defcribed to the left but in the con-
trary Foot ; nor likewife of the Manner of its Performance in turn-

(t) See the firft Figure of Plate V. (u) See the Feet of the firft Figure in Plate X I.

(v) Sc? the fecond Figure of Plate V. (w) See the fecond Figure in Plate IV.

x; Sec the Feet in the fecond Figure of Plate XL (y) See firft Figure of Plate IV.

• * ■

•■■■■■•• sng,

"» » • » « »

the A*t tf D/rfci** explaiti #* . 4V

mg> otherwise than that it may be performed fcveral Ways, as to
the right or left, in a quarter Turn, half Turn, or three quarter
Turn, 6rV. fince I fliaJl take. Occafion hereafter, in the enfuing:
Steps, to treat more particularly on that Head. I (hall only 08-^
ferve at prefent, that thofe who learn to dance, and are acquainted
with the R'tgadoon of the late Mr. Ifaac, will meet with out Step,
tmn'mg in all or moil of the Ways above mentioned, in air
different farts thereof; and it is here, for Diftih&ibn fake, named
ot two Sprints. . ',...—•«

There is (till another Way in which this Step is often made, and
not as yet obferved, which is the Reverfe in the fecond Spring,
to the foregoing ; for, inftead of taking up, in the fecond Spring,,
the Foot on which the Body was, when you begun, the contrary
Foot of that Foot which advances or retires is taken up: For In--
fiance, admitting this Step to begin with the right Foot, of Conse-
quence the Weight muft then be upon the left, from whence yott
make the firft Spring, as is ufual, upon both Feet ; but, inflead of
the left Foot's being taken from the Floor, as in die aforefaid, the
right or beginning Foot is taken up on making the fecond Spring;
l Choice of Feet in this Step renders it of equal Ufe, in the

^PJDpoSaou r oi Dances, as. the Gofe, in that the Change of Figure
is to be effected in this, as well as in the aforefaid. : .,

this Step in uanctng^ I mall proceed to lhcw its Agreement with
the Notes of this Movement, which, as we have already faid, is of
four in the Bar, and it agrees as follows: The nrft Spring is made
upon the Time or firft Note; the Sink for the fecond is in
the fecond Note, which fecond Spring, is performed to the
third Note j and the fourth is in the Sink preparing for thefuc-
ceeding Step. And, when it is done to a Saraband or Time of
triple Time, it is in aU Refpecls the fame, except that, inflead of
four Notes in a Bar, in this you have only three, which are, in
their Performance, much flower than the before mentioned of four
to the Meafure ; and it is farther to be obferved, that one half of.
the third Note.is borrowed for the Sink that prepares for the enfuing

Ste£>

48 The Ab t of Dancing explain d.

Step, in which it chiefly differs from the foregoing of common
Time, but that it is not fo bride

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CHAP. XVII.
Of the GALLIARD and FALLING Step.

THE Gall'tard Step is in a Manner the fame, as the befbr de-
scribed Clofe from one Foot to both, except that in dps the
Weight of the Body, after making the Spring or Movement for the
Clofe, remains oh the fame Foot upon which it was at the Beginr
ning; from whence it follows, that the Foot which, in the fore-
going CIofe y received one half of the Weight, is here to be difen-
gaged, and at Liberty to perform the fucceeding one which is a
plain ftraight Step or Walk; which Step could not have been per-
formed with the commencing Foot, had it received one half of the
Weight, as in the Clofe from one Foot. And you are to note, that
this Step always ends with the fame Foot it begins, whether it be
the right or left, and is various, as to its Performance 'i^JJancing.
'I (hall defcribe the moll ufual of thefe Ways, which are as follow
viz. forwards, backwards, fideways to the right or left, and alfb
in turning a quarter Turn, half Turn, &c. (z) and, ' in all the a-
forefaid Methods of performing the Gall'tard Step, the Falling Step
rarely, if ever, fails to accompany it, in that they are infeparable,
in their Performance, as the Rigadoon Step open in the fame
Place of one Spring and upright Clofe upon both Feet we have be- .
fore defcribed, tho' they are two dininct Steps in themfelves.
However, fometimes, inftead of the Gall'tard Step, we find the
Coupee eroding before fide ways introducing the Falling Step;
which it does very naturally, their Endings being directly alike.

AAAAaa^WH^BMMMMM* «^ ^^ M^WMSaMMMMMMa AHASMHK^M^ ^>AM"«B AHBi^i^«iB^M«^aMaa*A«MAlAAAMAMA|

(z) See the Explanation and Table of this Step in the Plate of Tables 'marked E. and
Plate VII.

Now

The Ait qf Damcimg explained. 4.9

Now, as to the Method of performing the GaUtard Step which*
as I have laid in the Defcriptkm thereof, is compounded of a Cl+Je
and plain ftraight Step or Walk, I /hall begin with the right FooC
advancing forwards, in the following Manner, viz. the Weight of
die Body is upon the left Foot in the third Pofition, and die right
difengaged behind (a) ; from whence you fink and give an upright
Spring upon the left Foot, clofing the right or hindmoft Foot equal
to it direcUy the fame Way as has been described in the CUJe from
one Foot to both, except with this Difference that, as I have (aid,
the before mentioned lights on both Feet, but this comes down on- 1 .
ly upon one, namely the left; and it varies from die aforefaid, die
right Foot being in die firft Pofition, joined even with the left, and
at Liberty to perform the following plain ftraight Step (b), which
together with the foregoing Cloft compleats the GaUtard Step\
that is to %, after the plain ftraight Step has been made forwards
with the right Foot, about the Length of a Step in WaVanfy it
does not bring up the left equal to it, as in that, but leaves it in
the fame Place, whilft the Weight of the Body advances forwards
with the ftepping of the right Foot, the End or letting to the Floor
of which receives the Weight ; fo that, qs 1 have juft obferved, the •
left Foot is upon the Point behind, the like Diftance, and the right
advanced from it, in which Pofture the GaUtard Step concludes (c\
Upon this commences the FaUtngStcp, which is performed in the
following Manner, viz. the Weight of the Body ending in the
GaUtard Step upon the right, the left Foot is pointed behind; at
the fame Time the Body bends or bows forwards, in order to the
enfuing Fall which is backwards, but is prevented in it by the left
Foot, which was planted for that Purpolc upon the Point behind ;
and, at the very Inftant the Weight of the Body inclines forwards
preparing for the Fall, the left is advancing up to prevent it;
which it does by receiving the falling Weight in a Sfftk or Bend
of the Knee , in the third Pofition inclofed behind, releafing the

(a) Sec the firft Figure of Plate V. (b) See the firft Figureof Plate I. (c) See the
fecond Figure in Plate VIL

right

5o The Ait of Dancing explain d.

right Foot (d), which is then ready to receive the Weight, on the
Spring that is given from the left, immediately after its receiving
the afprefaid falling Weight, and comes down upon the right Foot
again, in the Nature of a latter Part of the Balonne* of which more
hereafter; concluding in the fame Pofition from whence the fore-
going Galliard Step was taken, with the contrary Foot (e) and, in
continuance together with the Galliard Step, it changes the Foot,
as in the HalfCoupe* y or Marcb> gfc.

In performing this Step Jtdeways, either to the right or left, it
oojy differs from the former in the plain Step, which, inftead of
being made, as in the aforefaid forwards, is here performed fide-
ways ' y and it may eafily be understood by comparing it with the
foregoing defcribed, advancing to the upper Part of the Room:
for Inftance, fuppofing the Clofe to be made in the firft Pofition,
as before, the right Foot, inftead of making the plain ftraight Step
as in that, here makes it Jideways to the right Hand, in like Man-
ner as forwards. That; is, the End or Setting down of the plain,
ftraight Step receives the Body; leaving the left Toe upon the Point
fideways the like Diftance from the right on which the Weight is,
as has been fhewn in this. Step forwards , when the {aid Toe was
left pointed behind, as it now is fideways ; from whence commen-
ces the tailing Step, which, inftead of forwards, as before, is made
as follows, viz. . the Weight being on the right Foot, and the
left Toe upon the Point (f ), as was already obferved, the Weight
of the Body falls to the right. Hand, but, as I have laid, is preven-
ted ; for, at the fame Time the Weight falls, the left Foot which
was upon the Point is Jbrought with a. fwift Motion to its Relief,
crofling behind the right on which the falling Weight is in the
fifth Pofition, receiving the Body (g) which muft otherwife have
fallen, and xeleafes the right Foot (h) which immediately receives
the Weight again, in a Bound 'or Balonne fideways to the Hand the

Cd) See the fecond Figure in Plate* IV and XIV. (e) Sec the fccond Figure
m Plate V. (0 See the firft Figure in Plate VI. or Plate XV. (g) See the firft

i'iguK in Plate XI. {h) See the fccond Figure in Plats XIV.

Fall

Tbc A*r cf Dancing explain'd. 51

Fall was on, in that the left no (boner receives the falling Weight
in a Sink or bended Knee, than it gives a Spring, in rmng, and
throws the Body, as in bounding back, upon the right Foot* con-
cluding the Falling Step in the third Pofition, with the left upon
the Point behind, inftead of the right, as at firft i); from whence
the faid Galliard and Fatting Step may be performed to the left
Hand, in like Manner as the foregoing to the right,' the Difference
being only in the contrary Foot, Examples of which with both'
Feet begin the fecond Strain of the Rigadom Part of a Dance*
med the Bretagne, the firft Time of its playing over, for they
the very fame Steps here treated of.

Thefe Steps may alfo be made with a quarter Turn, or a half
Turn, &c. which, to give a more perfed Idea thereof, I (hall ex-
plain with the left Foot, as follows, viz. the Weight being upon
the right in the third Pofition, the left upon the Point behind (i)
begins, in making the Spring or Gofe in the firft Pofition asafbrc-
faid only, inftead of the Pretence looking up the Room after the
Gofe, it now faces to the right Side, which is a quarter of a Turn,
and in this it differs from the two Wayslaft defcribed; but the re-
maining Part of the Step is intirely the feme, ftepping the begin-
ning Foot tideways to the left Hand, and facing to the right Side of
the Room, as before to the upper. The Falling Step is alfo the fame
as before except, as I have laid, in not facing to the fame Part of
the Room ; and turning a half Turn only differs in this, that the firft
Spring or Clofe, inftead of ending in a quarter of a Turn to the
right, as before, continues a quarter Turn more, facing to the Bot%
torn of the Room, the left Foot ftepping tideways to die same
Hand, asaforefaid, &c. .

As to the Agreement of thefe Steps with the Notes of the Aiufic,
it is much the fame as in the others: For Example, in the follow-
ing Tunes, as Forlanes, Jigs, &c. the Clofe is made to the firft
Note; the fecond and third are counted in the ftraight Step of
the GaUiard, that is to fay, the fecond Note, at the Beginning of

(i) See the fecond Figure in Plate V.

G i • * the

5a The Art of Dancing explaitfcl.

laid Step, and the third, at its ending or receiving the Weight of
the Body. And, fuppofe inftead of performing this Step with a
plain ftraight Step, as in Walking, you add thereto a Sink and a
Rife, the Sink then anfwers the fecond Note, and the Rile the
third ; and in the fucceeding Step the Fall of the Body marks the
firft Note, the Paufe or Reft the Weight makes upon the Knees
bent the fecond, and the third is in the contrary Foot's receiving
the Body upon the Spring or Bound given from the Foot which
preferred the Weight from falling, where ends the fecond Meafure
or Time. When thefe Steps are performed to Tunes of common
Time, as they for the moft Part are in Galliards , Bourees, Riga-
doom, 6fc. they are intirely the fame as in triple, only, inftead of
borrowing half the third Note for the Sink in common Time, the
Sink or Preparative for beating the Time is upon the fourth Note,
as has been {hewn in the Rtgadoon Step of two Springs; and the moft
ufual Manner of performing this Step is in a foft and gentle Move-
ment upon the Floor, tho' it may be done to Advantage either Way,
viz, off from the Ground, or upon it.

CHAP. XVIIL
Of the BOUREE tvitb a BOUND.

THE Bottree whh a Bound, fo called from its having a Bound
added to the Boutee, is a compound Step confifting of four
plain Steps and two Movements, the firft whereof is made upon
the Ground, but the other not : For Inftance, you make a Move-,
ment or Sink and Rife to the firft of the four Steps, the fecond and
third compleating the Bcuree or Flturet\ and the fourth and laft vt
a Bound which is always performed off from the Floor, as we have
already (hewn, in treating of that Step.

I (hall now proceed to (hew, how thefe four Steps are to be re-
duced to agree with the Notes of triple Time or of three in the

Meaning

The Aet of DAXcixaexplain'd. S3

Mcafurc, which may be accompliflied, as follows, viz. the left
Foot, with which we (hall for Example begin, and die right are to
be performed in a Motion as fwift again, as the remaining two Step*,
by rcafon they are both to be accounted but as one Note, and are
made to the firft of the Mcafurc. The third Step, .which is with
the left Foot, is to thefecond Note, upon which the Bouree coif-
eludes; and the fourth Step is a Bound with the right Foot to
the third Note, and compleats the Bouree whb a Bound* This
Step continued in Dancing, whether it be the right or the left, al-
ways begins with the fame Foot, as has been already obferved in
Coupee y and may be performed forwards, backwards, fideways
either Hand, eroding before, croifing behind, or eroding before
and behind in die fame Meafure, or twice behind; and they are
all of them diredly the fame, in their Manner of Performance, as
was (hewn in the Bouree of one Movement y only, as that was but
of three Steps and one Movement to a Bar, this is of four and
two Movements ; and confequendy, inftead of performing the firft
two Steps equally flow, as in them, they muft be quick here, in
that they are both to be accounted as no more than one Step, as I
have (aid ; and as the Bouree or Fleuret breaks off, at the End of the
third Step which is upon the left Foot, the Bound muft be added
thereto with the right, which is the only Difference from the Bou-
ree aforefaid. It is unneceflary to fay any thing farther of thefe
Steps, in this Place, fince they will be underftood by what has been
{aid in the Bouree or Fleuret of one Movement^ having in that dc-
fcribed all the different Ways mentioned here; but only to obferve^
that the firft two Steps, as above, and the Bounds muft be added; -

CHAR

The Art of Dancing explain d.

t r

S '.vv.i^.'.vCr,

^.^• V >L

CHAP. XIX.

Of the SLIP before and then behind, or SLIP
behind and afterwards before , and HALF
GOUPEE fideways.

THE SUp before and then behind is a Step compofed of four
plain Steps, in a Meafure, and two Movements ; which
(aid Movements may be done upon the Ground, or off from thence;
but it differs from the Bouree with a Bound in this, that, whereas,
in the Bouree aforefaid, the fir ft Move mentis always to be made
on the Floor, and the fecond off, in this Step both are performed
alike, either fpringing from the Ground, or upon it $ and it is aho
to be noted, mat thefe Steps feldom, if ever, are performed any o-
therwife than fideways to the right or left Hand, or with a quarter
Turn, half Turn, &c.

Thefe are the Ways this Step is ufually made, as either flipping
before and afterwards behind y ot flipping behind and then before*,
the fir ft of which I fhall defcribe, beginning with the right Foot
For Example, the Weight of the Body is upon the left Foot in the
third Pofition, the right being intirely difengaged from the Weight,
fo that it may be at Liberty to begin (k) ; which it does by making
the firft Movement or Bend and Rife from behind the left Foot to
the firft of the four Steps, fteppingopen off fideways to the right
Hand (1), and the fecond Step, which is with the left Foot, is
drawn crofting before it, (m) after which the right Foot makes

(k) See the firft Figure in Plate V. (!) See the Point or fecond Figure of Plate
YJ. (m) See the Point or firft Figure in Plate VI. and fecond Figure of Plate XL

the

TIm Aet ^f Dahcing explain d. 55

the fccond Movement the fame Way, which is the third Step;
but, inftead of the left and lad Foot's being drawn before, as in
the firft Slip (n), it mud now be drawn behind where it concludes
receiving tit Weight in the fifth Pofitrorr (o\

To Slip behind and then before is, when die right Foot has msfccfe
the firft Movement and Step tideways in the Manner juft defcribcd £
and the fccond Step, which is with the left Foot, (p) inftead of be-
ing drawn eroding before, as in the former, is drawn behind fq).
The fecond Movement is alfo with the right Foot, flapping to the
fame Side (r), which is the third Step; and the fourth and lalf^
which is with the left Foot (s), is drawn crofling before the right in-
to the Pofition aforefaid (t).

To perform this Step with a quarter of a Turn, either to tie right
or left Hand, is only turning a quarter Turn to one of the raid
Hands, as it (hall fall out; in Dancing however, as an Example, I
fhall explain it tideways to the right Hand, facing to the. left Side
of the Room, viz, before and behind, and behind and Before^ which
are both to be performed, as follows: For Inftance, thefe SRps> at>
before defcribed, were tideways, facing the upper End of the Room
to the right Hand $ whereas, in a quarter Turn to the left Side of
the Room, in the Sink of die firft Movement, you prepare for die
Rife or Beating Time,* but, inftead of performing it, facing to
the upper End of the Room, as in the foregoing, in the riling; it
makes a quarter of a Turn to the left Hand, which then will face
to the left Side of die Room ; yet in the Performance of the reft of
die Step to the right, it is intirdy in the fame Manner as I have ex-»
plained it, to the upper Fart of the Room, there being no Diffe-
rence except in the Turn.

A half Turn is the fame as the quarter; only that, in the Rife of
the firft Movement, which is made with die right Foot, inftead of

(n) See the fecond Figure in Plate XL (o) See the firft Figure in Plate Xt (p) See
the firft Figure in Plate VI. - (q) See the firft Figure of Plate XL (r) See the fe-
cond Figure in Plate VI. (s) See the firft Figure in Plate VL. (t) See the fecond
Figure in Plate XL

turning,

»w

$6 The Art cf Dancing explain d.

turning a quarter Turn as before, that is, facing die left Side of the
Room, in this you make a half Turn, which then faces the Bot-
tom of the Room, performing the reft of the Step to the right
Hand, in the lame Manner we have defcribed it to die upper
End. ^

Thefe Steps may likewife be done, hoth flipping beb'mdy or both
flipping before \ the former is, when, in making the Movement to
the right or left Side, the fecond Step, which is the Slip* is drawn
eroding behind the fir ft or beginning Foot; and the fecond Move-
ment and Slip are performed in the like Manner.

"Both flipping before is, when, in performing the (aid Movements,
the Foot, which makes the Slips-, is both Times drawn eroding be*
fore the Foot which begun, that is, the fecond and fourth Steps;
and the firfl of thefe Steps, namely, twice flipping behind^ is in the
Rigadoon of the late Mr /faac y where, in the Beginning of the Tune,
the fecond Time of playing over, it forms a perfed Square, which
is no fmall Addition to the Beauty of the faid Dance; and this Step
flipping before is no lefs remarkable, in that it is frequendy met
with in Dancing.

This Step, in all the different Ways of performing it, as above
defcribed, is feldom, if ever, without the Half Coupee fideways
following it, on the fame Hand to which the Slips were made,
which feem not to have received their utmoft Perfection, without
this Step attending them; and as the Slips, before explained, were
to the right Hand, this muft be Co likewife , and confifts of one
plain Step, as has been obferved, in treating of the Half Coupee j
to which is added a Movement or Sink and Rife, made with the
right Foot ftepping open off, fideways, from the Pofition in which
the foregoing Slips ended, receiving die Weight on the fetting of
the Toe or Heel to the Floor (u); after which the left Foot makes
a Motion in the Air, in the Form of a half Circle, before the An-

(u) See the fecond Figure in Plate VL

cle

The A&t gf Dancing explain'd.

cleof the right Foot, opening to the left Hand, and a

the Time or Meafure (v). . • ?. .

It ftill remains to £hcw, how thefe Steps agree with the Notes o£
common or triple Time ; for they are very different in their Man-
ner of Performance, which we (hall proceed to explain, and chiefly in
this, that in Tunes of triple Time either the firft or fecond Slip,
inftead of being made quick as in Tunes of common. Time, are as
(low again; yet, for the farther Illuftration of this Point, I (hall
obferve, how thefe Steps agree with the Notes both of common'and
triple Time; which is as follows: To common Time or of four in
the Bar, as in Rigadoom, Bourees, &c. But having already defcri-
bed the Motion or Stepping of the Feet, I (hall wave the laying
any Thing farther of it here, and only {hew, that thefirftX///> or firft
and fecond Steps are to be performed in the fame fwift Manner
we have (hewn, in the Beginning or two firft Steps of the Bouree
and a Bounds and are both to be made upon the firft of the four
'Notes. The fecond Note is counted in the Sink which prepares
for the fecond Slip, which is the third and fourth Steps ; the Rife
which is made on the letting down of the third Step, or Beginning
of the laft Slip, beats Time to. the third Note, which (aid Slip is
compleated in the Sound of the third Note, in the fame Manner as
the firft Movement to the firft Note ,• and the fourth and laft Note
is counted in the Sink which prepares for the enfuing Step*

When this Step is performed to a Tune of triple Time or of
three Notes in the Meafure, as in Sarabands, Louvres, PaJfacailUs,
&c. fometimes the firft Slip is quick, as in the aforefaid, and the
fecond not; and at other Times the firft is flow, and the fecond fwift.
When the Movement is made quick, it is performed, as above, to
the firft of the three Notes; the fecond, which is flow, takes up
the fecond and third Notes. For Inftance, as was already (aid, the
firft Slip or Coupee being made with the firft and fecond Steps to
the firft Note, the fccondSlip, which begins with the third Step, is to
the fecond Note; and the third is taken up in the gentle Aiding or
drawing of the fourth and laft Step, whether before or behind.

(v; Sec the firft Figure in Plates XIV. and XV.

• r

: l

• - «• •

$$ The Ait cf Dancing exphririd.

Half the third Note is borrowed, tomark the Sink which is for

thenext Step, as has been obferved before; and, if the firft Sfiph

1 flow, the beginning Step is to the firft Note, the Slip or eafy drawing

* of the fecond Step behind or before to the fecond Note, and die re-

1 maamngSRp is fwift to the third Note.

: As to the Half Coupee, the firft Movement or ftepping fideways

1 marks Time to the firft Note; the fecond and third are counted in

the half Circle the Foot makes in the Air ; and the fourth in the
Sink, provided it be common Time ; but, if triple, half the third
Note is borrowed, as I have laid.

^■■'Z(-V'<*

CHAP. XX.
Of the HOP or CONTRETEMR

THE Hop or Contretemp is a compound Step confiding of two
Walks or Steppings of the Feet, as the Coupee; and it maybe
performed various Ways, as advancing, retiring, fideways to the
right or left, turning, &c. There are alfotwo different Pofitions from
'whence this Step is taken and. performed, namely, the third and
fourth ; the .firft: of which we (hall explain forwards , beginning
with the left Foot, which is behind the right in the third Pofition(w),
but fo difengaged from the Weight of the Body as to be ready to
a& ; which it does in the Sink that prepares for the Spring or Hop
which is made upon the right Foot, lighting in the fame Place; and
at the Inftant the Hop or Rife from the Ground is given, it leaves
the aforefaid Pofition where it refted, during the Sink, and
ftraightens the Knee, pointing the Toe dire&ly fideways, as in the
March (x); but it does not prefs upon the Floor, as in that, by Rea-
fbn the March is performed upon the Ground, and this off from
thence which is the principal Difference; for, inftead of the Pro-
gress made by the difengaged Foot, as in the March, in this it

»m

(w) See the fecond Figure in Plate V. (x) See the firft Figure in Plate VI, or firft
Figureof Plate XV.

1 muft

The A at of Dancikg ixptetti- 59

muft be performed in like Manner off from thence in the Air, the
Weight all the while continuing on the lame Foot upon which
it was at commencing, 'till the left has advanced the Length of *
March or Step in Walking (y) ; after which it receives the. Body,
and releafes the right Foot that fupported it, during its Proceflion,
as aforefaid, which then makes a plain Step or Walk forwards +>,
which is the fecond Step of the Contretemp, and is compleated on
the fetting down or receiving of the Weight upon the faid Foot in
the Pofition as at firft (z), being a Sort of Hopping Coupee.

To perform this Step backwards is intirely the fame as forwards,
only, inftead of the left Foot's being in the third Pofition behind,
the right is now inclofed before in the fame or fourth Pofition (a),
from whence it makes the Spring or Hop backwards, in the fame
Manner as was dekribed forwards (b) ; after which the right Foot^
inftead of ftepping forwards, as before, in this makes the fecond
Step backwards (c).

When this Step is done with a quarter or half Turn, cjfr. the
Weight of the Body, as has been obferved, being on the right Foot,
the Hop or Contretemp is performed, as we have already explain-
ed, but not to the upper End of the Room, inftead of which it
turns a Quarter of a Turn to the right Hand ; but the reft is the
fame, as in the foregoing, only you are to obferve, that it is '
facing to the right Side of the Room to which it advances.

The half Turn in no Refped differs from the former, except in
its not flopping at the right Side of the Room ; ..but, inftead of
that, it adds a Quarter more facing to the lower End of the Room,
to which it is performed in like Manner, as above, to the upper;
and if, inftead of the right Hand, it be performed to the left, as it
equally is in turning , as aforefaid, it is much the lame, except
that the quarter or half Turn, inftead of being made to the right

(y) See the firft Figure in Plate IX. f See the fecond Figure in Plate IX. (z) See the
fecond Figure in Plate V, as aforefaid. (a) See the firft Figure in Plate IV, or firft Fi-
gure in Plate IX. (b) See the firft Figure in Plate VI, or firft Figure ofPlate XV
aforefaid. (c) See the fecond Figure of Plate IX, and for the fecond Step of the C**tre-
temp the firft Figure in the fame Plate concluding as at firft. See the firft Figure in Plate I V #

H 2 Hand,

60 The Art of Dancing explaittd.

Hand, as in the foregoing, are now advancing to the left Side or
Bottom of the Room ; of which the Royal George affords us an Ex-
ample, in that the (aid Dance begins with this Step, both to the
right and left Hands, viz. the Gentleman performs it to the left
Hand here fpoken of, whilft the Laay does the fame to the right.

There are, befides, other Ways of performing this Step from
the faid third Pofition, as fideways crofnng to the right Hand, and
in a Hop, Step, and Draw behind fideways to the left; which
Steps differ from the foregoing in this, that whereas they were
made either forwards or backwards, facing to the upper Part of the
Room, or the fame turning to the Sides or lower End of it, thefc,
on the contrary, are always fideways, tho'they are performed tun*-
ing all the Ways aforefaid : For Inflance, to the right Hand fide-
ways, the Face or Pretence being to the upper End of the Room,
and the Weight in the Pofition already explained (d) , the Hop
is performed in like Manner excepting that, infteadof the left Foot?*
advancing as in that, or retiring from the Hop or Sprint which
is made on the right, it is here caft croflways before the right
upon which the Body refts, about the Length of a March, and
then .receives the Weight (e) ; after which the right Foot makes the
fccond Step of the Contretemp open off fideways, in the Manner
above defcribed in forwards (f).

When it is performed turning with a quarter Turn, or a half
Turn, &c. it only varies in its not advancing to the Sides or low-
er End of the Room, as in the other, but, inftead of that, it is
made fideways to the right Hand, facing to the right Side of
the Room in a quarter Turn, in the fame Manner as to the upper
End ; the half Turn the like, only not facing to the right Side of
Room, but inftead thereof to the lower Part of it, which is a
quarter of a Turn more. •

The fecond of the Ways aforefaid is the Hop, Step, and Draw
behind fideways, which is as follows, viz. to the right or left Hand,

(d) See the fecond Figure of Plate V. (e) See the fecond Figure of Plate XL (QSee
in fonw Degree the fecond Figure in Plate VL

1 the

Thlkir of Dancing explain*^ 7 6i

die laft of which begins from the fame Pofition treated of in this
Step , namely , the third, the difengaged Foot being upon, the
Point behind die right (g), from whence this Step commences or
making a Sink and upright Spring or Hop, falling in the fame Place
and Pofture, as at firft, only the Knees are bent ; after which die
left Foot upon the Point fteps open off fideways to the fame Hand,
and receives the Weight of the Body from the right, either placing
the Heel to the Ground or upon the Toe (h); and the right Foot*
being then releafed, after die Hop and Step are made, as aforefaid, it
drawn behind the left, the Toe preffing the Floor (i)$ as it is brought
behind, and receives the Weight of the Body, as at commencing
in the third Pofition, except that, inftead of the left Foot's being
pointed behind, it is now inclos'd before and concludes (j). '

This Step with a quarter Turn differs from the Hoc croflways
to the right, only in the latter's not being made to the lame Hand;
for the quarter Turn, inftead thereof, is performed, as above dc-
fcribed, ftepping to the left Hand, facing full to the right Side of
Room, as in the other, and the half Turn, facing die lower Part
of the Room, is, in its Performance to the left Hand, the fame as
die quarter to the right.

Having explained the foregoing Hop\ Beginning with the left
Foot from the third Pofition, I fhall now defcribe it fideways with
the fame Foot, from what I call the fourth Pofition\ that is to fay,
the Weight of the Body is upon the right, the left being diredly
the fame fideways as the Beginning or firft Movement in a March
only the Toe is not pointed to the Ground, as in that, but the Heel
placed without any Weight (k); from which Pofture of Standing
this Step is taken and performed: Forlnftance, the Weight being
upon the right Foot, and the left Heel placed, as aforefaid, about
the Length of a Step in Walking you make the Sink or Prepara-
tion for the Spring or Hop (1) by transferring the Weight from the

(g) See the fecond Figure in Plate V. (h) See the firft Figure in Plate VI. (t) See
the fecond Figure in Plate VI. (j) See the firft Figure in Piatt IV, or fecond of Plate
XI. (k) See the firft Figure in Plate V I. (1) See the firft Figure in Plate X.-

right

«■

6% Tbe Art <?/ Dancing explditi<L .

right to the left Foot, the very Moment before the Spring it
made, in taking up the right Foot from the Ground, the left at
the fame Inftant receiving the Body, upon which the Hop is -be-
gun and compleated, as follows: The right Foot, being then
at Liberty (m), makes a plain Step or Walk fideways eroding before
the left, that (imports the Weight, to the fame Hand (n) $" after
which the left Foot fteps out the fame Way and places the Heel,
being ready to make the Spring, as before (oj* by Reafon you are
now in the fame Pofition, as at commencing, and concludes the

Step. ' r

This Hop, as juft defcribed, is to be found in the fecond Strain
of the Rigadoon of the Jate Mr. Ifaac, the firft Time of playing over,
at the End of the third Bouree of the Womart% Side: where the La-
dy {rands upon the fecond Step of the faid Bouree, viz, the right
Foot, whilft the, left, inftead of receiving the Body asit. would other-
wife have done, only fets down the Heel to the Ground. - From
this Pofture proceeds the Hop or Contretemp we are now treating
of, which takes up the fourth Bar or Meafure; and, as I have re-
ferred to this Place for an Example, I think it will not be improper
to fay fomething here of ihsfflop that follows the foregoing: Which
differs in this, that whereas in the former the Heel is to be placed
to the Ground upon the laft Step, in this a Bound is made inftead
thereof, which is the only Difference, and the Reafon of its being
called a Hop, Step, and Bound; and it alfo remarkably varies from
the aforefaid, in that it again conducts the Dancer into the Bou-
rees, Coupees, and Half Coupees, &c. as the other leads him out of
thefe Steps. To perform this Contretemp or Hop from the fourth
Pofition forwards, the left or beginning Foot inftead of being open
fideways, as before, muft be advanced, about the like Diftance be-
fore the right, as the other was upon one'Side of it; which Man-
ner of Standing is what we call the fourth Pofition, from whence
the Hop is to be made, being, in all Refpe&s, the fame as fideways

q—wm

(m) See the fecond Figure in Plates VI and XV. (n) See the firft Figure in Plate XI.
(o) See the firft Figure in Plate X.

••

-• .

Tht Air <f Da k ci kg explain J. . 6%

to the left Hand only, as I have faid, the left Foot muft be advan-
ced up the Room, which is done as follows: The Weight of .the
Body being upon the right Foot, and the Heel of the left to the
Ground, as, aforefaid (p/, the Contretemp is made forwards, upon
the left Foot, the right being taken up from the Floor; which,
faid right Foot then makes a plain Walk or Step forwards (q), that
in the foregoing was made fideways cro/fing before the, left; aftet, •
which the left Foot is advanced; the Length of a Step / and the
Heel placed in the fourth Pofition, as at commencing this Step, in
Readinefi to repeat the fame (r). But, inftead of that, Khali pro-
ceed to fhew, how this Step is performed from the faid Pofition.
backwards* viz, by the Weight's not advancing forwards to the left
Foot, as before, but on the contrary the Hop is made on the right
Foot backwards by taking up the left Foot, in like Manner as. die
other forwards in taking up of the right, except that the Weight is
not transferred, as in the former, and then it makes the Step 6^
or Walk backwards the feme as before forwdrds\s)i after which me
right Foot makes the fecond and laft Step backwards alio and re-
ceives the Body, leaving the left Heel to the Floor, as at firft, ei-
ther to advance or retire (t); and thefe are the moft ufual Ways of
performing this Step from the fourth Pofition.' ' '. .' ■ ."/•.

The -Method of performing the Hop or Contretemps both from
the third and fourth Pofition, being now explained, I fhajl take
fome Notice, how they agree with the Notes of Mufic, either of
common or triple Time, &c . as for Example, from die third Pofi-
tion forwards, beginning with the left or advancing Foot to a Tune •
of common Time; which being accomplished will fhew the Man-
ner of the reft, whether backwards , fideways, or round, in that the
fame Method of counting will bear in them all, fince the Hop '
certainly marks the firft Note or what we call Ttme, tho' it be
upon the right Foot, as in the third* Pofition, or on the left in die

(p) See the firft Figure in Plate IX. (q) See the fecond Figure in Plate IX. (r) See
the firft Figure in Plate IX. (s) See the fecond Figure in Plate IX. <t) See the
firft Figure in Plate IX.

fourth

64 The As t of D ahci*g explairid.

fourth as follows, viz, the Springot Hop, that is made upon the right
Foot, beatsTime to the firft of the four Notes; the fecondNote is count-
ed in the letting down or receiving the Weight of the Body upon
the eft Foot, after its having advanced the Length of a Step for-
wards; and the third Note is counted, when the right Foot re-
ceives the Body, as before, and finifhes. The remaining fourth
Note, as has been (aid, is in the Sink which prepares for the fuc-
ceeding Step; and, to triple Time or of the Notes in three Bar or
Mcafure, it is the very fame, except that, as- there are only three
Notes, half the third muft be borrowed for the Sink that prepares
to mark die Cadence of the fucceeding Step.

»» • • J

»' - J ,. . J * •» -

CHAR XXL

Of the GHASSEE or DRIVING STEP.

THE Hop or Contretemf laft explained having introduced us to
the Pofition from whence the Chaffee or Driving Step is per-
formed, namely, the fourth, fince in that we took no farther No-
tice than of its being Jideways, or forwards, in the (aid Pofition,
without explaining the particular Manner in which the laft Step,
whether of a Bouree, Coupee, Half Coupee, or March is to be per-
formed, when introducing any of the aforefaid Hops or Driving
Steps', and as this Step confidently varies, in its Method of Per-
formance, from the Way in which it would otherwife have been done,
had a Bouree, ot Coupee, &c. followed, I fhall obferve, that it is
much the fame as when, in Fencing^ we put ourielves in a Pofture
of Defence ; but, this Pofture being probably unknown to the La-
dies, I (hall endeavour to give an Explanation of it, which take as
follows: The Pofture of Defence moft ufually is to the right Hand,
the whole Weight of the Body being upon the left Foot, and the
right ftepped out fide ways to the fame Side of the Room, about

the

The A*t of Dancing explained. ' 65

die Length of a Step, as in fPalkhtg$ the full Part of die Heel
firft comes to the Ground, but afterwards the Foot is flat, only
free from Weight, both die Knees being bent (u); from which
Portion or Pofture the Hop before treated of is taken, as well as
the Chaffee we are now about to defcribe, or from whence the
Longe or Pa/s is made in Fencing.

However it ftill remains to fnew the Method, how the above-
mentioned Step is to be performed, when we put ourfelvesin the laid
Pofition or Pofture, in which confifts the Perfection of it; and,
for the greater Variety, in defcribing the fame we fhall begin to
the right Hand, having already obferved it to the left, in die
Hop aforefaid. But, for the better underftanding of this, we muft
take Notice, that in a Bouree we are to make a Stop or Reft upon -
the fecond Step, when any of this Sort of Steps follow; in the
Coupee upon the firft, and in a Half Coupee or March, &c. we
(land in one of the Portions from whence it is to be taken, which
differ according to the foregoing Step's being performed forwards,
backwards, or tideways; but, in all of them, it is generally taken
from the firft or third Pofition either before or behind (v). We. fhall
begin with the laft: For Example, the Weight of the Body being
upon the left Foot, the right at Liberty behind it prepares for die
Kick or foft Stamp fideways, for (o I muft name it, as not knowing
what more properly to call it, by raifing the Heel of the hindmoft
Foot, whether right or left, with a gende and eafy Motion, the
Toe or Ball of the Inftep pointing down to the dound, but not fo
as to bear upon it, by Realbn it will not be ready to perform the
Step afore/aid ; which is exceeding fwift, becaufe, as I have faid,
the Dancer makes a Paufe or Reft, until the fourth Note in com-
mon Time is almoft (pent, and in triple the third ; but, before ei-
ther of them expire, the eafy Stamp or Kick is given, and inftead of
the Foot's being flat to the Ground, as in Fencings in Dancing the
Heel muft firft be placed thereto in order to receive the Chaffee

(u) See the fecond Figure in Plate X. (v) See the firft Figure in Plate L fecond
Figure in Plate IV. or firft Figure in Plate V.

I or

66 The Art qf Dancing ex\

or Hop that fuccceds (w). How the latter of them is to be exe-
cuted, we have (hewn in the Hops-, and, having juft before obfer-
ved the railing of the Heel and pointing of the Toe, I (hall alfo
take Notice , that, juft as. the Kick or Stamp is about to be made,
the Toe, inftead of pointing to the Floor, as at commencing, rifts
from thence; and the Heel comes down, but does not receive the
Weight, 'till the Hop or Chaffee is made, which, in Dancing, is
always immediately after this Step, it being a Preparation to that
Purpofe; for, as I have faid, the Knees being bent, at the Inftant
the right Heel is (truck againft the Floor, it only remains to per-
form the Steps treated on; and whether forwards, or backwards,
the Method is the fame, as Jideways above explained to the right
Hand.

Having now given fbme Hints, as to the Manner how the Step,
that introduces a Hop or Chaffee, is to be performed, I fhall proceed
to the Explanation of the latter, which is a Step compofed fomerimes
of three, and at other Times of four Steps to the Meafure or Bar;
and the mod ufiial Way of their Performance i&fewards and fide"
ways, I mall begin with the former of thefe, namely, the Chaffee
or Driving-Step of three Steps in a Meamre, advancing to the upper
Part of the Room, which is as follows, viz. the Weight of the
Body being upon the left Foot, and the right ftepped forwards, as
juft explained, into the fourth Portion (x) with the Knees bent, in
order to the Performance of the Chaffee , it begins by transfer-
ring the Weight; that is to fay, before the rifing from the faid Sink,
the Body, that was on the left Foot, is conveyed upon the right
and foremoft Foot, which then {imports it, whilft the left, difen-
gaged from the Weight, advances the Length of a Step, in rifing
from the abovefaid Sink into the third Pofition inclofed behind the
right, and again receives the Body. The faid Rifing beats Time to
the firft Note of the Meafure (y), upon which the right, being at

(w) See the- fecond Figure in Plate X. (x) See the fecond Figure in Plate IX.
(7) See the fecond Figure in Plate IV. or firft of Plate XI.

Liberty,

The Art cf Dancing explained. 6y

Liberty, makes the fccond of the three Steps (z); but it dific
fbmewhat from that of the Bouree, in its being ftepped more open
off to the right Hand, whereas the Bouree is dire&ry advancing
forwards upon which is counted the fccond Note; and the laft is
reckoned in the Kick or light Stamp that prepares for the Chaffee
following, which is the laft of the three Steps, and made with the
left Foot ; for, as I have laid, the Body, being on the right, refts
thereon, whilft the left moves flowly forwards, the Toe preflirig to
the Floor, as in the March ; but not much above half its Length,
in that the remaining Part is allowed to the light Stamp theleft
Foot gives forwards, on the Expiration of the laft Note; upon
which it is then in readinefs to perform the fame thing over again,
as in the Bouree (a); for this Step, in Continuance, changes the
Foot, every three Steps, the fame as a Bouree, This Step with
the contrary Foot diners only in the Weight's being upon the
right Foot, inftead of the left, as in the former; and the left, at
the End of the fecond Step of the foregoing Chaffee, being advan-
ced into the fourth Portion, in the Manner we nave juft oblcrved,
begins by transferring the Weight, and taking up the right Foot,
as the other did by the left (b), and fb on if continued.

This Step fideways is the fame as above explain d, except' that,
inftead of forwards, it is made fideways, which is the principal
Difference; however, for the more eafy comprehending of the fame,
I fhall obferve, that it begins from the fourth Pofition fideways to
the right Side of the Room, the Face or Pretence of the Body be-
ing to the upper End of the Room, the Weight upon theleft Foot as
before, with the right placed, as deicribed by the Pofture of Defence,
or Step which introduces this Sort of Steps (c). The Weight is trans-
ferred , as before ; and, in riling, the left Foot is taken from the
Ground, but, inftead of advancing up the Room, is now brought

(z) See the fccond Figure in Plate IX. only the right or advanced Foot is more open.
(a) See the firft Figure in Plate IX. (b) See the firft Figure in Plate IV. or fecond of-
Plate XI. For the fecond Step only more open, as has been laid, fee the firft Figure in
Piatt IX. and for the laft Step, fee the fecond Figure in die fame Plate. (c) See die
fecondFigure in Plate X.

I i fideways

• 68 The Art of Dancing explain* d.

I fideways into the third Pofition inclofed behind the right, and re-

i ceives the Weight in Time to the Mufic (d). The fecond Step,

i with the right Foot, is tideways, the fame Way, and receives the

Body (c), which it Supports, 'till the third or fourth Note is expir-
ed (f), according to the Time in which it is done, that is, whe-
ther it be of triple or common; upon which the laft Step or light .
Stamp is made, the fame Way eroding before the right (g), with '
the Knees bent in readinefs to proceed to the Chaffee following,
which is performed in like Manner, but on the contrary Foot.

As we are now come to the Chaffee of four Steps in a Meafure,
the foregoing of three having been defcribed commencing with
the left Foot, both forwards fideways and to the right Hand, I
fhall, on the contrary, explain this beginning with the right Foot,
to the left Hand-, but, in the firft Place, I (hall defcribe it, advan-
cing up the Room, which is as follows : The Weight being upon
the right Foot, the left advanced into the fourth Pofition (h), in
the Method already explain'd, begins, as before, by transferring the
Weight, but, as I have faid, with the other Foot; for, as the Chaf-
fee of three in the Bar transferred the Weight from the left to the
right, this does it from the right to the left, the right and hindmoft
Foot advancing into the third Pofition inclofed behind the left (i),
dire&ly the fame Way as in that of three, except with this Diffe-
rence, that as the firft Note in that was counted in the riling and
bringing of the Foot into the third Pofition, in this the two firft
Steps of the four muft be performed fwift to the firft Note, as has
been noted in the Bouree and Bound; and the fecond Note is in
the ftepping forwards of the third Step (j), only, as I have obferved,
a little open; upon which the Weight refts, 'till the third Note

(d) Sec the fecond Figure in Plate IV. or firft Figure in Plate XL (e) firft upon
the Toe and afterwards upon the Heel. See in fome Meafure the fecond Figure in Plate
VI. and fecond Figure in Plate X. (f) See the Point or firft Figure in Plate VL
(g) See the fecond Figure in Plate XI. (h) See the firft Figure in Plate IX.

(i) See the firft Figure in Plate IV. or fecond of Plate XL and, for the fecond Step which
is made quick at the ftme Time, fee the firft Figure in Plate IX. (j) See the fecond
F-gurc in Plate IX.

The Ait of Davciko explaitt'd. 69

in triple Time is (pent, or in common the fourth, in like Manner
as, in the Driving-Step of three, it reded on the fecond, waiting
for the Expiration of the third or fourth laft Notes, at which In-
fant the Step or Preparative for the next enfuing is made, and con-
cludes (k>

In performing the Chaffee of four Steps in a Meafure, above ex-'
plained forwards, to the left Hand fideways, the left Foot, inftead
of being advanced, is open fideways in the fourth Pofition, the
like Diftance to the left Hand, as in the Point or Beginning of a
March, only the Heel and Foot are flat, as has been (hewn, in the
Hop or Contretemp, to this Side of the Room (1) and it commences
by changing, as above, forwards, only the right Foot, inftead of
advancing as in that, moves fideways and is brought, in the riling
behind the left, into the third Pofition (m), at which Inftant the
left Foot, which is the fecond of the four Steps, is ftepp'd with a
fwift Motion, the fame Way, and marks Time to the firft Note (n).
Note The fecond is in the ftepping and eroding of the right Foot
before the left (o), which is the third Step ; and the third is in the
fetting of the left Heel down, in order to perform it again, as was
illuftrated by the Pofture in Fencing, or in common Time upon
the fourth as has been faid (p).

This Step may alio be performed with a quarter Turn, which
only differs in this, that, after the Rife or Movement is made to
the firft two Steps that mark Time to the firft Note, the third Step,
which is with the right Foot, inftead of eroding before the left, at
before, in the ftepping of it, turns a quarter Turn, which then
faces full to the left Side of the Room to the Mulic as above; the
fourth and laft Step, which is with the left Foot, fteps fideways to
the left Hand, the fame Way as the foregoing to the Pretence, and,
if continued one Step farther, the firft two Steps face to the left Side

(It) See the firft Figure in Plate IX. (I) See the firft Figure in Plate X. (m) See
the firft Figure in Plate IV. or fecond Figure of Plate XI. (nj See ia (bene Meafure
the firft Figure in Plate VI. (o) See the fecond Figure in the fame Plate, sod.
firft Figure ia Plate XI. (p\ See the firft Figure ill Plate X.

70 The Art of Dancing explain d.

of the Room, as the foregoing did to the upper Part; and the
third Step, in which you turn the quarter, inftead of ftepping to
the left Side of the Room, now faces to die lower End or it; the
fourth Step, • with the left Foot, fteps £deways to the fame Hand,
and fo on, if you pleafe, 'till arrived to the Prefence as at firft. It
is to be noted, that this Step does not, in Continuance, change the
Foot, as the Cbaffee of three in the Meafure, or Bouree, but al-
ways begins with the fame Foot, as in the Bouree with a Bound, •

There is another Way of performing this Step, of which I fhall
take fome Notice, viz. two Movements and Steps to the Meafure,
that is to fay, the Chaffee of three Steps in a Bar already explain d,
to which is added a Sort of a HalfCoupee> in the Nature of &Drk
ving-Step ' y which faid Step is the fourth of the laft defcribed Chaf-
fee > except that it is made plain here with a Movement or Rife from
the fourth Pofition from whence it begun, and the releafed Foot
opens in the Air, forming a quarter of a Circle, or a half Cir-
cle, Gfo

As to the Performance of this Cbaffee or Driving Step of two
Movements, .the moft ufual Way is forwards, turning a quarter,
half, three quarter, or a whole Turn, the firft of which is as follows,
viz. beginning, as we will fuppofe, with the right Foot, upon
which the Weight ftands in the fourth Pofition, and the left ad-
vanced, but without any Weight (q), as has been faid, except its
own, commences by transferring the Weight in the fame Man-
ner as defcribed in the Chaffee of four Steps with one Movement
forwards to the upper Part of the Room, that is, the firft two Steps,
namely, with the right Foot and the left (r); but not the third Step
with the right, for, altho* it fteps a little open, as in the afore&id,
it does not receive any Weight, by reafbn it prepares for the Half
Coupee y which is to be made in the Manner of the Chaffee before
mentioned. This Step is made upon the fecond Note of the three,
as was explained by the Pofture in Fencing, only inftead ofjideways

(q) See the firft Figure in Plate IX. (r) See the firft Figure in Plate IVi For the
fccoodStep which is made quick at the fame Time, ice the firft in Plate IX.

» It

The Art of Dancing explain d.

it is forwards (s); and, as was already (hewn, the Knees
and Weight upon the left Foot, the Half Coiipee, the feet
ment of the Chaffee, begins by conveying or transferri
dy from the left to tie right andfbremoft Foot, immedia
riling, on which the left or hindmoft Foot advances,
Ball or Inflep flat to the Ground into the third Pofition
right (t), which it releafes; and, in its being taken uj
Floor, it makes a quarter of a Circle in the Air, opei
right Side (u), facing the upper Part of the Room, or
Turn to the right Side; or a half Turn to the Bottoc
quarter Turn to the left Side, or a whole Turn;^
Coupee is performed to the third Note, if to triple Tin
common to the fourth.

CHAP. XXII.

Of the GHJSSEE, or DRIVING

of two Movements or Bounding GOUi

THIS Step is performed two different Ways, viz. aa\
retiring) the former of which begins by transferring
refting on the right or left Leg in the fourth Pofition , s
ter by a Sway or Wave of the Poife of the Body, eit
right or left Leg from the fecond Pofition, which is the
Method of performing this Step; for, being in the fecor
and the Weight as much on one Foot as the other, it
ving or. fwaying the Body, whether upon the right 01
during the Sink, preparing for the Chaffee or Driving I
made by the difengaged and pointed Foot, whichfbeve

(s) See the fecond Figure in PUte IX. (t) Set tht fecond Figui
(u) Sec the fecond Figure in Hates XIV and XV.

72 The Abt of Dancing explain d.

ways retiring to the right or left, or backwards. But, if it begin from
the Weight retting on the right or left Foot, as advancing to make
the Contretemp , Chaff ees t or the like, it begins by changing, other-
wife directly , without changing, being duly prepared ; tho' in its
Performance advancing, it much refembles the Chajfee to die left
Hand, of oneMovement to four Steps, except that, inflead of oneMove-
ment made upon the Ground, here are two Movements or Coupees off
from thence; and it is a Step frequently found in Tunes of com-
mon Time, not much unlike what we often fee Boys perform in
Play, when they run along, and, in rifing from a Sink, knock or
beat oneHeel againft the other, lighting in the fourth Pofition,
with the Knees bent, continuing the fame, perhaps, the Length
of a Stret or Field.

The Driving Step or Chajfee of two Movements or Bounding
Coupees is ufually perform'd fideways, tho' fbmetimes to one Part
of the Room, and fometimes to another, as it falls out, which is
according as the foregoing Step ended to the right or left Sides,
or upper or lower Ends of die Room; for the better understanding
whereof I fhall give an Example of it to die left Hand, facing up
the Room as follows, viz. the Weight of the Body being upon die
right Foot, the left in the fourth Pofition fideways, as in die forego-
ing Chaffee or Driving Step of four Steps, to the fame Side of the
Room, the Knees bent (v), &V. it begins by transferring the
Weight to the left Foot, as in that, only in the. rifing, inflead of
the right Foot's being brought behind the left in the third Pofition
as in that upon the Ground, it is here made off from thence, in
a fort of Springing or Bounding fideways, in which the right and
commencing Foot, in a Manner, drives the left and fecond Step
of the Coupee before it ; for the Spring or Bound no fboner is given
and the right Foot brought into the firft Pofition even, or the third
Pofition behind the left (w), than the left being at Liberty is driven
the Length of a Step fideways (x) and then fet down in the fourth

(v; See the firft Figure in Plate X. (w) See the fecond Figure in Plate I. or firft Figure
in Plate IV. (x) See in fotnc Meafure the firft Figure in Plate VL

Pofi-

78*A*t qfDxsciHaexplain'd. 7$

Pofition, the Knees being bent, at in the Pofture of Defence.
This fecond Step concludes the firft of the two Movements or Cou-
pee (y)> the Bound or Beginning of which is made upon the firft
of the four Notes, in that they are both counted as no more than
one Step, as has been already (hewn, not only in the Boureeaai
Bound but alfo in the Chaffee of four Steps; the fecond of the four
Notes is reckoned in the Reft or Paufe the Weight makes upon
the Sink that prepares for the fecond Movement, viz. the third and
fourth Steps, perform'd in the fame Method as the firft, by trant
ferring the Weight, as aforefaid, and being made upon the third
Note concludes the Step,- and the fourth, as I have faid, is in
the Sink or Preparation for the fucceeding Step, whether it be of
the fame, or any other Sort.

To perform this Step to the right Hand is only to transfer the
Weight : For Example, inftead of the Body's refting upon the right
Foot, as before, it muft be placed on the left, with the right dif-
engaged from any Weight, except its own, as has been (hewn by
the foregoing (z); the reft intirely, in the like Manner, advancing
tideways to the right Side of the Room, as the other to the left.

Having explained this Step advancing, I will proceed to its Me-
thod of retiring; and the Difference between this and the former
principally conlifts in the Weight of the Body's not being changed
on its beginning now, as in the foregoing; but inftead thereof it
directly commences from the fourth Pofition in which we ftand:
For Inftance, fuppofe you would perform it retiring, the fame Way
we have defcribed it advancing, viz. tideways to the left, then,
inftead of the Body's refting upon the right Foot, as in the afore-
faid, it muft now reft on the left, the right being in the fourth
Pofition fideways flat to the Ground, without any other Weight
than its own, except the Toe a little pointed or preffing to the
Floor, from whence it begins.

However, before I proceed in that, I (hall explain it rein'mi
down the Room; which is from the fame Pofition, only the right

(rtSecthefirft Figure in Plate X. (z) Sec the fecond Figure in Plate X.

K Foot

74 The Art of Dancing explain d.

* Foot is advanced, and not tideways, as here ; and becaufe a Bea-

'*. ten Coupee or Hop, either forwards or tideways, generally introdu-

k ces this Step, it may likewife not be improper to take tome Notice

*: of it, which I fhall do, in the Explanation of the (aid Step's advan-

5 dng up the Room* tince that will be fufficient for the compre-

t: hending of it both Ways, in that the fame Manner of Performance

3 is to be obferved in the one as in the other, only in the former the

!: Beat is made tideways, inftead of backwards, as in the pre-

x fent

CHAP. XXIII.
Of the BEATEN COUPEE of HOP.

THE Beaten Coupee or Hop forwards, beginning from the firft
. Pofition, the Weight of the Body being upon the left Foot (a),
makes a Movement or Sink and Rife, as was (hewn in the Half
Coupee up the Roomib) and receives the Weight, as in that, upon
the firft Note, iupporting the Body, whilft the left Foot Jtrikes or
beats againft the Heel of the right (c), which Beat is upon the fe-
cond Note; and then it fteps back to the Place from whence it
came, in order to receive the Weight again, which after the Beat
retires off from the Foot upon which it was, in a flow Motion,
waiting for the Expiration of the third Note; upon which it comes *
down on the left Foot, in the fourth Pofition, much in the fwift
Manner defcribed in the Preparation for a Hop or Chaffee (d).

If you would perform this Step with a Hop you only need, in-
(lead of the Movement as above, make a Spring or Hop upon the
left Foot, whilft the right advances, as was explained in the firft
Spring of the Rigadoon Step of two; but tho' the Weight there does

(a) See the firft Figure in Plate L (b) See in fome Meafure the fecond Figure in
Plate IX. (c) See the fecond Figure in Plate V. (d) See the fecond Figure in Plate IX.

not

Tbe'AkT of Dancing explained* 75

not come upon the advancing Foot, by Rca(bn a fccond Spring U
to be given firft, here it mud, as in the ending of a March, after
which receiving of the Body the Beat is given, as above.

Having explained the Beaten Coupee or Hop, which conduces us
to the Step we are treating of, and being in the Pofition from whence
it is taken, that is to fay, in the fourth, with the Weight upon the
left Foot, and the right advanced, or more properly fpeaking,
where it was left, in finishing of the Beaten Hop or Coupee; being
I fay in the fourth Pofition, with the Knees bent, the Hying Chaf-
fee or Driving Step of two Movements commences backwards, by
bringing the right and foremoft pointed Foot, in the Nature of a
Spring or low Bound in rifing from the Sink or Bending aforeiaid
into the third Pofition inclos*d before the left (e) ; which Bound or
coming down of the right Foot marks Time to the firft Note and
relieves the left, which it drives backwards, the Length of a Step,
receiving the Weight in the fourth Pofition (f j, with the Knees bent
as at commencing, upon which the firft Movement is ended. The
Bound and Step are both reckoned, on account of their Swiftnefi,
but as onej and the fecond Movement is made to the third and
fourth Steps, which are, in their Performance, intirely the fame as
the firft. The fecond Note is in the Bending of the Knees, after
finifhing of the firft Spring or Coupee \ the third in the Bound upon
the right Foot, which begins the fecond Movement; and the
fourth is in the Bending of the Knees, as aforefaid.

As the Method, in which this Step is perform* d retiring, is now
(hewn, I fhall return to the Place where I left off, and proceed in
explaining it, as retiring fideways to the left Side of the Room and
conclude what I fhall farther fay, on that Head ; and firft of all
it muft be noted, that it is the Reverfe to the foregoing advancing,
for as in that the Foot, on which the Body reds at beginning, pu%
fues or drives before it the Foot without Weight, in this the difen-
gaged Foot drives or purfues the retiring Foot that fupports the
Body, much like retiring in Fencing, as the firft explain'd is a Sort

(e) See the fecond Figure of Plate IV. (Q See the fecond Figure of PlatelX.

K x of

*m *+m

76 The A&? of Daxcivq explaiitd.

I of advancm^ which I think plainly appears from what hat bees

i (aid inthe D cfcription of them.

The latter of the faid Steps being now fully described, it only

i remains to add that, inftead of backwards, it muft be maderift-

ring diredly tideways, eroding the Room to the left Hand, in the
fame Manner as retiring down it, which is all the Difference;
and confequently it is unneceflary to make a farther Repetition >
except that, as where I left off (g), it commences from the fourth
Position; and if performed retiring crofs the Room to the right Side,
it is taken from the fame Pofltion as when advancing to the left, on*
ly as I have obferved, it begins without transferring the Weight;
but, when taken from the 'fecond Pofition, it is only fwaying or
waving the Body to the Side you would perform it, whether right
or left

It is to be noted, that the foregoing Chaffee or Driving Step of
two fpringing Movements, when perform'd in triple Time, muft
have a Springing Coupee more added, to fill up the Bar or Meafure;
or inftead thereof a Clofe, which is nothing more than that inftead of
finiwing the additional Coupee, or in the Bound's lighting upon one
Foot, as in that I defcribed, it comes down upon both Feet, at
thef ame Time, to the third Note in triple Time, compleating the
Meafure, as if die Coupee had been finifhed. Examples of the lat-
ter are to be found in the Chaconne de Phaeton of Monneur Peeour y
twenty Bars before the End ; and the foregoing of two Springs and
a Clofe is to be met with in the Paffacaille de Scilla by the lame
Mafter, twenty {even Meamres before die End, and in Tunes of
common Time, as Allemaignes, Rigadoons f Bourees, &c. but, in-
ftead of the Chaffee or Driving Step of two Springs, we frequent-
ly meet with one of them put with the aforefaid Clofe to a Mea-
fure (h).

m _

(g)See m tome Meafure the fecond Figure in Plate VI. (h) See the Table of this
Step in the Plate of Tablet mark'd L

CHAP.

yS The Art of Dancing explain d.

by bending both Knees, as before; and, in the Spring or Ruing
from thence, the right Foot in the Air bounds into the third Pofi-
tionbefore the left f which it releafes, tho' it is not driven, as
in the others, but inftead thereof remains in the third Pofition be-
hind the right on which the whole Weight refts, concluding the
Step on the contrary Foot (o), in Readinefs to perform die fame
Step over again, and commencing with the left Foot

The fecond Strain of the Louvre begins with this Step, the laft
Time of its playing over, with the fame Foot as here, that is to
fay, on the Mans Side, but with the contrary on the Woman's;
and in the Dance it is performed facing to the right Side of die
Room or Lady, and not to the upper End of it, as here described.

In triple Time this Step transfers the Weight and Foot, every
Meafure as in the Half Coupee, March, or Bouree % but, when
done to Tunes of common Time, inflead of three Drives ox Springs
in a Meafure, as in triple afbrefaid, there muft be only two j and
confequendy, if continued, they will always commence with die
fame Foot as the Bouree and a Bound, or Coupee, &c. unlefs Steps
of a contrary Nature, as the Bouree, Half Coupee, or March be
made between them.

The Driving Step of two Springs agrees with the Notes of
common Time, in die fame Manner as was defcribed in the Flying
or Driving Step of two Movements; and it makes no fmall Figure,
either in common or triple Time, fince in the latter it is rare to meet
with a Paffacaille, or Chaconne, without it; but, on the contrary
it is fbmetimes found in three or four Places of one Dance, whicn
demonftrates, how greatly it is valued and efleemed by M aft en (p).

t See the fecond Figure in Plate IV. (o) See the fecond Figure io Plate V.
(p) See th: Table of this Step in the Plate of Tables mark'd L

CHAP.

The Art ^Dancing explain d. 79

a *;-m -)7s^ >;-ca >x*vi

CHAP. XXV.

OftbeFLTING GHASSEE or DRIVING

STEP lackwdrds, with a CLOSE and
COUPEE to a Meafurc

THE Step, which I am now about to explain, begins from the
fourth Pofition, as well as the Hop or Chaffee \ but, before I
proceed, it muft be obferved, that it is composed of three diflereat
Steps, and commences with the firft Movement of the Hying Chaf-
fee or Driving Step retiring down the Room exa&ly in the fame
Manner as was explained, in treating of that Step f, ending in the
fourth Pofition to the firft Note, the Weight being upon the left
Foot, and the right advanced, or rather, as I have (aid, left with-
out Weight, in Readinefs to begin the fecond Movement of the
laid Step (q) ; which Movement is made upon the fecond Note of
the Saraband or Pajffacaille, to which it is done by making a*
Clofe from the Pofition above mentioned, in rifing from the Sink or
Bending of the Knees in which the Chaffee to die firft Note end-
ed; which Spring or Clofe is made, in turning a quarter Turn Id
the right Side of the Room, from the upper Part thereof, into- the
third Pofition, by taking, up the right or advanced Foot, at the
Inftant the Clofe is made upon the left, before which the right it
inclofed (r). The third Note is in the Coupee, which is the third
Movement and concludes the Step; and the (aid Coupee, which
muft be performed fwift to the laft Note, commences,, oy the right

f See Page 75. (q) See the fecond FigQre in Plate IXT. (r) See the fecond
Figure in. Plate IV, only it muft be fuppofed facing to the right Side of the Room.

So Thckt* iff Dahgikq explamd.

or inclofed Foot's making a Movement or Sink and Rife, ftepping
open off tideways to the right Hand (s), . feeing, as aforefaid, to the
right Side of the Room, rather inclining backwards than directly
£deways» by Reafon of its making Way for die left or hind Foot s
more eafy and natural crofling before the right fideways into the
fifth Pofition, in the Method (hewn' in treating of the Sbp before
end then behind* ending, as I have laid, upon the third Note,
with the Knees bent preparing for the following Step, which moft
ufiially is a Half Coupee (t); and it begins by taking of the right
or hind Foot up, in riling from the aforefaid Bending of the Knees,
whkh is brought behind die left into the third Pofition (u), turn-
ing a quarter Turn back again, from the right Side of the Room
to the upper End, -upon the firft Note of the Meafure. The 4e-
cond and third Notes are in the half Circle or Motion the left Foot
makes in the Air, in its being taken from the Floor, (v) which, as
I have laid, is upon the right Foot's receiving the Weight in the
Rife from the firft Step ; and the left Foot, being in the Air, is
ready to perform a Pirouette* or any fiich like Step.

If, inftead of the right Side of the Room, you would perform it
to the other Hand, the left Foot muft be in die fourth Pofition ad-
vanced before the right on which the Body refts, in Hke Man-
ner as the right was before, without any Weight except its own (w),
from whence it commences to the left Side of the Room, directly
as the foregoing to die right; and the Step here treated on is to hie
found in the Pajfacatllc Darmid for a Woman* compofed by
Monfieur UAbbee, in the fixth Meafure, beginning with the right
Foot, as above explained (x).

<$) See in feme RefpeAs the fecond Figure in Plate VI, only it muft be fuppofed to
the right Side of the Room. (t) See the fclond Figure in Plate XI. and it alio muft
be facingas aforefaid. (u) See the firft Figure in Plate IV. (v) See the firft Fi-
gure in Plate XV. (w) See the firft Figure in Plate IX. (x) See the Table of
this Step in the Plate of Tables marked L

CHAP.

T&e Ait of Dancihg explain'a. St

CHA P. XXVI.

* •

Of the HOP of two Movements, from the fifth

Pofitton round in two half Turns.

THIS Step ismuchufcd in Stage Dancing to which,, indeed it.
properly belongs, as well as the foregoing ; but as there are
Ladies, who frequently arrive at fuch a Perfection as to be capable of
performing this Sort of Steps, it may not be improper here to give an.
Explanation of fome of the moft remarkable of them , of which
Number that under Confederation is one; which is often found in
Tunes of triple Time, and fometimes in thofe of common, confift-.
ing of two Movements, viz. a Hop and a Bound both made in
turning, the firft commencing either from the fourth or fifth Por-
tion ; from which laft we (hall explain it, beginning with the right
Foot that fupports the Body, as in the Chaffee or Driving Step,
only the left, inftead of being either open fideways or advanced in
the fourth Pofition, from whence the aforefaid Steps are taken, muft
be a little more eroded, that is to fay, the left Heel towards the Toe
of the right Foot, without the leaft Weight bearing upon it, by
Reafon the Step begins by transferring the Weight (y), which is
accomplished in this Manner: The Body, as has been obferved,
being on the right Foot, immediately before the Hop or firft
Movement is made, is conveyed upon the left and foremoft'
Foot, by transferring the Weight, upon which the Hop is given
on the left Foot, in the right's being taken up from the Ground
turning a half Turn from the upper Part of the Room to the lower
End thereof, to the right Hand, making a half Circle in the Air
the fame Way behind the left Foot where it arrives. At the fame

(y) See the fecond Figure in Plate XL

L Inftant,

The Abt of Danciko explain d.

Inftant, the Hop is made upon the firft Note of the Meafiire; the
fecond is in letting down the laid right Foot in the fourth Pofitiotf
advanced before the left, on. which the Weight reds, in its being
brought from behind the left Foot, where it mark'd the firft Note (z\
The third Note is in the coming down of the Bound, which is
made, as aforeiaid, in transferring the Weight from die left to the
right, the very Moment before the Spring or Bound is made, by
riling from the Sink or Bending of the Knees, which was on the
letting down of the right Foot to the fecond Note, and bringing
die left Foot on which the Body refted in a low Bound or Spring
Into the third Pofition behind the right; which being then releafed
makes the remaining half Circle in the Air, by turning a half Turn
more to the lame Hand, as in the Hop or firft Movement from the
lower End of the Room to the upper Part, and finifhes the Step
with the right Foot in the Air fideways (a). To perform the fame
Step with, the other Foot, we are only to let down the right
Foot into the fifth Pofition, before the left, on which the whole
Weight refts, which begins, as afore&i<£> by tiansferring theWeight (b);
and the Hop turns a half Turn to the left, exactly as the foregoing
was defcribed to the right (c)> ©*c. This. Step is to the third Mca-
fure of the Paffacaille Diana, beginning with the fame Foot, as
above defcribed (d^

(z) See the firft Figure in Plate XII. (a) See the fecond Figure in Plate XV.
(b) See the firft Figure in Plate XI. (c) See the fecond Figure in Plate XII.

concluding &V. as in the firft Figure of Plate XV. (d) See the Tables of this Step in,
the Plate of Tables mark'd L

CHAP.

The AftT of Dancing expldirid. 6$

' vr )m Cf ilr if ' i'^ 1 ! r )}'" >""">♦»'

, t . 4W ' - '^ - ' - ' - ' - - ' - - i - - ' - "

CHAP. XXVIL , ' ■;

0/ ftfc CHACONNE or PASSACAILLE

STEP.

i * •

TH £ Cbaconne or PaJfacaiUe Step is compofed of three Move-
ments, viz. firft a Bound, fecondly a /7<^, and laftly a B<mmd 9
or Baloney and it is mod ufually taken from the third Pofition.
I {hall, as an Example, defcribe it commencing with the left Foot
which in its Performance is as follows ; that is to fay, .the left Foot
difengaged and at Liberty behind the right, in the Pofition aforc-
faid (e), begins die firft Movement by making a Bound, in the
Manner already {hewn in treating of that Step, which, as I have
there faid, is acconiplifhed by a Sink or Bending of the Knees ;
from whence the Body is thrown into the Air, in the Spring from
the Sink or Bending aforefaid, only turning a half Turn to the
right Hand, and comes down upon the Toe of the left Foot to the
firft Note j at which Inftant the right, on which the Weight refted
before the Change was made, follows or rather attends the fcft
Foot, in the fame fwift Manner as explained in the Bouree and a
Bound) remaining behind the left up in the Air, in order to per-
form the Movement that next fucceeds, facing to the lower End of
the Room (0; from which Pofture the Hop of fecond Movement is
taken, and marks the fecond Note, by finking and making a
Spring or Hop upon the left Foot which fupports the Body, turn-
ing half a Turn to the right Hand, from the Bottom to die upper
Part of the Room. The right Foot, which at the End of the
Bound was behind the left, about the Length of a Step in the Air,
is now the like Diftance before it (g),. ready to make the Bound

(e) See the fecond Figure in Plate V. (f) See the fecond Figure in Plate XIII.
Tg) See the fecond Figure in Plate XIV. 1

I* * or /

84 The Art of Dakciho explaiifd.

or Balone y as the French call it, to the third Note of the Meafure,
which is in bending both Knees ; and, in Springing from thence,
the Weight is transferred from die left Foot, and lights upon the
Inflep or Toe of the right which was in the Air, concluding in the
third Pofition, as at commencing (h).

This Step, if continued, always begins with the fame Foot, as
the Coupee or Bouree with a Bound \ and to perform it with the
contrary Foot only differs in this, that, "inftead of being in the third
Pofition juft defcribed, the Weight muft be upon the left Foot,
with the right at Liberty behind (i); and, inftead of turning to the
right Hand, it now turns to the left, beginning with the right
Foot, &c. (j) as the foregoing with the left. .

This Step, as above explained, is to the flfhMeafure of the Pajfa-
ca'dle Diana aforefaid, and alfo in the fame Meafure of the Pajfa-
ca'ilk deScilla mentioned before, commencing with the right Foot;
and it is a moft agreeable Step in Dancing, rarely miffing to be
found more than once in one of thefe Sorts of Dances (k).

as®

CHAP. XXVIII.

Of the HOP and two GHJSSEES or DRIVES

round in the fame Place.

• «

THE Hop and two Drives or Cbaffees is likewife a Step com-
pofed of three Movements, as the Title above ipecifics, and is
performed from the fourth Pofition, in the Manner defcribed in the
foregoing Hop of two Movements from the fifth Pofition \ which

(h) See the fecond Figure in Plate V. (i) See the firft Figure in Plate V.
(i) See the firft Figure in Plate XIII. the firft in Plate XIV. and the firft in Plate V.
(k) See the Table of this Step in the Plate of Tables mark'd I, and alfo the Lift or
Explanation.

faid

• • « •

72feAtT of Dancing explained: . $5

{aid Step begins by transferring the Weight in the like Method as
die prefent. Having explained the former, beginning with the
right Foot, I (hall explain this with the contrary, and it is' perform-
ed as follows, viz. the Weight being upon the left Foot, die right
in the fourth Pofition advanced and at Liberty is prepared to re-
ceive the Body (1); which it does, the very Inflant before the Hop
or firft Movement is made to the firft Note, and from thence, I
fay, begins by finking or bending of the Knees, in order for tBc
following Spring or Hop, which is made upon the right Foot^ ins
the left's being taken up from the Floor, and marks Time to the'
firft Note, as was before obferved, turning a half Turn from, the
upper .End of the Room to the left Hand and leaving the-left Foot
without Weight, in the third. Pofition behind the right, facing the
lower End (m) ; from whence the firft of the two Drives begins

in bending of the Knees, as already fhewn in the Chajfeeot Driving
Step of three Movements, upon the fame Place,; in Preparatkm
for the Spring or Bound made in ftraighteriing of the Knees^ turning
a quarter Turn farther to the left Hand, facing full to the right
Side of the Room, and lighting upon the left Foot, on its being
brought into the third Pofition before the right, which is drove
by it backwards, the Length of a Step in the Air; which faid
coming down of the left Foot is to the fecond Note, and the third
is in the Spring or Bound made upon the right ; and, in the Rife or
Spring from the finking or bending of the Knees, as aforefaid,
the right Foot advances into the third Pofition behind the left,
which being then releafed is drove, the Length of a Step in the
Air, turning a quarter Turn more, opening to the left from, die
right Side of the Room to the upper End, and concluding in the
Air(n). l ...

To perform this Step with the other Foot only differs in this,
that, inftead of the right Foot, the left Foot muft be advanced (o)

(1) See the fecond Figure in Plate IX. (m) See the firft Figure in Plate XHT ft
only the left Foot* inftead of being in the Air, muft be fuppofed to reft againft the Heel
of the right (n) See the firft Figure in Plate XV. (o) See the firft Figure in Plate DL

and|

$6 The Art of Dancing explahid.

and, inftead of turning the half Turn to the left Hand, as before
defcribed, it turns to the right, directly in the lame Manner as
the aforekid (p); Examples of both which are to be found in the
Cbaconne de Phaeton of Monfieur Pecours, in the eighty fevcndi
Meafure beginning with the right Foot, and in the ninety firft of
the fame Dance with the left, as above defcribed (q).

* «■»

C HAP. XXIX.

Of the FALL, SPRING witb loth Feet at the

fame Time, and GO V PEE to a Meafure.

. - ' - ■ ■ -

• . * * *

TH £ foregoing Step, ending in the Air with the left Foot, na-
turally introduces us to the prefent, which is of three Move-
ments, and taken from thence mfal&ng> Springing with both Feet
at the fame Time, and a Coupee ; all which Steps are to be perform-
ed to a Meafure, and comequently accounted but as one Step,
which, in its Performance, is as follows, viz. the Face or Prefence
of the Body being, as in the foregoing, fuppofed with the Weight
upon die right Foot (r), the Step begins by falling much in the
fame Manner, as explained in treating of this Step, when intro-
duced by the GalTtard fldeways to the right Hand, only this as
backwards in a flow and eafy Motion, the very fame as if you intend-
ed to^faB quite to the Floor; but, as I (aid before, it is prevented
from that by the left Foot which is in the Air, with the Toe point-
ed towards the Ground, attending and watching the falling Body
fo narrowly that, the very Inftant it is in a manner paft Recovery,

• %

(p) See the fccond Figure as tfbreftid in Plate XIII, and the fccond Figure of
Plate XV. (q) See the Table of this Step in the Plate of Tables marked L and alfo
the Lift or Explanation. (r> See the firft Figure in Plate XV, or firft Figure of Plate XIV.

• • -

The Art of Dancing : explain (f. "■ 87

it flies fwift to its Relief, to fave it from falling, by receiving half
the Weight in the fourth Pofition behind the right Foot (•), witE
the Knees bent upon the firft Note; from whence the Spring is im-
mediately made with both Feet) acting at theYame Jundure upon
the fecond Note, that is, by changing the right Foot backwards
and the left forwards (t), • the Knees being bent, "as. afbrefaicl, • for
Readiriefi to make the fucceeding Coupetr\ 'which is 'done by tals/ng
up the left or fbremoft Foot from the Floor and .from the. Bending
aforeiaid rifing upon the Toe or Inflep, making an open Step to
the left Side of the Room to the third Note, neither dire&ly free-
ways nor forwards, but between both. The fecond Step of the
Coupee, which is with the right Foot, follows it, fteppxng the?
fame Way in the like fwift Manner, as the Beginning of the B&m- '
ree with a Bound) into the fourth Pofition before the left (u), wk&
the Knees bent as above. ', -, ~ ",-:!•»!• .... r

In order to make the Half Coupee, that ufiiauy follows this Stepv
which is very flow in that, of itielf, itanfwers to a Bar, Kke the" -'
foregoing of three Movements, upon the Weight's being changed,
the left Foot, which before fupported the Body, being at Liberty,
advances, in rifing from the Sink or Bending aforeiaid into the
third Pofition behind the right (y\ which then is rclcafed, and
makes a Circle in the Air to the fecond and third Notes, the
firft being upon the left's receiving of the Weight as aforeiaid; and
the Half Coupee i concluding thus with the right Foot in the Air, »
ready to perform either a Pirouette, or the fame Step over again-
with the contrary Foot(w); which only differs from the foregoing, ■
in its beginning with the right Foot, and is found in the Paffa-
ca'tlle de Scilla, twelve Bars before the End, beginning with the
laft mentioned Foot, and in other Places of the fame Dance (x),

(s) See the fecond Figure in Plate IX, only the Weight muft be equally upon one Foot
as the other. (t) See the firft Figure in Plate IX. (u) See the fecond Figure in
Plate IX. (v) See the fecond Figure in Plate IV. (w)See the fecond Figure m
Plate XV. (x) See the Table of this Step in the Plate of Tables marked I, and alfe
the Lift or Explanation.

CHAR

88 The Art of Dakcihq explaind.

CHAP XXX.

• m

m ■

Qf ffe CLOSE hating hefore and falling lehind
in the third Pofition, upright Spring changing to
the fame tefore, and CO UPEE to a Mea-
fure.

— " • »•• -; -

TH E Clofe beating before 8fc which we are now about to explain,
differs from the before defcribed Step of this Name, in its be-
ing done to the firft Note of the Meafure, and, inflead of refting
the remaining two Notes, as in the aforefaid to the fecond, there
are the upright Spring and Coupee to the third ; and, inflead of the
Cloft% ending either in the firft or third Pofition with the Knees
ftraight, as in the former, it here comes down behind with the
Knees bent, after its beating before. This Step is to be performed
as follows, ' viz* commencing either with the right or left Foot
from the third Pofition (y), by finking or bending not only the
foremoft Foot on which the Body refts, but likewife the hind Foot
without Weight; or from thence it begins, by making the Clofe
in the like Manner, as aforefaid, in treating of this Step in die Rife
or Spring from the above named Sink ; but,' inflead of the Clo/ft
lighting in the firft or third Pofition, as in the foregoing, the be'
ginning Leg beats before againfl that on which the Body refted
at firft (z), and comes down in the third Pofition, as at commen-
cing, only the Weight is equally upon both Feet (a), and the Knees
are bent, marking the firft Note. The fecond, as 1 have obferved,

(y) See the firft and fecond Figures in Plate V. (z) See the firft or inclofed
Feet of the firft and fecond Figures in Plate IV. (a) See the hind Feet of the two
kid Figures in Plate IV.

IS
t

TheknofDABcmaexplaiitd:- 89

it in coming down after the Rife or upright Spring from thcacc
into the Air, in which the Feet are changed, viz the firft laft
and the laft firft (b), the Knees being bent, as aforefaid, upon the
firft Note in Preparation to make the following Coupee, which is
fwift upon the third and laft Note of the Meafurc, whether of a Sa-
raband at PaJfaca'iUe, SrV. by riling in the Step the firft Foot
makes forwards, opening either to the right or left Hand and re-
ceiving the Weight (c); after which the hind Foot and fecond Strep
of the Coupee more fwift, the fame Way, into the fourth Pofition
before (dj it, with the Knees bent, concluding in Readinefs for the
Coupee that ufually attends thefe Steps ; which is, as I hare faid,
in the laft defcribed Step, as exceeding flow as the foregoing or
its Introducer was quick, and made in rifing from the aforefaid
after transferring the Weight, and bringing the hind Foot into
the third Pofition behind the foremoft (e), which being rcleafect
makes a Circle in the Air, as aforefaid, either to the right or left
Hand, according to which Foot the Step begun with (f), and i*
ready to perform the Step over again with the contrary Foot to that
with which you commence.

You are to take Notice, that thefe two Steps are in a Manner
infeparable, as I hare already obferred of fome others in the
Beginning of this Difcourfe, and are to the laft Meafurc excepting
two and a half of the Spatiijb Entree for two Men, compofed by
Monfieur Pecour, belonging to the Opera de I Europ Galantc; and
alfo in the Entree Efpagnole for a Man and a Woman, in the afore-
faid Opera, compofed by the fame Matter (g).

The above defcribed Step is fometimes performed, turning a
. whole Turn round, that is to fay, half a Turn upon the Clofe beat-
ing before and coming down behind in the third Pofition, the o-

(b) See the Change in the firft and fecond and fecond and firft Figures in Plate IV.
(c) See the two firft or advanced Feet in the Figures of Plate IX. (3) See the right or
advanced Foot in the fecond Figure of Plate IX. and the left or advanced Foot of the
firft Figure in die fame Plate. (e) See the fecond and firft Figures in Plate IV.
(f) See the Figures in Plate XV. (g) See the twenty firft Table in the Plate of Ta-
blci marked I, and the Lift or Explanation oi the laid Table.

M ther

90 The Art of Dancing explain d.

thcr half being in the upright Springs and inftead of the Beafs be-
ing made againft the Foot on which the Weight refted, when fa-
cing the upper End of the Room, it is here made to the lower
Part in a half Turn, either to the right or left Hand, lighting in
the third Pofition behind; from whence the upright Spring is ta-
ken, in ruing or fpringing from the Floor, as aibrefaid, only, in-
ftead of the Feet being changed facing the Bottom of the Room,
the remaining half Turn is made to the fame Hand up it: For Ex-
ample, fuppofe it commences with the right Foot from behind (h),
then the Turn muft be to the left, the Clofe ending to the lower
End in the third Pofition, with the right Foot behind (i); but,
in the half Turn belonging to the upright Spring, it is changed in
the Air, and comes down in the third Pofition before the left, on
which the Body refted at firft (j).

The Coupee is intirely the fame, as defcribed in the foregoing,
beginning from the firft or inclofcd Foot ; and, if with the left
Foot, it begins in the fame Manner, by making a Spring or Clofc y
&c. turning to the right, as above (k).

C HAP. XXXL
Qjf the PTROUETtE

" * . •• • ■ w

TH E Pirouette is a Step that altogether connfts of Motion and
Turning. There are two different Ways of performing it ;
cither from a whole Pofition, the Weight refting on both Feet ; or
a half Pofition, when the Weight only refts upon one Foot, the o-
ther being in the Air, from whence it begins, as will appear: For

(hj Sec the firft Figure in Plate V. (i) See the firft Figure in Hate IV. and for
the Beat before fee the fecond Figure in the fame PJate, only the Feet muft be fuppofed
in the third Pofition down the Room. (j) See the fecond Figure in Plate IV.

(k) See the twenty fecond Table in the Plate of Tables raarkM £ and the Lift or Expla-
nation of the laid Table.

inftead

The Ait of Dancing explain 9 ^ 91

inftead of performing it from the fifth Portion, directly ms we
ftand, as in the former, in the latter it is made by adding a Step
with the Foot in the Air backwards into die abovementioned Pofi-
tion behind, from whence they turn equally alike to either Hand
upon the fame Place, the Weight of the Body retting moftly upon
mat Foot which at firft (imported the Weight, the Di fferen ce be-
ing only in the ftepping of the Foot which may as well be made
forwards as backwards*

I (hall now proceed to explain the Method of performing till*
Step, both thefe Ways, beginning in the firft Place with the whole
Pofition, which is as follows, viz. being, as was already obferved,
in the fifth Pofition, that is to fay, when the Heel of either the
right or left Foot, inftead of being advanced right forwards, .as in
the fourth Pofition, is, as 1 have before fhewn in . the Hop of two
Movements, round in two half Turns from the Pofition now treat'
ed on, and about the Length of half a Foot more crofs*d before die
hindmoft Foot;- fb as that the Heel of the firft in a Manner touches
the Toe of the hind Foot, the Weight of the Body bearing as much
upon one Foot, as the other, inftead of the whole Weight's being
upon the Foot which is behind, as in the Hop of two Movements (1).

Having fhewn the Pofition or Pofture of (landing, from whence
this Step is taken, I will continue its Explanation, turning to either
Side of the Room; and it is no more than making a Sink or Bend-
ing of the Knees in the above explain'd Pofition, the Rife whereof
is made upon both Infteps to the firft Note, in binding or pref-
fing them ftrong to the Floor and raifing the Body into the Air,
during the Turning or Meafure to which it is made : For Tnftance,
if to the right, the left Foot is foremoft (m), if to the left the
right (n) From thelaft of thefe we (hall defcribe it, as follows:
The Sink and Rife being made, as aforefaid, to the firft Note,
the fecond and third, if to triple Time, are in the flow Turning of
the quarter Turn, which is to the left Side of the Room, in which

»V» toMNam*Mtfka

(i; See the firft and fecond Figures of Plate XI. (m) See the fecond Figure in
Plate XI. (n) See the firft Figure in the fame Plate,

Mi the

^*m*

92 The Art if Dancing explained.

the Feet are changed $ namely, the right, which at commencing
was firft, is now laft, and the left firft, facing full the Side of
the Room to which the Turn was made ; and, if a half Turn, it is
only adding a quarter Turn more, which then will be full to the
Bottom of the Room ; and, if a three quarter Turn, it continues
on to the right Side of the Room a quarter Turn further. •

It is alfo to be observed, that, if a quarter Turn be to a Meafure,
the fecond and third Notes are counted, ^during the Turning or
Pirouette; the fame, if a half or three quarter Turn ; or, if to
common Time, * the fame as already (hewn in many Places of
this Difcourfe. And, if it be a whole Turn, it is intirely the like
in Relation to the Notes, but not in its Method of Performance ;
for, inftead of the Body's bearing equally upon both Toes, as above,
it now bears, in riling from the Sink or Preparative for the whole
Turn, "upon the Heel of one Foot and Toe of the other: For In»
(tance, in the rifing, as aforefaid, or marking the Time, the
Weight bears half upon the Heel of the right or foremoft Foot and
the Toe of the Foot that is behind, in which Manner it turns to
the left, as before, as far as the Bottom or lower End of the Room;
at which Time the Toe of the fore Foot and Heel of the hind
come to die Floor* continuing the Turn, 'till you arrive to the up-
per End of the Room or Place of fetting oat, and finim in a
Readinefs to perform the fame to the other Hand if Occafion re-
quires, by Reafon of the Feet being changed,, as I have (aid, ia
the middle of the Turn or fetting down the Heel of the hind Foot
and Toe. of the foremoft (o). Both the Ways of performing this
Step, as above explained, turning a whole Round, are to be found
in the fourth Bar of the Saraband belonging the Royal Galtard,
compofed by the late Mr. I/aac, and. written by Mr. De la Gard y
the fecond Time of its playing.; the foregoing three quarter Turn,,
in the fhort Saraband foe a Man, compofed by Mr. Pecoury. in his
Collection of Dances publifhed at Parts* in the Year 1704, by

(o) See the contrary Figures in Plate XL that ia to lay, for the firft fee the fecond,
ana for the fecond fee the n rft Figjirc.

Ms.

The Art of Dancing explained. 93

Mr. Feuittet, the thirteenth and fifteenth Bars before the End of
the faid Dance ; and the quarter and half Turns are to be met
with in moft Dawes (p). . I (hall now proceed to defcribe the fe-
cond Way in which this Pirouette is taken and performed, viz,
from a half Pofition inftead of a whole, as was, for Example, the
foregoing; that is to fay, when the Weight of the Body it either
upon the right or left Foot, and the other open in the Air pointed
fideways, as in the March, or about an Inch or two more for-
wards, only it does not touch the Floor, as in that, by Reafbn of
its being the commencing Foot; from whence it begins, by ma-
king a Step backwards into the fourth Pofition, if it be a quarter
or half Turn ; but, if a three quarter or whole Turn, it muft be
made into the fifth, as aforefaid, all of which are performed di-
rectly in the fame Manner, as the foregoing or whole Pofition, by
dividing the Weight, at the End of the flepping backwards of the
Foot that was in the Air, which, upon fctting it to die Ground,
receives 10 much of the Weight as only ferves to direct and aflifr the
Body in turning, as well as marking the Time, as aforefaid, in
rifing from the Sink made for that Purpofe, on the flepping of die
Foot backwards upon both Toes, and turning either to the right or
left Hand, which is according to the Foot that is in the Air, for
the Turn muft be made to the fame Side ; for Example, if the right .
Foot be in the Air, the Turn is to that Side (q).; and if the left, it
is to the left (r).

Having explained the foregoing or whole Pofition, turning to
the left Hand, the taking fome Notice of it to the right may not
be improper, in this Place, beginning with the quarter Turn:
For Inftance, the Weight being upon the half Pofition or left Foo^
the right, extended as aforefaid (s), begins in making a Sink or
Bending of the Knee of the left Leg on which the Body refts; at
which Inftant the right is caft back, as was faid above, into the

(p) See the twenty fourth Table in the Plate of Tablet mark'd I. and alio die Lift or
E<l lanation of the faid Table. (q) See the fecond Figure in Plate XV. (r) See
the firft Figure in Plate XV. (s) See the fecond Figure in the fiune Plate.

fourth

94 Tb e Art of Dancing explain d.

fourth Portion behind the left (t), and preparing for the Rife
marks the firft Note, which is made on letting down or receiving
a Part of the Poife of the Body upon the Foot that was in the Air;
from whence the Turn takes its Rife, turning in a flow and gen-
tle Turn to the right Side of the Room, and bearing or preffing the
Toes to the Floor, as we have already {hewn in the foregoing, in
which Turning the fecond and third Notes are fpent; that is to
fay, the fecond Note is counted in changing of the Feet, which is
in the Turning, as I have fat*], for the right Foot, which was in
the fourth Pofition behind, is about the fecond Note in the fame
Pofition before the left, facing full the right Side of the Room ;
and the third Note is upon fetting down the Heel of the left Foot,
and taking up the right, which is extended open tideways, as at
firft, and concludes.

A Pirouette with a half or three quarter Turn only differs
from the Pirouette juft explained, in not ending to the right Side
as in that; but, inftead thereof, the half Turn finishes to the
lower Part of the Room, half a Turn from the upper End (u).
And the three quarter Turn continues on, 'till it face full the left
Side ; but the whole Turn, as I have faid in the Pirouette, be-
ginning from a whole or half Pofition, on which the Weight is
equally divided, inftead of rifing upon both Toes alike, at the
End of the Step made with the right Foot, by finking and ftepping
backwards, as before obferved, into the fifth Pofition behind the
left Foot (v\ in the Rife or Beginning of the Turn the right Toe
or Inftep, being fet down to the Ground in the Pofition juft men-
tioned, receives one half of the Weight* the other remaining
upon the Heel of the left on which the Body reftcd at firft. In the
faid Manner half the Turn is made to the Bottom of the Room,
bearing equally upon the Heel and Toe ; and, when it arrives
there, the remaining half is continued, by putting down the right
Heel and Toe of the left Foot, which at firft begun upon the

(t) Sec the firft Figure in Plate IX. (u) Sec the firft Figare in Plate XII. (v) See
the fecond Figure in Plate XI.

Heel

The A*

Heel, as the right die
are changed, as we h
flepp'd or caft into tl
left laft, concluding
of the Body being to
cing(w).

As to the Agreeme
triple Time, it is the
beginning from the \
the Weight in that, 1
by making a Sink an
firft Note of the Tune,
the Body, being fupp
as in the whole Politic
be caft or fet down in
this Step is ufually tak<
as the Step is to be ma
of theMeafure, if to trij
a whole Round; or, i
as has been obferved.

This Step, in itsP
fame as the laft defcri!
Notes, or its Riling, '
the two foregoing Pir
Turn is not the fame :
in this the whole Turn
ceptthat the Step is ma
inftead of backwards as
obferved in the foregc
half Turn, it commenc

(w) See the firft Figure in
firft Figure in Plate XV, and
cond Figure in Plate IX, bej
the contrary, fee the firft Figui

96 The Art of Dancing explain d.

quarter or whole Turn the fifth (y). This Step forwards farther
varies from the foregoing backwards^ in that, altho* it commences
with the fame Foot, inftead of turning to the right Hand, as in
the former) in this it turns to the left, as in the whole Pofition;
fo that, comparing this with the Pirouette firft described, it will be
eafily underftood, in that it is the fame, except in not beginning
diredly, as in that; but if you fuppofe the ftepping of the Foot
forwards to be made, and place your Feet in the fourth or fifth
Pofition, as before observed from a whole Pofition, there is then
no other Difference, except that the whole Turn is performed in
the fame Method as the other (z).

CHAP. XXXII.

Of the PIROUETTE introduced ly a COU-
PEE

m a -

THIS Step is taken from a half Pofition, as well as the two
laft delcribed backwards and forwards ; but, inftead of the
Foot's being extended fideways in the Air, as in them, the Toe
muft here be pointed to the Floor, as in the Point or Beginning
of the March, from which Pofition it commences.

However, before I proceed to a farther Explanation of this Step,
I /hail take fome Notice of the Coupee that introduces it, which is
composed of a Half Coupee with one Foot and a circular Motion
made in the Air with the other, before its making the Point;
which Step may be performed as follows, beginning with either

(y) See the firft Figure in Plate XL commencing from the fecond Figure in Plate X V»
and, if with the other Foot, fee the firft Figure in the afbrefaid Plate XV, and it con-
cludes in the fecond Figure of the aforefaid Plate XI. (z) See the twenty fifth Table
in the Plate of Tables mark'd E, the Lift or Explanation of the laid Table, and alio die
Steps contained in Plate XV.

Foot

The Ait of Dancing explained. 97

Foot, by finking and making- a Half Coupee or . Step forwards,
marking Time to the firft Note, in rifingfrom thence. •'• » c- '•
If we fuppofe this Step to be made with the right Foot (a), the
circular Step or Motion with the left muft then be made inwards *
to the fecond and third Notes, or the fourth, if common Time;
that is to fay, the Half Coupee being made with the right Foot,
as aforefaid, the whole quarter of the left Leg moving in the Air,
with the Knee ftiff and Toe pointed, makes a circular Motion, by
moving directly off tideways, as in the Point for a March (b£
only more round continuing on forwards, about that Distance from
the other, forming a Sort of a Circle in the Air before the right
Foot on which the Body refts all this Time, in bringing the left
Leg, as above directed, that is to fay, die Toe pointed and Knee
ftiff into the third Pofition, fo as to touch the Ancle of the right
Foot (cj; and then it paffes on directly tideways to the left Hand
making a Pointy about the like Diftance from the Foot you (land
upon as the March (d) ; from whence proceeds the Pirouette we
are about to treat of, which is performed by making an eafy Sink
or Bending of both Knees preparing for the Rile or Straightening
of them, which refembles a Spring, only it is not from the Ground;
for, in the Rife or Spring from the Sink aforelaid preparing for the
whole Round, the left Foot which was upon the Point is taken
up from the Ground, turning quite round to the left Hand in
the Air, with the Leg or whole Quarter extended in the Air,
the Toe pointed, and Knee ftiff, as in the circular Motion, about
half a Foot from the Floor (e). The Body, at the very Juncture
the Rife or Spring is given, rifes upon the Toe or Inftep, as erect
as a Pyramid, and turns round along with it, finifliing to the up-
per Part of the Room as at firft, only with the Toe in the Air;

(a) See the firft Figure in Plate I. (b) See the firft Figure in Plate XV. (c) See
the firft Figure in Plate IV. (d) See the firft Figure in Plate VI. ' (e) See the firft
Figure in Plate XV. If with the other Foot* fee the fecond Figure in Plate I, the
fecond Figure in Plate XV, the fecond Figure in Plates IV and VI, and laftly the
fecond Figure in the aforefiud Plate XV.

N from

98 The Art of Dancing explairid.

from whence it may be continued as the Half Coupee, or Bou*

ree, &c.

This Step ufually takes up a Meafure, whether of three or four
Notes to the Bar; the Rife or Spring to the Pirouette marks the
firft Note, and the reft are in the Turning ; but the Coupee and
Pirouette, tho' frequently found together, are in themfelves di-

ftina Steps (f ).

There are various other Ways of performing this Step, betides
the described, as twice round, three Times round, round in an up-
right Spring beating before and behind during the Turning, and
many more ; which, as they are foreign to my prefent Purpofe, I
(hall omit, and fay fomething of the Bouree before and behind, turn-
ing? &V» .

CHAP. XXXIIL

Of the BOUREE fefore and hehind, and behind,
and hefore, advancing in a whole Turn*

THIS Step is compofed of two Bourees; but, tho' in Dancing
it maybe performed to all Parts of the Room, or upon a Cir-
clej an Explanation of it, commencing with the right Foot ad-
vancing to the Prefence or upper Part of the Room, (hall fuffice,
in that the reft will be comprehended thereby, fince the Difference
h only inftead of facing, as aforefaid. The Prefence or Body, for
Example, muft be directed to the Part or Side of the Room, to
u-hich the Step is made ; ' whether to the right or left Hand, low-
ex. End, or on a circular Figure, it will be the very fame, except
that, advancing to the faid' Parts, as before, upon a right or
ftraight Line, you muft perform the faid Step circularly or round,

(f) See the twenty feventh Table in the PJate of Tables marked I, and the Lift or Ex*
gkoation of the faid Table.

commen-

Use Arr of Dancing explained* 99

commencing either with the right or left Foot, as it {hall fall "out,
from any of the aforefaid Parts of the Room. This will appear
from the following, which, as I have above obfcrved, is advancing
to the upper End of the Room with the right Foot, in order to
which the Weight muft be upon the left, with the right disenga-
ged and at Liberty in the firft Pofition (g), which begins in making
a Movement or Bending of the Knees; from whence the right
makes the firft Step of the three that compofe the firft of the two
Bourees Mptht Room (h), in ftepping crofTways before die left, on
which the Body turns a quarter Turn to the right Side of the Room,
the Riie of which, whether upon the Toe or Heel, marks the
Time or firft Note. The fecond Note is in the next Step with
the left Foot, on its receiving the Weight, which it does, after ma-
king a Step circularly before the right, in a quarter Turn more,
now facing fall to the Bottom of the Room (i); and the third and
laft Step with the right, which is now upon the Point in the fourth
Pofition before the left, concludes the firft Bouree* in prefCng or
Aiding the Toe againft the Floor into the fame Pofition behind the
left, receiving the Weight upon the third Note of the Meafure,
and leaving the left Foot upon the Point in the like Manner (j).

The firft Bouree being thus ended, the fecond alfb begins with
a Movement or Bending of the Knees, as aforefaid ; from whence
the left is ftepped or caft behind the right, in turning a quarter
Turn farther, which will then be to the left Side of the Room, the
of which is to the firft Note or Time to a fecond Meafure ;
and the fecond Step of this Bouree is with the right Foot, turning
the fourth or laft quarter Turn from the left Side of the Room to
the upper Part or Prefence thereof, the letting down or receiving
of the Body upon which is to the fecond Note. The third Note is
in the laft Step of the Bouree made with the left, diredly up the

(g) See the firft Figure in Plate J. (h) See in fome Meafure the fecond Figure in
Plate IX, only it is to turn as directed, (i) See in fome Refpe&s the firft Figure in
Plate VIII, only the right Toe muft be, as directed, upon the Point. (j) See the fe-
cond Figure in Plate XII, except that the left Toe muft be pointed as directed.

Ni Room:

ioo The Art of Dancing explained.

Room; and upon its receiving the Weight the fecond Bottree is
ended, concluding in the fir ft Pofition, as at commencing.

The foregoing Step, as above de (bribed, confifts of two plain Bou-
rses or Flenrets of one Movement only, whereas it frequently is per-
formed with two; and if ft>, the fecond muft be made upon the
third Step, whether on the Ground or off from thence as in* a
Bound, as has already been explained in treating of thefe Steps.

But fometimes in Dancing inftead of the fecond B'ouree y a
Coupee is found, commencing with either Foot, as it mall happen*
but here it is with the left crofling before the right Foot on which
the Body refts (k), in a quarter Turn from the lower End of the
Room to the left Side, or in a half Turn to the Prefence, the right
Foot or fecond Step of which is fet to the Ground, in the Method
as when introducing a Hop (1), or, inftead of the Coupee afbrefaib\
as in the feventh. and eighth Meafures of the firft Couplet of a Dance
of my own Compofition, named the SubmiJJion, that is to fay, on
the Woman** Side. The left Foot not coupeeing before the right,
as above, inftead thereof, in turning a naif Turn, receives the
Weight, in riling from the Sink- or Bending of the Knees in the
third Pofition behind the right (m), which then is taken from the
Floor, making a circular Motion in the Air opening to the right (n)
and inclofed in the third Pofition behind the left (o), as in the two
firft Meafures o£ the fecond Couplet of the aforefaid Dance on the
Man's Side ;. and if the faid Steps are with the other Foot, as on
the Woman\ the fame Method of Performance is to be obferved
to the left Side of the Room, as> in the foregoing to the right {pj. I .

(k; See the fecond Figure in Plate XII. (1) See the fecond Figure in Plate X.
(m) See the fecond Figure in Plate IV. (n) See the fecond Figure in Phftc XV.
(o) See the fixft Figure in Plate IV. . (p) See the fecond Figure in Plate I. Sfce
la fome Meafu're the firft Figure in Plate IX, only turning to the left. See in fome
Refpc&s the fecond Figure in Plate VIII, only the left Toe is pointed. See the firft
Figure in Plate XII, the firft Figure in Plate X, the firft Figure in Plate IV,. the
firft Figure in Plate XV, and the fecond Figure in Plate IV. See the twenty ninth
Table io the Plate of Tables roark'd I, and alfo the Lift, or Explanation of the Cha-
rafters of this Step.

* H

Have.

The Art of D ahcwo explain'd. ior

have been the more particular in describing thele Steps becaufc
they are of more than ordinary Grace and Variety to Danc'mg\
but I mall now proceed to the Minuet, the Subject of the ficmd
Book of this Work.

The End of the Fi ks t B

OOK.

* •

» - »

* »

-»

t •

» r » •

.t\ir

VT-

THESE are to certify, that 'the foregoing Book, inthled the
Art op Dancing bxplain'd, was defignedand compo-
fid long before the Book, inthled the Dancing Master, appear-
ed, as we belseve; and that we have carefully examined toe /aid
Book, and found it compofed and written, in the fame Manner it now
is, on the twenty feventb Day of January, 1717-8.

Witnew our Hands,

Alex. Jackson, 7 — w A

Jo«,H jAC«ON,£ DanCU, 8- Maften -

( i°3 )

THE

ARTofDANCING

EXP LAIN' D.

BOOK the SECOND.

CHAR L
Of the MINUET STEP.

Jjj HE Minuet Step is compofed of four plain ftraight

Jlsvl Steps or Walks, and may be performed forwards,

I^BSyi backwards, fideways, ©V. four different Ways, to which

8ftfl||lf|;j there are the like Number of Names annexed, todi-

ftinguiih them from one another, arifing, not impro-
perly fpeaking, from the Placing of the Marks upon them: For Ex-
ample, a Movement or 'Sink and Rife, being added to the firft Step
ol the three belonging to the Minuet Step, produces a Bouree; ana

the

104 TbeAtir of Dancing explairid.

the like to the fourth and laft a Half Coupee, which together com-
pole what is commonly called the Englijh Minuet Step,

The fecond Method of its Performance is with a Bound; that is
to fay, inftcad of the Half Coupee or Movement to the laft Step
made upon the Floor, as in the aforefaid, you loundinficsid there-
of, which is the only Variation from the foregoing.

The third Method is quite the Reverie, bccaufe, inftead of the
Boureey.the Half Coupee is made firft and afterwards the Bouree, or
as the French term it, One and a Fleurety which is ufually called
the French Step.

The fourth Way of performing this Step is, by adding another
Movement to the third Step of the aforefaid Fleurety or the fourth
of the Minuet Step ; and it will then be notwithstanding the fame
Step, only of three Movements. As to the two firft foregoing Steps
I mall fay little concerning them, for die following Reafons : In
the firft Place, bccaufe they are now rarely, if ever, practifed a-
mongft Perfons of the firft Rank, and feem to be, for the prefent,
intirely laid afide; hot as being ungraceful, or that the Dancer
could not give Pleafure to the Beholders, or raife to himfelf a Re-
putation, in their Performance, but merely through Alteration of
Fafhion, which varies in this Refped, as in Dreffing, &c.

Secondly, bccaufe they have been, in fomc Meafure, already ex-
plained in the Beginning of this Book by the Bouree and a Bound,
which, from what I then obferved, appears to be the fame as the
Minuet Step here treated on, except that it there anfwers to a Meafure
or Bar, but here to two, as the Time is much brifker than in the
aforefaid flow Movements; and, as to their Agreement with the
Notes, it is very different from what I have to fay, upon that
Head, to the two laft Steps following; the firft of which is the third
of the aforefaid, namely One and a Fleurety or a Half Coupee and
Bouree, ufually called the New Minuet Step y and the fame that is
now danced in all polite Aftemblies (q). As it is become the fa-
vourite Step, my being fbmewhat more particular in its Defcription,

(<j) See the Characters of this Step in chefPlate marked O, Number 1. Table the fecond.

than

m ' » • • •

. The Art qf Dancing explained. 105

than of the foregoing, may not be loft Time; for the Minuet is
one of the moft graceful as well as difficult Dances to arrive at a
Mattery of, through the Plainncfs of the Step and the Air and Ad*
drefs of the Body that are requifite to its Embelliflunent, as will
farther appear from the Sequel. . .

But to return to the Subject in Hand; having, I {ay, already ob-
ferved, that the Minuet Step is compofed of four plain Steps, with-
out {hewing the Method or their Performance, or their Agreement
with the Notes of the Tune, I {hall now proceed to defcribe both
of thefe, which are to be accomplifhed in the following Manner :
The Weight of the Body being upon the left Foot in the firft Po-
fition the right, which is at Liberty (r), begins the Mtnuet Step*
by making the Half Coupee or firft of the four Step belonging to -
the Mtnuet, in a Movement or Sink and Stepping of the right Foot
forwards (s), the gentle or eafy Riling of which, either upon die'
Toe or Heel, marks what is called Time to the firft Note of the
three in the firft of the two Meafures, which is of triple Time or of
three Notes to a Bar; the fecond Note is in the coming down of
the Heel to the Floor (t), if the Rife was made upon the Toe, but
if upon the Heel or flat Foot, in the tight Holding of the Knees -
before the Sink is made that prepares for the Fleuret or Beuree fol- J

lowing, in which is counted the third and laft Note of the Meafure
aforefaid; and the (aid Bouree or fecond Fan of the Minuet Step,
if I may fo fay, is made upon the fecond Meafure of the Tune, as
the Half Coupee was to the firft, fo that it is vifible, from what
has been {aid before, that one Mtnuet Step is of equal Value to two
Meafures or Bars of the Tune.

The Sink or Beginning of the Movement, that- prepares for the
Fleuret or fecond Part of the Mtnuet Step, for fo I {hall for the fu-
ture call it, being made, there only remains to rife from die
Sink aforefaid in the ftepping forwards of the left Foot (u) to the

(ri See the firft Figure io Plate I, Book I. (s) See the fecond Figure in Plate IX,
Book I. (t) See the fecond Figure in Plate I, Book I. (u) See the firft Figure
in Plate IX, Book L . ,

O firft

• •

* — A

106 The Ait of Dancing expldrid.

firft Note of the fecond Meafure, and firft of the /fo/r<f* or three
lad Steps of the four that compofe the Minuet Stepi the fecond
Step of the faid Bouree or Fieuret is made, fwift forwards with the
right Foot (v), to the fame Note; and the third and kft Step of
the Bouree, or fecond Part of the Minuet Step with the left Foot
(w), is to the third and laftNote of the fame Meafure of the Tune,
concluding the Minuet Step with the Weight upon the faid Foot,
as at firft (x). It is to be noted, that it always begins with the
right and ends with the left Foot; and it is performed falter or
flower, according to the Tune that is played, which the Dancer is
obliged to follow.

Having defcribed the foregoing Step forwards, I {hall now pro-
ceed in it fideways to either Hand; and, in the firft Place, to-
the right Side of the Room, or rather obliquely, that is to fay,
from the upper left Corner of the Room to the right lower facing to
the upper right Corner of it, or rather in the Middle between di-
rectly udeways facing the upper End of the Room and, as faid a-
bove, from Corner to Corner: For Example, inftead of the left
Side to the upper Corner and the right to the lower, the left Side or
Shoulder points about the Middle of the upper left Corner and
fideways directly crofs the Room; which will be eafily understood,
by a fuppofed Line acrofs the Room, for the right Shoulder cohfe-
quently pointing the fame Way below the Line, inftead of facing
the right upper Corner, as before, is now to the Middle or Space
between the faid Corner and directly up the Room j which will
like wife be comprehended, by fuppofing a right Line up the Floor,,
and the Face a little turn'd looking towards the left Shoulder, or,
more properly fpeaking, upon the Gentleman or Lady with whom
we dance; and the faid Turn, or rather Complaifance gives a moft
agreeable Twift or Contraft to the Fafhion of the Body in this Step,
and not a little Beauty to that Part of the Mtnuet Dance upon which,
it falls f : but of that more hereafter*

■ ■ "Mil l

(v) Sec the fecond Figure in Plate IX, Bo6k I. (w) Sec the firft Figure in the ftmfc
' Plate* (x) See the firft Figure in Plate I, Book I. t See theGcntlcman anaLadj in Plate VI.

Having

Jbt-'hwf of Dancing explain' d. 107

Having defcribed the Adion or Pofturc of the Body in
which this Step muft be performed, if to Advantage, I (hall pro-
ceed in explaining the Motion or Stepping of the Feet upon the
aforcfaid Tract or Line; which is/ideways to the right Hand, in--
{lead of forwards, as in the foregoing, which |s the principal Dif-
ference (y). However, as it may not in all Probability be fo fully
comprehended by what has been (aid in the foregoing Step, k
may not be improper to take fome farther Notice of it in this Place.
viz. That it is to be taken from the firft Pofition, that is to fay,
the Weight being upon the left Foot the right, which is at Liber-
ty (z), commences by making a Sink and Step, open off from the .
left Foot, on which the Body refts, Jideways to the right (aj.
The Rife of the Sink marks Time to die firft of the three Notes;
and the reft are the fame, as when done forwards, the Half Cou-.
pee or firft Part of the Minuet Step being made to the nrft Mea-
fure of the Tune, as aforefaid, ending in the fame Pofition upon
the right Foot, with the left difengaged (b) to perform the Aw-
ree or fecond Part of the faid Step Jideways, in like Manner as in
the foregoing forwards; which it does in making a Sink and Step
to the right Hand fideways crofting behind the right on which
the Body refts (c), the Rife of which is to the firft Note of the fe-
cond Meamre. The right Foot then- makes a plain open Step,
ftdeways to the fame Hand (d), upon the fecond Note, leaving die
left upon the Point, in the very Place the Body refted before, in
Readineft to make the fecond Step, and is about the Diftance of
a Point in the March (e); upon which the third andlaft Step of the
Bouree and Minuet Step is made to the third Note of the fecond
Meafure of the Tune, by drawing the left Foot, pointed as it is
firm to the Floor into the fifth Pofition behind the right (f), re-

(y) See the Characters of this Step in the fecond Table of the Plate marked O, Num-
ber II. (z) See the firft Figure in Plate I, Book I. For the Aftion or Pofturc of die
Body fee the Gentleman and Lady in Plate VI. (a) See in fome Meafure the fecond
Figure in Plate VI, Book I. (b) See the fecond Figure in Plate I, Book aforefaid. Ac-
tion as at beginning. (c) See die firft Figure in Plate XI, Book I. Aftion the fame.
(d) Sec the fecond Figure in Plate VI. Book h (t) See the firft Figure in the lame
Plate. (0 See the firft Figure in Plate XI, Book L

O x cei?ing

io8 The Art of Dancing explain 9 *!.

cciving the Body, and concludes in the firft Pofition, as at firft (g);
and it may be continued, as long as die Dancer pleafes.

The third and lad Method of performing this Step is as follows:
Inftead of obliquely, as in the laft explained to the right Hand, it
is here diametrically or tideways crofting the Room directly to the
left Hand, facing, not as in the afbrefaid, but inftead thereof full
either up or down the Room, as it (hall happen f.

This Step, in Performance, differs from the laft described in
this, that die right or beginning Foot, which before made the
Half Coupee off to the right, now inftead thereof makes a Sink and
Step tideways to the left Hand, crofling behind the left Foot (h),.
which fupports the Body, marking Time to the firft Note of the
fame Meafure, and filling up the remaining fecond and third Notes,
intirely the like as in the foregoing, except that, inftead of the
firft Pofition as in them, it here ends in the third with the left Foot
foremoft or inclofed at Liberty to perform the Bouree, in the fame
Manner to the left Side of the Room, as before to the right (i).
The faid Bouree or fecond Part of the Minuet Step begins, by ma-
king a Sink and open Step, ofTfideways from the right on which
the Weight refts to the left Hand (k), the Rife or Receiving of the
Body upon which marks Time to the firft Note of the fecond Mea-
fure, and the right Foot makes the fecond Step of the Bouree to
the fecond Note, in drawing it pointed (1) crofling behind the left
(m), from the Place where it lupported the Weight, before die
firft Step of the Fleuret was made ; and the third and laft Step of
the Bouree and fourth of the Minuet Step is made, by ftepping the
left Foot open off from the right (n), in like Manner as the com-
mencing of the fleuret, only without a Sink, ending in the firft
Pofition, as at the Beginning of the Step, upon the left Foot (o),

(g) See the firft Figure in Plate I, Book I. f See the Characters of this Step in the
fecond Table of the Plate marked O, Number III. (h) See the fecond Figure in Plate XI.
Book afbrefaid. (i) See the firft Figure in Plate IV, Book I. (k) See in fome De-
gree the firft Figure in Plate VI, Book I. (1) See the fecond Figure in Plate VI,
Book afbrefaid. (m) See the fecond Figure in Plate XI, Book I. (n) See in fomeMeafure
the firft Figure in Plate VI, the fame Book, (o) See the firft Figure in Plate I, Book L

which

The Art cf Dancing explain' d. 109

which Step may be continued either diametrically or circularly, as
Occafion offer*.

We are now arrived at the fourth and laft of the before men-
tioned Steps, namely, that of three Movements or Bendings and
Rifings; which is alfo commonly called die New Step, from its
being ufed now 'as much, or very little lefs than the Ian explained
of two Movements only, and more especially when performed to the
left Hand (ideways before and behind, in that it compofcs a Part of
the Minuet Dance, as now pra&ifed, of which I (hall have Occa-
fion to (peak more particularly hereafter.

In the Interim I (hall proceed in defcribing the prefent Minuet
Step of three Movements, which, as I have already (aid, is only die
Addition of a Movement or a Sink and Rife more to the laft Step
of the Bouree or (econd Part of the Minuet Step; yet it will require
a farther Explanation, by Reafon that it differs very much from the
laft explained, in its Agreement with the Notes of the Tune^ for,
tho' that may properly be divided into two Parts or Dmfions
through the naif Coupee, in that it, together with the Sink which
prepares for the fucceeding Bouree \ anfwers to the firff Meafurc of
the Tune, and the Fleuret or (econd Part of the Minuet Step to the
fecond, and confequently is of equal Value,, tho* no more than a
(ingle Step, with the other three remaining, ft is not the like here,
becaufe the four Steps that compofe the Minuet Step are partly of
an equal Space or Diftance one from the other,, as in counting of
one, two, three, four, and cannot fo juftly be divided into two
Parts as the foregoing, which notwithstanding is but one Mtnuet
Step, as I have faid before, feparated for the more familiar and
eafy comprehending thereof; which faid Advantage we muft lofe
in this Step, it being (b in ti rely of a Piece that a Di virion here
would be as unnatural, as the aforefaid is natural, as will appear
by the Defcription I am about to give of it, which in the firft Place
(hall be forwards (p); and it is to be performed in this Manner.

(p) See the Chara&ers of this Step in the fecond Table of the Plate marked CYNunv
ber I. A Sink and Rife muft be fuppofed.

no The A»t ^"Dancing explain d.^

For Example, the Weight of the Body being upon the left Foot
in the firft Pofition, the right difengaged and free (q) begins, as a-
forefaid, in making a Sink and Step forwards diredly up the Room
(r). The Rifing or Receiving theWeight upon the Toe or Lift ep marks
the Time to the firft Note of the three belonging to the firft Mea-
fure; the fecond is in the Fall of the Heel (s) and Sink which pre-
pares for the fecond Step of the four belonging to the Minuet Step,
which is made by ftepping of the left Foot forwards, in the fame
Manner as the firft (t) ; and the Rifing or Receiving of the Body
upon the Inftep is to the third and laft Note of the firft Meafure.
The third Step of the faid four is made with the right Foot ftep-
ping a plain ftraight Step forwards (u) upon the Toe to the firft
Note or the three in the fecond Meafure; the fecond is in the co-
ming down of the Heel of the faid right Foot (v) and Sink that
prepares for the fourth and laft Step which is with the left Foot,
in ftepping forwards from the Sink aforefaid (w) ; and the Rifing or
Receiving of the Weight upon the Toe is to die third Note of the
fecond Meafure of the Tune, concluding in the fame Pofition from
whence it begun (x), in Order for a Continuance, which may be
either more or left, according to the Largenefs or Smallnefs of the
Room in which the Dance is performed.

The two other Ways in which this Step is performed are diame-
trically or fideways-, the firft of which (y) is in the like Manner as
the Minuet Step of two Movements, or One and a Fleuret % to the
left Side of the Room, that is to fay, the right Foot always crof-
fing behind the left ,• but as I have already in that Step defcribed
the Method in which the Feet are to be ftepped, it will be need-
left at prefent to fay any more than to fhew its. Difference in count-
ing to the Notes, from the former, which from what I have faid

**i

(q) See the firft Figure in Plate I. (r) See the fecond Figure in Plate IX. in
fome Meafare. (s) See die fecond Figure in Plate I. (t) See the firft Figure in
Plate IX. (u) See the fecond Figure in Piatt IX. (v) See the fecond Figure in
Plate I. (w) See the firft Figure in Plate IX. (x) See the firft Figure in Plate I
(y) See die Characters of this Step in the fecond Table of the Plate jmarked O, Num-
ber IV.

above

The A*t ^Dancing explain d: in

above appears to be very different from the Step now treated: on 9 as
I (hall endeavour to demonstrate by the following Particulars. " -

In the firft Place, we are to fuppofe a Movement added to the
lad Step of the Bouree, or fecond Part of the Minuet Step) and the
firft Step with the right Foot (z) to be made upon die Toe to the
firft Note; the fecond is in the coming down of the Heel (a) and
Sink upon the right Foot, which prepares for the fecond Step made
with the left (b), as was explained in the aforefaid, the Riling or
Receiving of the Weight upon which marks the third Note of the
firft Meafure, leaving the right Foot, as in the aforefaid, upon
the Point (c). The Drawing or Bringing of the right Foot point- .
ed, as it croftes behind the left (dj, is the third Step, and marks.
Time to the firft Note of the fecond Meafure; and the fecond Note
is in the Sink upon the faid right Foot, preparing for the fourth
and laft Step that is made, in rifing a nd ftepping fideways from
the faid Sink upon the left Foot (e), to the third Note, concluding
in the firft Pofition (f) as at commencing.

The next Way of performing this Step only differs from the fore-
going, in that, inftead of the right or beginning Foofs making .
die firft Step behind, as in the laft, it is here made before (g>, from
whence it is called before and behind -, and this -crofHng or ftepping
of the Foot before renders the Step much more agreeable and (id-
ler of Variety than the aforefaid, arifing by Reafon of the *
Twifts and Turns the Body naturally gives and receives in die
Performance thereof.

But fince this Step is much more ufed, in the Dancing of a
Minuet, than the aforefaid, I (hall endeavour to give as plain a.
Defcription of it as poflible; in order to which I fhaU not only re-
peat the Stepping or Motion of the Feet, but alfo fuppofe, inftead
of two Bars or Meafures to a Step in the Minuet, as in die aforefaid

(z) See in Tome Meafure the fecond Figure in Plate XI. (aj See the firft Figure in
Plate VI. (b) See in fome Meafure the firft Figure of Plate VL (c) See die fecond
Figure in Plate IV. (d) See the fecond Figure in Plate XI. (?) See in fome De-
gree the firft Figure in Plate VI. (f) See the firft Figure in Plate L /g) See the
Chara&cn of this Step in the fecond Tabic of die Plate: marked Q> Number yl

* only

ii2 The Abt of Dakcing explairid.

only one' Bar or Meafure, which in Effect is the fame Thing; for
what matters it, whether we count three twice over, or fix but
once; or whether the half Time is beat to one, two, three, or to
four, five, fix, which lad Method, in my humble Opinion, I take
to be much more familiar and eafy to be comprehended than the
other, in that there is not any Repetition of the firft or fecond
Meafure; but, however that be, I am fure, it will afford a greater
Variety, and poffibly may inform fbme of what, perhaps, they
were ignorant of before.

But to proceed in the Defcription of die Step now treated on:
For Inftance, the Weight and Pofition, as aforefaid (h), facing
either to the upper or lower End of the Room, it begins in making
a Sink and Step fideways, with the right Foot croffing directly be-
fore the left (i) to the fame Side of the Room, and producing a
Twift or Turn of the Body towards the faid Step (j) which receives
the Weight upon die Toe, marking Time to the firft of the above-
mentioned Notes. The fecond is in the coming down of die right
Heel, in the third Pofition before the left (k) and Sink for the fuc-
ceeding Step, which is made by ftepping die left Foot, • open off
fideways from the right on which the Body is, to die left Side of
the Room (1); the Riling or Receiving of the Body either upon the
Toe or Heel marks the third Note, leaving the Toe of the right
Foot upon the Point (m), in the fame Place the Body was before
the fecond Step was made. In the Stepping of the left Foot laft
mentioned it is to be obferved, that the Body is convey 'd or ra-
ther, more properly fpeaking, makes a becoming Feint in the Air
not much unlike that made in xht Minuet Step of One, and a Fleu-
ret to the right, only there the Bend or Sway the Body makes in
the Air was to the right (n) upon the Half Coupee, or firft of the
four Steps which compote the Minuet Step\ but here it is upon the

>mmm

(h) See the firft Figure in Plate I, Book I. (i) See" the firft Figure in Plate X£

I. (1) See the firft Figure in Plate VI,
Book the fane. (in) See the fecond Figure in PlateVI, Book I. (n) See in fotne
Meafure the Sway or Twift of the Body in the firft Figure of Plate XI, Book I

fecond

- * • I

Ibe Art of Dahcikg explained. 113

to the left, and the Look or Turn of die Head, which *n
the former was to the left, is in this to die right (o): The Toe, 1
iay, being left pointed, as aforeJaid, makes the third Step in die
Minuet, by being drawn pointed crofting behind the left Pool*
and receives die Body in a Twift upon die fourth Note or hadf
Time, as above (p). The fifth Note is in the Sink that prepares
for the laft Step of the four which compofe the -Step we now treat
of, and is made in like Manner as the fecond Step with the Jeft
Foot to the third Note, in riling and ftepping open ofFfideways (q)
from the Sink afore/aid upon the left Toe to the ftxth and laft Note,
except that the right Toe is not left pointed as in the former, bat
ends in the firft Pofition as at Beginning (r); and the laftMcthod
of counting the Notes or Time to die Step will bear, as weU
throughout all the Minuet Steps before deformed as the prefont.

Having explained the Minuet Steps which form the Circle of this
Dance, I ihall next take Notice of fome of the moft remarkable
Steps ufed, by Way of Embroidery or farther Grace thereto, as the
Hop, Double Bouree, or Fleuret advancing or in the lame Place,
Balance, &c.

CHAP. IL

Of the HOP in the MINUET.

THE Hop in the Minuet needs little farther Explanation, fince
it has been already deforibed in the Rigadoon Hop of two
Springs; I /hall therefore refer to that, becaufo it is the very
fame as the Hop under Confederation, only, when performed in

(o) See alfo in fome Degree the Twift or Sway of the Body in the fecond Figure of
Plate XI.Book I. (p) See the fecond Figure in Plate XI, Book I. (q) See in fome Mea-
fure the firft Figure in Plate VI, Book aiorefaid. (r) See the firft Figure in Place I,
Book I.

P zMmuet*

ii4 The Art of Dancing explain d.

a Minuet) there muft be a hound added and a different Method in
counting of the Notes ; for, inftead of performing die firft and fe-
eond Springs to one Bar or Meafure, as in the aforefaid, they are
divided, that is to lay, the firft Spring or Hop is to the firft Bar of
the Minuet Tune, and the' next Spring and the Bound which is ad-
ded are to the fecond. They are ail here to be reckoned but as one
Step t, which is in its Performance thus: For Example, the Weight
and Pofition being as aforefaid (s), the Spring is made in like Man-
ner upon the firft Note; but, inftead of the right or advanced
Foot's being fet down upon the fecond Note, it is now put down to
the third (t), the fecond being counted in the Progrcfs the right
Foot made in the Air, concluding one half of the Hop in the Sink
upon the aforefaid third Note, that prepares for the fecond Spring,
which is made, as in the aforefaid, to the fourth or beginning
Note of the fecond Meafure by taking of the left Foot up from the
Floor into the third Pofition behind the right and advanced Foot
upon which the Weight of the Body now is (u). The left being upon
the Point and at Liberty makes the Bound, as was {hewn in treating
of that Step, the Sink or Preparative for which marks the fifth'
Note ; and the fixth is in the Spring or Bound upon the left Foot,
by rifing or fpringtng off from the right on which the Weight reft-
ed before the faid Spring was made, concluding as at firft (v).

This Hop in the Mtnnet may be performed backwards, in the
fame Manner as defcribed forwards, except that, inftead of com-
mencing with the right Foot from the third Pofition behind, it
muft befrom the fame Pofition before (w); but the reft being intirely
the fame there needs nothing more to be faid of it here, trace
it has been fully explained in the Rigadoon Step of two Springs for-
wards, by which it may be eafily tmderftood how it is performed:
backwards (*)..

t See the Characters of thb Step in the third Table of the Plate marked O, Number- 1.,
(s) See the firft Figure in Plate V, Book I. (t) See the fecond Figure in Plate IX,
Book I. (u) See the fecond Figure in Plate V, Book aforefaid. (v) See the
firft Figure in Plate V. Book J.. (w) See the fecond Figure in Plate IV, Book L
(x) See the Characters of this Step in the third Table of the Plate marked O, Number II.

e h a p.

The Ait of Dancing explained* 115

CHAP. III.

Of the Double BOUREE upon the fame Place.

THIS Step is taken from the third Pofition before and ends
in the fame behind, anfwering to two Meafures of the
Tune, the fame as the Minuet Step, and is here efteemed but as
one Step ; tho' it is otherwife when it is performed in a Saraband,
or fuch like flow Movement, for then one of them alone is to a
Meafure without any Dependence -on die other, beginning
with either the right or left Foot, as Occasion offers. But it is
not fo in the Minuet, for the firft Bouree or Fleuret muft com-
mence with the right Foot, as an Equivalent to the Half Coupee i
and the fecond Bouree to the remaining Fleuret or fecond Part of
the Minuet Step, as ufual, with the left Foot, compleating .fix
Steps in the fame Space of Time as the foregoing Minuet Step of
four, and confequently much fwifter in its Performance f, which
<is thus: The Weight of the Body being upon the left Foot in
the third Pofition, the right inclofed before it and difengaged
(y) begins in making a Sink or Bend of both Knees, from
whence the right in riling fteps directly open off fideways, either
more or lefs according to the Tune: For Example, if to the above-
faid.flow Time, ft may then be the Length ofa Step in Walking,
or of a Point in the March (z); but not fo now, by Reaibn of die
Quicknefs of the Tune. Therefore, about half the Length of the
-faid Step, receiving the Weight of the Body upon the Inftep
or Toe of the right Foot to the firft Note, the left on which the

*^ta

' f See the Characters of this Step in the third Table of the Plate marked O, Num-
ber III. (y) See the fecond Figure in Plate IV, Book I. (z) See the fecond Figure
in Plate VI, BookaJbrdaid. .

P i Weight

116 The Art of Dancing explained.

Weight was remains in the fame Place, only the Tee is pointed (a);
the fecond Note is in the Railing of the (aid left Toe and letting
down or receiving of the Weight upon the left Heel, and alfo leaving:
the right Foot upon the Point where it marked the firft Note (b) ;
from whence it is drawn fvvift into the third Pofition behind the left
(c), at the fame Time preffing the Toe ftrongto the Floors die recei-
ving of the Weight upon which is to the third Note, concluding the
firft Source and Meaiure in a fmooth eafy Sink upon the right Foot,
and bending the left the fame Inftant the right, receives the Body
in order to begin the fecond Bouree,

The fecond Bouree is like the aforefaid, in ruing from the Sink
by ftepping of the left Foot off fideways to the fame Hand (d), re-
ceiving the Weight upon the Toe or Inftep to the fourth Note and
Beginning of the fecond Meafure of the Tune, and leaving the right
Toe upon, the Point as aforefaid (e) ; the fifth is in the Railing tha
faid Toe and fetting down or receiving the Weight upon the right.
Heel, leaving the left Toe pointed, as in the firft Bouree, or where
it marked the fourth Note if)# &om whence it is drawn fwift into
the third Pofition behind the right Foot (g), preffing the Toe
ftrong to the Floor at the.fame Inftant; the. receiving of the Weight
upon which is. to the fixth Note, and. concludes the fecond Mea-
fure of the Tune in the fame. Step of the Dance, in the Pofitioaas,
at commencing.

It mult be. obferved, that if. this Step is performed twice- over,
as in that . under Confideration, the Sink falls upoa-the fixth Note,
of the fecond Bouree, the.fame as upon the third in the firft.

Having . defcribed the foregoing Step upon .the fame Place, it
may perhaps be acceptable to the Reader, if J add thereto the faid
Bouree rtwriing oifiytng along the Room -(h), it being often ufed in

WWMri*MHHMn««MMMMH*P«aW

(a) See the firft Figure in Plate VI, Book!, (b) See the fecond Figure in Plate the afore*
find, (c) See the firft Figure in Plate IV, Rook I. (d) See in tome Refpeds the£rft
Figure in Plate VI, Book I. (e) See the- fecond Figure in the fame Plate. (f)' See
the firft Figure in the lame Plate. (g) See -the fecond Figure in Plate IV,

Book I. (h) See the Ouratf en of this Step in the third Tabletf the Pfcme marked O;
lfeimbcrJV. .

Dancing

7fte Art of Dahcixg explain'd. X17

Dancing of a Minuet by thole who have attained to fuch a
lection in this Art, as to- render them capable of judging the molt
proper Places of making ufe of it ; and it only diners from the
former by advancing, inftcad of being upon the lame Spot of.
Ground.

The runntng Bource may be performed either from the Pofitfor*
treated on in die foregoing Step, or from the firft as Occafion of-
fers; but 1 fhall at prcfent only explain- it from* the latter, that: is
to fay, the firft Pofition : The Weight being upon the left Foot, as -
in die aforefaid (i), it begins by making a Sink and Step with die .
right Foot forwards (j). The Rife or Receiving of the Body uponr
the Toe marks the Time or firft Note; the fecond Step, made with
the left Foot (k) plain upon die Toe, marks the fame Note;
and the third Step, with the right Foot (1) plain in the like Manner
upon the Toe, marks the third and Jaft Note, concluding die firft
Bouree in the fame Pofition upon the right Foot (m), in a Readi*
nefs to begin the fecond Bouree. The latter Bouree commences by
finking upon the third Note and Step of the former, from whence
it fteps forwards, as the aforefaid (n), the Rife of which upon the
left Toe is to the. fourth Note; the fecond Step plain with* the right
Foot(o) marks, die fifth in the like Manner, and the third Step plain
with the left/Foot (p) the fixth; and it concludes in the firft Pofiti*
on as at firft (q),from whence it may be continued.

(i)" See the firft Figure in Plate I, Book l? ( j) See in feme Meafure die fecond Figure in
Plate JX, Book I. (k) See the firft Figure in the fame Plate.. (I) See the fe-
cond Figure in the fame Plate. (m> See the fecond Figure in Plate I, Book L
(n) See in feme Meafure the firft Figure in Plate IX, Book I. (o) See the fecond
Figure in the fame Plate. (p) See the firft Figure in PJatcIX r « aforefaid (qlSed'
the firft Figure in Plate I, Book I.

G H A.Pi

n$ The A&T of Dancing explain d.

•

K3S8I

Y^ '^V\ '/"<:

CHAP. IV.

0//&* BALANCE-

THE Balance is composed of two plain Steps, to which are ad-
ded two Movements or Sinkings and Rifings commencing
from two different Portions, namely, the firft and fecond Pofition
or Point, as in the Beginning of a March; and the laid Steps and
Movements are equal in Value to one Minuet Step, and fill up two
Meafures of the Tune the fame as in that (r).

The Balance is performed thus: For Inftance, the Weight of
the Body being in the firft Pofition, as above, upon the left Foot
(s), the right difengaged makes the firft Movement and Step by
finking or Bending of the Knees, and ftepping with the right Foot
dire&ly opening off tideways (t), facing either to the upper or low-
er Part of the Room, as it mall happen. The Riling or Receiving
of the Weight upon the Toe or Heel marks Time to me firft Note;
and, if upon the Toe, the fecond is in the Coming down of the
Heel (uj; or, if made upon the Heel, it is in the tight Holding of
the Knee after the Rife to the firft Note is made, leaving the left
Toe upon the Point (v), on the very fame Place the Body was at
the Beginning of the Step (w). The third Note, which concludes
the firft Meafure and Part of the Step, is in the Sink that prepares
for the fecond Step of the Balance, namely, with the left Foot
from the Point aforefaid, in which it touches the Heel of the right
Foot (x) and then fteps open off fideways (y), receiving the Weight

•

(r) See the Characters of this Step in the third Table of the Plate marked O, Number V.
(s) See the firft Figure in Plate 1, Book 1. (t) See in fome Degree the fecond Fi-
gure in Plate VI, Book I. (a) See the firft Figure in the fame Plate. (y) See the
fame Figure in Plate VI, Book I. (w) See the fecond Figure in Plate VI. (x) See
the fecond Figure in Plate I, Book I (y) See the fecond Figure in Plate VJ,

BookL

«f

Tf)$ Art <?f Dancing explain d. 119

of the Body, either upon the Toe or Heel to the fourth Note, in
the feme Place from whence it was brought from the Point, • The.
Coming down or Fall of the left Heel is to the fifth Note, if the
Rife be made upon the Toe j if not, in the tight Holding of the
Knee, as aforefaid, ending in the firft Pofition, as at Beginning (z).
The fifth Note is in the Sink or Preparation for the fucccediog Step,
whether it be the feme or any other; and, when this Step is per*
formed with a quarter or half Turn, as it frequently is, it muff al-
ways be turning to the left Hand, if commencing with the right
Foot, as it does in the prefent.

CHAP. V.
Qf the two COULEES or MARCHES.

TO perform two. Marches, inftead of a Minuet Step* in a
Writable and proper Piace in Dancing of a Minuet, I take to-
be an agreeable Variation or Change; but, as the Manner of per-
forming a March has been already {hewn, I (hall refer to what has
been before obferved upon mat Step, and only take Notice, that it
muft begin with the right Foot to the firft Meafure, and with the
left to the iecond. The firft of thefe is to be made upon One,
Two, and Three; and the fecond upon Four,' Five, and ux, in the
like Method as already explained in the Step of this Name (a).

(z) See the firft Figure in Plate I, Book I. (a) Sec the Chara&r* of
the third Table of the Plate marked O, Number VI. .

CHAP.

120 The Art of Dancing explain d.

■k . • . » •

• * • • . »

« « •

CHAP. VL

0/ fifc 5L/P fcterf W HAL F C OUPEE
forwards to the right and left Hands, each to a MI-
NUET STEP.

THIS Step is compoled of three plain Steps, as the Bowee,
which are generally done to a Meafure, as that, in other
Dances; but otherwise here, in that it is equal in Value to a Step
in the Minuet > and confequently, like that, takes up two Meafures
or Bars of the Tune (b). It is performed facing either, up or down
the Room, as in Dancing «f the Minuet it wall fall out, but ufii-
ally to our Partner^ and may be taken from the third or fixft Po-
rtion: For Inftance, the Weight being upon the. left Foot, with
the right at Liberty refting upon the Heel of the {aid left Foot,
as in the March (cjj or, if irom the firft, inftead of behind, as we
have obferved, it is equal to the Foot on which the Body, is, feeing
to the upper End of the Room, which {hall here niffice as an Ex-
ample (d), and begins the Slip, or firft and fecond Steps of the three
that compofe this Step, by making a Sink and Step fideways open
off to the right Side of the Room (e), riling upon the Toe or Heel
to the firft .Note* and leaving the left Foot on which the Weight
was (f J upon the Point in the fame Place (g). It refts there, during
the counting .the fecond Note; and the third is in the fwift Draw?
ing of the faid left Foot pointed crofs behind the right (h), conclu-
ding the fecond Step of the three to the firft Meafure, in receiving

(b) See the Characters of this Step in the third Table of the Plate marked O, Num-
ber VII. (c) Seethe firft Figure in Plate V, Book I. (d) See the firft Figure in
Plate I, Book I. (e) See the fecond Figure in Plate VI, Book I. (f ) See the firft
Figure in Plate I, Book I. (g) See the firft Figure in Plate V(, Book L (h) See
the firft Figure in Plate XI, Book L

the

The Akt gf Dancing explained, iai

the Body in an agreeable Twift or Turn (i) with both Knees bent*
that is to fay, in the eroding, as aforefaid, the left Shoulder, in
bringing forward before the right, is more ratted by th e lowering
or falling of the other.

The firft Movement being thus ended, with the Knees bent up-
on the third Note, in Order to the Performance of the Coupee* or
fecond Part of this Step, which is made to the fecond Meafure by
riling from the Sink aforefaid and ftepping of the right Foot for-
wards (j), the Riling or Receiving of the Body on the Toe or Heel
marks the fourth or beginning Note of the fecond Meafure;
and the fifth is in the Coming down of the laid Heel
to the Floor, if the Rife was upon the Inftep in the firft (k) or third
Pofition (1), with the left Foot at Liberty the fame as the right at
commencing. The fixth Note is in the Sink which prepares for the
fame Step with the other Foot; and you are likewife to obferve
that, in the Performance of the Half Coupee or fecond Part of the
foregoing Step, the Body returns from the faid Twift in bringing
the right Shoulder, which was behind and fbmewhat inclined
downwards, to be equally forwards to the left and the fame in Height:
For Example, when we ftand in a natural and erect Pofture.

But to return to the Slip to the left Hand, which is the very fame
as to the right already explained, it begins in riling from the Sink
aforefaid, ftepping open off fideways to the left Hand(m); and
the riling upon the Toe or Heel of the left Foot marks the firft
Note, leaving the right Toe upon the Point (n), as the foregoing
did the left, making a Patife or Reft whilft the fecond Note is count-
ed. The third Note is in the drawing or crofting of the right
Foot behind the left (o), receiving the Body in the aforefaid Twift
(p) and bending of both the Knees, in which the right Shoulder is

(i) See the Contrail or Sway in the firft Figure of Plate XI, Book L (j) See m
fome Meafure the fecond Figure in Plate IX, Book L (k) See the fecond figure m
Plate I, Book aforeiaid. (1) See the fecond Figure in Plate V, Book I. (m)See
in fome Meafure the firft Figure in Plate VI, Book L (n) See the fecond Figure in the
fame Plate. (o) See the fecond Figure in Plate XI, Book L (p) See the Sway or
Twift in the fecond Figure of Plate XI, aforeiaid.

Q ratted

122 the Art of Dancing explain d.

raifed in advancing, as in the foregoing, to the right Hand the left
Shoulder (q) was on concluding one half of the Step to thefirft Mea-
fure of the two ; and the fecond is in the Half Coupee that is made
as in the aforefaid, by rifing from the Sink which fell upon the
third Note and ftepping of the left Foot forwards (r). The Rife
Receiving of the Weight upon die Toe is to the fourth Note of the
next Meafure; the fifth is in the Falling of the Heel (s), and the
fixth in the Sink for the fucceeding Step, concluding upon the left:
Foot, as at beginning, in one of the {aid Pofitions (t).

Having now {hewn the Method of performing this Step in Dan-
cing of a Minuet, both to the right and left Hands (as indeed it can-
not be done to one without the other by. Reafon they both change
the Feet, but as one Minuet Step-, two Bturees, or two M arches)*
fince this Step is much u fed in Tunes of common and triple Time,
as RigadomSy Bourees, Sarabands, and PaJptcaiUes, &c. and alio*,
inftead of being performed, to two Meatuses, as in this Dance, is bfc
ten found to one. Bar only (u) and of Confequcnce varies in the Me-
thod of counting from the aforefaid, it will not be improper to fay
fomething. of it here* especially as it has hitherto been' omitted t
For Example, in Bourees and Rigadeons the. Rife of the- firft Move-
ment marks Time to the firft Note* as in the foregoing ; but the
fecond differs in this that, inftead of the Toe's being pointed dur-
ing the counting of the fecond Note, it is drawn fwift behind the
Foot on which the Weight is full upon the {aid Note, receiving the
Body in the Twift (v) and Bending of the Knees, as aforefaid. The
Rife of the Half Coupee* which in the foregoing was to the fecond
Meafure, is now to the third Note, and the fourth Note falls in the
Sink for the fucceeding Step; or if done to. two Meanires here, at
in the. Minuet, then, inftead of counting . only upon the Pointy
the fecond Note before its drawing behind the third muft alfo be

(q) See the firft Figure in the Plate XI, Book I: (r) See the firft Figure in Plate IX,
Book L (s) See thefirft Figure in Phte I, Book I: (t) See the firft Figure in Plate I, or
firft Figure of Plate V, Book I., (u) See the Characters of this Step in the third Table of.
the Plate marked O, Number VUI. (v) See the firft and fecond Figures in Plate XI*.
Book I.

reckoned*.

The Art of Dancing explained. ia$

reckoned, immediately upon which the Slip is made, as in the
foregoing, to the fourth and laft Note. The Rile to the Hdf.
Coupee marks Time to the firft Note of the fecond Meafure; die
. fecond is in the Fall of the Heel, the third in the Reft the Body
makes upon it, and the fourth in the Sink for the fuccceding
Step.

But if to the above Tunes of triple Time it be performed to two
Bars, it is much the fame, as in the Minuet^ only more fblemi
and grave, and the Foot that is upon the Point follows the Rife in'
a flow Progrefs, preffing the Floor upon the fecond Note and Be-
ginning of the third ; but before the Expiration thereof it is brought
fwift behind the Foot on which the Weight is, concluding the firft
Meafure as in the Minuet \ and the Half Coupee is to the fecond
Meafure the fame only, as I have faid, more grave and flow.

When this Step is performed to one Meafure, as in the afore-
faid Tunes of triple Time, the eafy Rife from the firft Step made •
open off fideways is upon the firft Note; and the Point or fecond
Step attends the faid Rife in a flow Progrefs, during the counting of
the fecond Note, and then is drawn fwift behind, before the Expi-
ring of the faid Note in a full Sink or Bending of the Knees; and
the third is in the Rife of the Half Coupee made from thence by
ftepping forwards, as aforefaid, half of which is borrowed in the
Sink for the next Step in the Movements laft mentioned. This
Step is fometimes done to both Hands, as in the Minuet ; but it it
often found fingle.

Q * CHAP.

124 The Art ^Dancing explain T d.

* - # -

CHAP. VI

• *

Qf DANCING the MINUET In getter at

HAving explained the different Ways in which the Steps of &
Minuet are to be perform'd, I (hall now fay Something of
that Dance in general and proceed to (hew, how the faid Steps
form the Circle or Figure thereof by linking them one to another
in Order as they fall ; and in the firft Place obferve, that the
Minuet now in Ufe is compos'd of three different Steps that form
the Figure of it, which is moftly circular or in the Shape of an g.
reversed or an 2 (w), upon which faid § or 2 the abovenamed
Steps prefent themfelves, as follows:- That is to fay, after making,
our Honour or Courtefy to the Prefence (x) or upper Part of the
Room in which we dame-, and afterwards to- our Partner (y), the
Dance begins directly. Inftead of ftepping back again into your
Place, as the Cuftom was formerly, and alfb inftead of (landing to
wait die Clofe or Ending of a Strain of the Tune, begin upon the
firft Time that offers, in that it is much more genteel and (hews
the Dancer's Capacity and Ear in distinguishing of the Time, and.
from thence begets himfelf a good Opinion from the Beholders,,
who are apt to judge favourably of the following Part of his Per-
formance; whereas the attending the. concluding or finifhing of.
a Strain has the contrary Effect.

However the latter is by much the fafer Way for thofe whofe-
Ear is not very good, the concluding of a Strain of the Tune be-
ing much more remarkable than the middle Part; for, if they
Should happen to begin out of Time, it is a thoufand to one if they

(w)Sec the fccond and fifth Divifions or the Plate marked U. (x) See the Gentle-
hm» and Lady in Plate II. (y) See the Gentleman and Lady in Plate IV.

recover

The Art of Dancing explain d. 125

recover it throughout the Dame. But on the other Hand, had
they waited a remarkable Place of the Tune, and taken the Time
at Beginning, they might have come off with Reputation and Ap-
plaufe ; for many dance the Minuet Step in true and regular Time,
tho' out of Time to the Afufic, which is occasioned by not hitting
with it right at firft; and not being able to recover it afterward v
they dance the whole Minuet out of Time. Their dancing on this
Account lofes its Effect upon the Beholden; for, if the Steps and
the Notes do not perfectly agree, in their performing, one with
another, they can produce no Harmony, and if no Harmony, no-
Plealure to thofe they defign to entertain.

But to the Step and Figure, as afore&id, the Honour or Cour-
tefy being made as above, the Lady faces the Gentleman, who, juft
before the Dance commences, prefentshis right Hand, or makes a
Motion as tho* he would if he was not at too far a Diftance, and be-
gins the Dance in making the Half Coupee and Fleuret (and reft of
the Steps leading to what I call the Introduction) open off fideways
to the right Hand in the Manner already defcribed, facing the La-
dy or right Side of the Room, who performs the fame to die left
(1); and in the following Step they return again in two Minuet
Steps of three Movements to the left, all behind, the laft of which
ends to the upper Part of the Room (1) to which both advance in
One and a Fleuret (3). About this Time the Gentleman prefents hit
right Hand to the Lady (z) and performs four more of the faid Steps
(4); the flrft whereof is either advancing, as the foregoing, or fide*
ways open off to the right Hand facing the Prefence or upper End,
as aforefaid, the reft turning gradually the fame Way, 'till he arrives
at the left upper Corner of the Room facing the Bottom thereof (a).
During this he hands or introduces the Lady into the Dance in the

^Mi

( 1 j See the Characters or Steps marked 1 in Plate IV, or firft Division of this Dance in the
Plate diftinguilhed by the Letter U, Book II. (2) See in Plate IV, or firft Divifion of
the Plate diftinguilhed by the Letter U, the Steps or Characters marked 2 f and %•
(3) See the Characters or Steps marked 4 in Plate IV. or firft Divifion of the Plate mar-
ked U. (z) See the Gentleman and Lady in Plate V. (4) See the CharaacrsorStfp*
marked with the Figures 5, 6, 7, 8, in Plate V, or in the firft Divifion of the Piatt
marked U on the Man's Side, (a; See the Gentleman or firft Figure in Plate VI.

mod

126 The Art of Dancing explain d.

moft agreeable Manner he potiibly can, by leading or conducting
her indie Circle round him in her Performance of the like Number of
Steps (j), that is to fay, of (9 wand a Fleuret forwards; and, about
the End of the fecond or third Step after giving Hands, he breaks
off or lets go the (o) Lady who continues on a Step more to die
lower right Corner of the Room, and then makes a Half Coupee
and Bouree to the fame Hand tideways to the upper End of it (7),
provided the Break or Letting go of the Hands was upon the fecond
Step (8), as I have obferved ; but, if on the third (0), the Half
Coupee and Bouree or fourth of the Steps aforefaid is made directly fa-
cing the upper Part of the Room (10), as I have faid(b), concluding
the firft Divifion or Part of theA//»»*/.D<7/ft* in the Hat's being put on
in a graceful Manner.

There is no general Rule in the Performance of this Dance, as
to its Length or Shortnefs ; however I fhall reduce and divide it into
fix Parts or Divifions (c), by Way of Diftin&ion one from another,
each confining of eight Minuet Steps, which to a Minuet Tune
of the like Numbers of Bars will anfwer the firft Strain played
twice over t.

CHAP. VII.

Of the figure of s reverfed or fecond Divifion.

Aving explained the Introduction or firft Part of this Dattce,
I fhall now proceed to the fecond j which in Figure is circu-

(5) Sec the Steps upon the Lad/s Traft marked 5, 6, 7, 8, in Plate V f or in the
firft Divifion of the Chara&ers or Steps contained in the Plate marked U. (6) See
the Chara&ers or Steps marked 6 and 7 in Plate V, and firft Divifion in Plate marked U.
(7) See the Character or Step marked 8 in Plate V, and Divifion aforefaid, (8) See
the Character or Step marked 6 upon the Lad/%Tn£k or Figure in Plate V, (9) See
the Character or Step marked 7 in Plate V. (10^ See the Step marked 8. (b) See
the Lady in Plate VI. (c) See the whole Dance included in the Plate marked U.
(f) See the Mufic contained in the fourth and fifth Plates or firft Divifion in the Plate
marked U.

lar

The Art ^Dancing explain d. 127

lar or, as I have faid, in the Form of an $ reverfed,- or 2, u P° n
which fall the Steps that adorn this Part of the Dance, and are per- .
formed as follows: For Inftance, the Gentleman at die upper left
Corner of the Room faces the Lady who is at the lower right in the
third Pofirion, where the foregoing ended with the right Foot d1£
engaged and inclofed before the left (d J, and they commence in per-
forming about four of the Minuet Steps of three Movements before
and behind fide ways eroding the Room to the left Hand ; that is to
fay, the Gentleman performs to the right Side of the Room and the
Lady to the left (i), who by turning a finall Matter gradually upon
the third and fourth of the faid Steps meet in the Middle of the
Room facing one another (e), and pais obliquely upon the right
Hand of each other; that is, the Lady to the uppermoft right Cor-
ner, and the Gentleman to the lower left t, continuing on the re-
maining half Circle or Figure in four Minuet Steps of Off rand *
Fleuret forwards (2). The Lady, as I have faid, pafles on round
by the right upper Corner 'till (he arrives at the left, looking full
to the Bottom of the Room (f),

The laft of the forefaid Steps (3) may alio be made open off fide-
ways to the right Hand, turning a quarter of a Turn the fame Way;
that is, the Lady from facing the left Side of the Room (g) turns
down it; concluding in the third Pofition as above. The Gentle-
man does the fame, paffing by the lower left Side in his Way to
the right, and concludes as aforefaid, only up the Room (h).

But, inftead of either of the former Ways, this Part of the Dance
is frequently performed in making the firft of the four Steps* for-
wards, after paffing each other, and then not continuing the remain.-
ing Circle on forwards, or to the laft One and a-/3cwe? open off
to the right Hand fideways, as before; but inftead thereof three.

(d) See the Gentleman and Lady in Plate VL ( i ) See the Characters or Steps marked
i t 2, 3, 4, in Plate VI. (e) See the GentlemanmA Lady in Plate VII. f See the
Trait or Figure in Plate VII, or fecond Divifion in Plate U. (2) See the Charafters or
Steps marked 5, 6, 7, 8, in Plate VII, or fecond Divifion or the Plate marked U.
(f) See the Lady in Plate VIII. (3) See the Char after or Step in Plate XIII, mark-
ed 8. fg) See the Lady and Gentleman in Plate XIII. (h) See the Gtutkmm
ia Plates Vn and XIIL.

i 12,8 Tbe&*T of Dancing explatrid;

% . of the faid Mmuct Steps are made diredly opening off tideways to

Jt the right Hand, by making half a Turn upon the Half Coupee* or

t Beginning of the hrft of them, from the upper End of the Room,

5 the reft continuing on to the upper left Side facing the lower End.

J The Gentleman performs the fame Way except that, after the half

i Turn from the Bottom, he makes the faid three Steps to the lower

i right Side of the Room facing the Lady, or up it, anfwering the

I playing of the fecond Strain of the Tune twice over, +, which now

i has been played once through, and concludes the fecond Divifionof

i the Dance i and it is likewife to be obferved that, in the Performance

• of thefe eight Minuet Steps, the Gentleman and Lady only alternate-
ly change Places (k).

c HAP. VIII.

Upon PRESENTING the right Arm or third

Part*

THE fecond foregoing Step being explained we enter upon the
third, which conftfts in the Ceremony ofprefenting or giving
the right Hand ; and in it there is no fmall Beauty and Air, as to
the graceful and eafy railing of it, in Order to take Hands, and
alfb the gentle and natural Fall on Letting them go. As for the
Trad or Figure it varies from the former, in its being circular
but particularly towards the latter End, upon which Trad the Steps
we now treat of are to be performed, as follows: For Example,
the Gentleman at the lower Part of the Room on the right Side, and
the Lady at the upper left Side, facing each other (1), begin the firft

t See the Mufic contained in Plates VI and VII, or fccond Divifion in the Plate mark-
ed U. (k) See the G«r//m <w» and LaJj in Plate VIII. (1) See the Plate afordaid.

Step

k..

The Art of D ak cihg explained. 12.9

Step either obliquely open off fidcways to the right Hand, or.cl/e
inflead thereof make four Minuet Steps of three Movements before
and behind croffing the Room to the left Hand •> that is to Jay,
the Gentleman to the left Side of the Room and the I^ady to the
right (6), turning a little upon the third and fourth Minuet Steps*
fo as to face each other near the Middle of the Room (m). Inflead
of pafling forwards to the crofs Corners, as in the fecond Divifion,
they turn a quarter off to the upper and lower Ends of the Room
upon the laft Movement of the fourth Minuet Step : For Inftance,
the Gentleman to the Prefence or upper .Part, ana the Lady to the
lower (n), to which each advance purfuing their refpe&ive Traces in
taking as large a Circumference, as the joining of Hands will ad-
mit.

In performing the four remaining Minuet Steps forwards (7)1
which are of One and a Fleuret, the right Arm is to be railed in the
Manner before obferved, about the turning off or ending of. the
fourth Minuet .Step of three Movements (8), as a Sign or Warning
to the Lady of the Gentleman's pre/en ting his Hand, which is given
by an eafy Bending of the Elbow before it is prefented near the
End of the fifth Minuet Step, continuing on round the fixth and
feventh Minuet Steps until the Gentleman faces the upper right
Corner of the Room and the Lady the lower left. . About this
Time the Hands are let go and the Arm falls gently to the Side,
whilft the eighth Step is perform'd obliquely off fide ways to the right
Hand (o) and lower right Corner of the. Room, die Gentlemmit
Head being a little turn'd looking upon the Lady who does the
like to the upper left Corner, concluding in the third Pofitioh as at
commencing this Divifion, only much nigher to each other, and the
Shoulders pointing to the upper and lower right and left Corners of
the Room, as was already (hewn in the Explanation of this Step.

(6) See the Characters or Steps marked I, 2, 3, 4, in Plate VIII, or third Divifion
of Plate U. (m) See the Gentleman and Lady in Plate XL (n) See the Gentlems*
and Lady in Plate IX. (7) See the Characters or Steps in the (aid Plate IX marked
5, 6 f 7, 8 f or third Divifion of Plate U. (8) Seethe laft Step in Plate VIII, marked
4, and firft of Plate IX. (o) See the Gentleman and Lady in Plate VIIL

R which

130 The Art of Dancing explain d.

which Part or Divifion of the Dance, as here treated on, falls
upon the firft Strain of- the Tune, the (econd Time of playing,
and anfwers to the Strain twice over {f\

As for theTaking off or Keeping on the Hat I (hall not take upon
me to determine, leaving it to every one's Choice to aft as they
(hall think mod agreeable , fince it intirely depends upon Fafhion
and Fancy; but, as I have a Right as well as others humbly to of-
fer my Thoughts on this Point, I (hall declare in Favour of the for-
mer, in that it has the Appearance of much more Complaifance
and Air than Keeping the Hat upon the Head, which in my hum-
ble Opinion feems more flat and difrefpe&ful ; and the Taking off and
Putting on of the Hat with a good Air likewifc giyes a Angular
Grace to the Dance, which is all loft by its remaining upon the

Head;

But if it (hould be objected, that h is inconvenient and trouble-
some to take off the Hat with the right Hand, by Reafon it muft
be changed to the left before the right can be at Liberty to prefent
to the Lady: I anfwer, it iseafy to be done; or it may be taken
off with the left Hand as well as the right, and then once changing
will ferve, which may be upon the letting go or breaking off Hands,
that is to fay, in making One and a bleuret open off to the right
Hand. The (aid Step finifhes the Part of the Dance now treated
of; and theHat is to be taken off with the left Hand on giving the right
felling naturally and (low down to the Side, and holding the Hat at
Arms Length during the Time of changing, as was above, obferved.

f. See the Mufic to the Steps in Plates VIII and IX.

CHAP,

Tbe Art ^f Dancing explained: r%\

* .

* • • •

C HAP. IX.

Of the FOURTH DIVISION or PRE-
SENTING of the left ARM "

AS the laft explained treated of the prefenting or giving the'
right Handy the prefent or fourth Druijion is upon prefenting
of the left, which in its Performance is thus: For Inftancc, being
upon the left of each other, the Hat in the right Hand, the Pofi-
tion and Prefence of the Body the fame as at the Beginning of die
third Part, only, as I have (aid on the Conclufion thereof, fome-
thing nighr together, and the Body a little more turned to the
right, the Gentleman who faces the upper Part will be to the fame
Side of the Room, but the Lady, as me faces the lower Part, is
to the left (p) ; to both of which each advance in eight Minuet Steps,
returning upon the fame Circle or Trad that condu&ed them hi-
ther, which is enlarged by the aforefaid turning (9) and making
the firft Minuet Step which is of One and a Fleuret forwards; and
on the commencing thereof the left Arm is raifed (q) in a flow and
eafy Motion, in Order to be prefented or given, which is much
upon the fecond Minuet Step by a gentle bending of the Elbow,
as in die aforefaid.

Fut, inftead of the fecond's being a Minuet Step of One and a
fleuret, you may make the Minuet Hop, which, if well executed,
is an agreeable Variation proceeding round in the Continuation of
three Minuet Steps more of One and a Fleuret, at. the full Extent or
Length of the Arms, 'till arrived very near the Place of fetting out,

(p) See the Gentleman and Lady in the Plates VIII and X. (9) See die Steps in
Plate X, marked 1, 2, 3, 4, 5, 6, 7, 8, or the fourth Divifion of Plate U.
(q) See the Gentleman and Lady in Plate X.

R 2 that

13* The Art of Dancing explained.

that is to fey, whilft the Gentleman feces to the upper right Corner
of the Room and the Lady the lower left(io); upon which Hands
are broke off or let go, and, extended as they are, gently fall to
their proper Places. The Mat is put on again with the right Hand,
upon the Ceremony of the Arms being ended ; and the three re-
in aining Minuet Steps are performed obliquely open off to the right
Handfideways (n), as upon the laft Step of the preceding Divifi-
on (r), or directly acrofs the Room to the right and left Sides, con-
cluding in the Portion and Place from whence the third Divifion
of three Movements to the left begun ; or, inftead of the eighth and
laft's being made, as I juft obferved the Double Bouree was perform-
ed, it would fall very naturally here and be no fmall Embellish-
ment to this Part of the Dance > or any other Steps to fill up the Time
(ii). I mean when performed by fuch as have arrived at a Capaci-
ty of doing it perfectly, otherwife it is better omitted; but nothing
can be more graceful than the former, as appears from what has
been feid in the Explanation of that Step; and it affords a far-
ther Variety, in that the Tune has now been twice played through
-on the Conclufion of the Divifion or Part now treated of (s), which
Was to the feco'nd Strain both Times over (t).

(to) See the Steps marked 3, 4, 5, on the different Tracls in Plate X, or in the fourth.
Divifion of Plate U. (11) See the Characters or Steps marked 6, 7, 8, in Place X,
or fourth Divifion of Plate U. (r) See the Action of the Gentleman and Lady in
Plate Vlll. ( 1 2) See the Characters of this Step in the third Table of the Plate mar-
ked O, Number 3. (s) See the Mufic to the firft, fecond, third, and fourth Divifi-
•ns in Plate U. (t).Sce the Mufic to the Part of the Dance contained in Plate X..

CHAP.

it
T
cc
m
H
Si
th
xx
fa
af
H
ai
C

134 T& e Art of Dancing explain d.

faid forwards (i), the Gentleman, as I have fa id, paffing on round
by the right upper Corner until arrived at the left facing down
the Room (w).

The lad of the faid four Steps may alio be made open off fide-
ways to the right Hand, turning a quarter of a Turn the fame
Way as the Gentleman from facing the left Side of the Room (t)
down it, and finifhing in the third Pofition (J) ; and the Lady the
like, pafling by the lower left in her Way to the right Side and
concluding, as aforefaid, only up the Room (*+)•

But, inftead of either of the foregoing Ways, this Part of the
Dance is ufually perform'd in making the firft of the four Steps
forwards after paffing each other (4), and then not continuing the
remaining on a Circle forwards, or to the laft One and a Fleuret o-
pen off to the right Hand fide ways, as before (5), but inftead
thereof three of the (aid Minuet Steps are performed directly open*
ing off Tideways to the right Hand in making half a Turn upon the
Half Coupee, or Beginning of the firft of them, from the upper
End of the Room, the remaining continuing on to the upper
left Side facing the lower End. The Lady does the fame, except
that after the half Turn from the Bottom fhe performs the faid three
Steps to the lower right Side of the Room, looking up it or to the
Gentleman ; and, having again alternately changed Places as before,
.the Gentleman is left at the upper left Corner or Side of the Room
and the Lady at the lower right (*+), concluding to the firft Strain
of the Tune twice over which is now begun a third Time.(*)

(2) See the Characters or Steps mark'd 5, 6 t 7, and 8, in Plate XI, or the fifth Di-
vifion of Plate U. (w) See Plate VI. f Sse the Action in- Plate XIV, and alfo
the Character or Step marked t. (t) See in fome Meafure Plate VI. (*f) See

the aforefaid Plates IV, and XIV. (4) See the Character or Step in Plate XIV, mar-
ked *. (5) See the Steps or Characters in Plates XIII or XIV, mark'd 6, 7, and 8.
(•t) See the Gentleman and Lady in Plate VI. (•) See the fifth Divifion of Plate U.
or the under written Mufic to Plates VIII, and XI.

CHAP.

The Art ^Dancing explairid. 135

C H A P. XL

Of the fixth DIVISION or PRESENTING

of loth ARMS and Conchtfiott.

THE (ixth and concluding Part of the Minuet Dance printi-
pally confifts in the Ceremony of prefentingot giving both
Hands, as the third and fourth Parts did in giving' thejingle Arm*
and they are much alike in Figure and Form: For Inftance, the
Gentleman and Lady facing each other in the third Pofition, where
we left them in the three laft explained (x) Minuet Steps, begin in
the Performance of the like Number of Movements fideways each
to the left Hand, the Gentleman to the right Side of the Room
and the Lady to the left;* and, near the End or Fini/hing
of the faid three Minuet Steps, both turn off to the lame Hand to
which they were performed f, as in the fourth Minuet Step of three
Movements belonging to the third Divifion, opening gracefully in
Order to enlarge the Figure and prefent both Hands (1 J as the other
was for One, only making the fourth Minuet Step which is of One
and a Heuret forwards to that Part of the Room to which the Pre-
fence of the Body is directed; that is to fay, the Gentleman to
the lower and the Lady to the upper (y), upon the Beginning of
which faid Step both Arms are raifed in the eaiy Gracefulnefs obser-
ved in the fingle Arm, as the Sign or Warning of giving both Hands,
(z) which is done upon the commencing of the fifth or fucceed-
ing Step.

(x) Sec the Gentleman and Lady in Plate VI purfiiing their different Trafts or Figures
to the Steps marked i, 2, 3, and 4. + Sec the Cha rafter or Step in the fixth Dirifi-
cn of Plate U marked 3. (i)See more particularly the Steps marked 1, 2, 3, and 4,
in the lixth Divifion of Plate U. (y) See the Gentleman and Lady in Plate XII.
(z) Sec the Aftion in the Figures of Plate XII.

136 The Art of Dahcihg explain d.

In this Part of the Dance there may be a Minuet Hop, inftead of
One and & Fleuret, continuing on round upon the right Side of each
other, until the Gentleman faces the upper Part of die Room and
the Lady the lower (a), which will be about the Conclufion of
the fixth Minuet Step ; during which the Arms are railed near the
Height of the Shoulder, and the Elbows a little elevated or railed
forming a Circle or whole Round.

In this Pofture the feventh and eighth Minuet Steps are alio per-
formed, the Gentleman making One and a Fleuret backwards, or
rather a fmall Matter to the right, whilft the Lady performs the
fame Steps forwards (i), upon v/hich the Hands are let go; and the
Gentleman, in making the Slip or Beginning of the eighth Minuet
Step, takes off his Hat with the right Hand which falls gently down
to the Side, as aforefaid, in Order to make the Reverence or Bow
to the Prefence or upper End of the Room, which is upon die
third and fourth Minuet Step, At the fame Inftant the Lady cou-
pees to the Gentleman in a half Turn to the right from the lower
Part of the Room facing up it, and leaves the right Foot upon the
Point f finifhing the remaining half of the Step and Dance in the
Reverence or Courtefy made in drawing the faid right Foot behind
the left, on which the Body refts, into the third or fifth Pofition (+);
after which the Honour or Refpect is made to each other and the
Ceremony ended (b), as alfo the Tune which has now been play-
ed diree Times over (*+).

As to the Hat I mould rather approve of its hot being taken off
here 'till the breaking off or letting go of both Hands - t however this
is likewise fubmitted to the Dancer's Choice, as well as the Pre-
senting of the fingle Arm, whether he takes it off, or keeps~it on,
throughout the whole Dance.

(a) Sec in Tome Meafure the Gentleman and Laiy in Plate IX. (2) See the Steps mar-
ked 5, 6, 7, and 8, in Plate XII, or Steps with the fame Figures in the fixth Di vi li-
on ol Plate U. (+) See the fecond Figure in Plate VI, Book I. (J) See the firft
Figure in Plate IV, or fecond of Plate XI, Book I. (b) See the fecond, third, and fourth
Plates. (•+) See the Mufic to the Steps of Plates VI and XII, or Lift Divifion of
PlateU.

CHAP.

. The A«t ^Dancing explained. 137

• * . • • . • •

+ • • • •

«0P ^V ^V* •■» *■» •■■ ^^^ ^B» ••» ^B» ^B* *W* ^^n> *•» ^B* ^B* *w* ^B* ^B* ^B* *B» *B» ^B* ••» ••» »■* V ■BF^BB' »B* IP Iff VBJP

CHAP. XII;

» .*

Of the MISTAKES in DANCING <f a
MINUET, with their OCCASIONS and

RULES to prevent them. .2

. . • • . ■ • ■.'■..

IN the foregoing Chapters I have (hewn the Method or Manner
in which the Minuet Dance is to be performed, when reduced
to a juft and regular Dance ; yet in Effect it is no more than a
voluntary or extemporary Piece of Performance, as has already been
hinted, in Regard there is no limited Rule, as to its Length or Short-
nets, or in Relation to the Time of the Tune, fince it may begin upon
any that offers, as well within a Strain . as upon the nrft Note or
commencbg thereof. It is the very fame with Refped to its end-
ing, for it matters not whether it breaks off upon the End of the
flrft Strain of the Tune, the fecond, or in the Middle of either of
them, provided it be in Time to the Mufic ; but neverthelefi mere
are frequently Mifiakes y in the Performance of this Dance, anting
from Want of a juft Notion of the Figure and fbme certain Rule
in performing the Steps upon the faid Figure, and more particu-
larly thofe Steps which are defigned by Way of Ornament or far-
ther Grace, which inftead of that often prove its Difgrace. No-
thing is more common than to fee the Gentleman or Lady de-
tained in the Performance of fome Step, in Order to illuftrate the
Dance \ and fo confequently not reaching that Part of the Room,
on which the crofling is made, Time enough (c), inftead of per-
forming One and a Fleuret open off fideways to die right Hand (d),

S -or

%$$ The Ait cf Dancing explain d.

or fome fuch like Step, or making a Feint off to the right Hand
in the fame Minuet Step quite round forwards falling into the Mi-
nuet Step of three Movements all behind facing the right or left
Side, as it (hall fall out, by which Time the former will be arrived at
the Place of eroding which will then be in its due Time; where-
as the running in either before or behind our Partner, as before,
would havecaufed a Confufion. *.;..• . . , . .

This Difbrder alfo frequently happens in performing the com-
mon Mtnuet Step, as when one of the Dancers does not £H t>ut the
Room and Figure in the Performance of an equal Number of Steps
to the other j tor, if this be not obferved, it will produce the like Ef-
fect as the former; or if, as I have obferved, in presenting thetigjht
Hand or giving of both, a diffident Warning is not had by rat-
ting of the Hand or Hands, as aforefaid, one Minuet Step before
the Hands are given (f), the Dancers are often nonplus <1 and put
out of the Figure, while on the contrary 4 Pretence of Mind with
the Obfervation of thefe Rules will prevent all fuch Blunders and
ConfuHons.

There is yet one Obfervation more, with which I (hall conclude
what I have to fay upon this Head, which may be of fome Service
in preventing the faid Accidents, viz. The marking whether the
Mtnuet Step of three Movements before and behind fideways to
the left Hand, which introduces or leads to the giving the right
Hand, was facing up or down the Room, becaufe in going the
Circle or Figure iound to the right you certainly come to the fame
Place (ej, whether it be facing to the upper or lower Part of the
Room, ending the Divifion in the Mtnuet Step of One and a Fleuret
obliquely off fideways to the right Hand and looking the fame Way
as defcribed in that Step ; and alfo the like in the Performance of
the Minuet Steps roun d to the left, in which the faid Hand is
given {fy *

-j- See the Dirifions or Chapters which treat of giving the Hands. (e) See For Ex-
ample the Gentleman and Lady in Plate VIII. (f) See the Beginning in the GentUnan
and Lady in Plate X, concluding in Plate VUL

The A*t of Dancing explained. 139

' As the foregoing are the principal Places, in which young
cers ufually miftake, I thought the making fome Observations ^
the Occafion, and the Rules or Methods to be obferved in preveet-
ingthcm, might not be unacceptable; for, admitting that Ma/ief*^
may have frequently taught their Scholars the fame Leflon,- yet *
according to the old Saying, IVordsfoon pops into Oh/him, hut &ba*~
is put down tn Prim remains more ftrongly fix d upon the Mind. - - f

There is much more that might be (aid upon this Subject; but, -
as the aforefaid is fufficient, to avoid being tedious I (hall only
proceed to the making a few farther Obfervations, in Regard to '
the foregoing defcribed Steps, which as yet have not been introdu- r
ced into the Donee above explained nor any Place affigned them
therein: For Inftance, the March, Balance, Slip behind and-
Step forwards being to the right Hand, and die fame to the left
and a Double Bouree forwards, every one of which Steps, as was 7
already obferved, depend upon Fancy, as there are fome Farts
of the Dance much more proper than others, it may not be
foreign to my prefent Purpofe to take Notice of them ; and in the '
firft Place introduce the March, which feems to claim three Places
in the (aid Dance > the Choice of which refts in the Performer, for
it is to be obferved that no Step of this Sort is ever performed
more than once or twice in Dancing of a Mtnuet. For Example,
mould the faid Dance be perform'd in one Aflembly or Compa-
ny twice or thrice over, its Steps ought to be varied as much as poffi-
ble, that is, provided the Dancer is capable thereof; otherwife, as I
have already obferved, it is much better performed plain ; but to
what 1 was faying the two Marches will be agreeably made advan-
cing upon the kventhAfinuet Step of the fecond Divifion, the firfV
of the three Ways there defcribed, that is, of One and a Fleuret
continuing all round forwards.

The eighth Mtnuct Step may be of One and a Fleuret open off
fideways to the right Hand, as aforefaid, facing either to the up-
per or lower End of the Room, as it happens; the next Place it
challenges is the fecond Meafure of the fourth Divifion, inftead of
the Hop which is then left out; and the third is upon the laft Step

S z but

140 The A&T-qf Dancing explama.

but one of the fifth Divifion or fecond s, intirely in the fame Method
defcribed in the fecond Divifion. •■*•:». «

The Balance is alfo frequently made much about the lame Place
or eighth Minuet Step, either tideways facing each other, or advan-
cing and retiring; and the next is the Slip behind 'and Step forwards
to the right and left Hands, each to a Minuet Step and Fall in their
Performance upon the aforefaid fecond and fifth Divisions, only
in the fecond of the three Methods explained in the fecond Part of
the. Dance, by breaking off the Minuet Step of One and a Fleuret upon
the Ending of the fixth Minuet Step, inftead of a feventh it makes
the faid Slip to the right Hand turning to each other from the con-
trary Sides of the Room, and the Slip to the left Hand is inftead of
the eighth Minuet Step.

This Step may alfo be performed with no fmall Advantage to
the Dance, inftead of the feventh and eighth Minuet Steps of the
fourth Divifion which are there obliquely ; and the Double Bouree
forwards may be made upon the feventh Minuet Step of the fecond
or fifth Divfion, concluding the eighth Mtnuet Step in One and a
Fleuret to the right Hand, as aforefaid, or inftead of the fifth Mi-
nuet Step, after which there maining are as defcribcd in the fecond
Divifion or $.

The third Way of this Step's Performance is by a half Turn upon
the Half Coupee or Beginning of the fixth Mtnuet Step of One and
a Fleuret, opening off fideways to the right, or in the fixth Divifi-
on after the Hop inftead of the Mtnuet Step,

The foregoing Graces or Steps being now united and brought in-
to the aforefaid Dance ^ and having their proper Places affigned
therein, I fhall conclude with one Obfervation more, viz. that it
is in its Performance longer or fhorter, according to the Dancer*
Pleafure. In Order to this inftead of performing the fecond Di-
vifion but once, as in the Dance before defcribed prefenting the
right Hand, it may be performed twice or thrice, only it muft be
noted that the fifth Divifion upon breaking off the left Hand is per-
formed the like Number of Times ; that is to fay if the fecond twice,
the fifth the like, and if thrice the fame after giving the fingle Hand ;

but

The Art ^Dancing explained 141

but the ftiorteft Way is once, as ddcribed in the foregoing Dance*

The (aid Dance and its Steps, as I have already obfcrved, alto*
gether depend on Fancy, and are in their Performance various
and uncertain; for it is left to the Pleafure of every one to perform
them in the Order here fet down, in any better Method of their
own, or without any Steps. Indeed, it muft be confeflcd that the
Steps well performed in a Minuet are great Ornaments to that
Dance, in rilling it with Variety; yet at the fame Time it muft
be owned the performing the plain Minuet Steps alone is- extreme-
ly graceful, if well accomplifhed, and in Effect the moft Gentle-
man-Hie, or at lead the fafer of the two.

CHAP. XIII.

* »

• *

* a

Of TIME or fome Account of what TIME t§\
with Rules to he ohferved in Keeping it.

• a * . *

TIME is a large Space* or Diftance without Variation or
Change ; and, as it has been from the Beginning of all things,
it will remain 'till a Period be put thereto and it ceafes to be. This
mighty Space the great Author thereof, in his exceeding Wifdom,
has divided or meafured into equal Parts and Proportions, as Days
into Hours, Months into Weeks, Quarters into Months, Years into
Quarters, Sfr. which Divifions or Parts move or travel, round in a
continual but juft and regular Motion or Pace, fucceeding each
other without ceaiing until they arrive at the utmoft Limits or
Confines of Time, which will then be no more.

But leaving thefe fublime Thoughts to draw more clolely to the
Point or Subject in Hand, I (hall endeavour to illuftrate it by one
Day or Mealure of the foregoing Space or Ttme, in fuppoiing eve-
ry Hour therein to be Bars or Meaiures of a Dance or Tune ; and
that they are as-fhort in Length otTime, as Meafure in common.or
triple Time. I (hall likewife {hew, that by one Hour may be

comprc-

142 The An of Dakcing explained.

comprehended the Scale both of common and triple Time : For
Inftance, the former thus.

• • ■

COMMON TIME.

i Semibreve, • /"i Hour.

i Minims, — \i Half Hours.

4 Crotchets ^4 Quarters of the Hour.

% Quavers )& Half Quarters of the Hour.

1 6 Semi-quavers. — \ x 6 Half half Quarters of the Hour.

. • .

The above is the whole Proportion of Common Time or of four
to the Meafure, as ufually found in Books of Mufic\ yet we often
mid in Pieces of Muftc the fixtecn Semi-quavers doubled two and
thirty Demi-Jemi-quavers, and then the Hour will be divided into
the like Number of Parts.

In Triple Time the Hour muft be fuppos'd to be divided into three
Thirds or Parts, by Reafbn it only corififts of three in a Bar or
Meafure : The Example is as follows. .

• * .

TRIPLE TIME.

t Priced Minim. — ( 1 Hour in three Thirds.

3 Crotchets. J 3 Thirds or Parts of the Hour.

6. Quavers. )6 Half Thirds or Parts of the Hour.

ii Semi-quavers. — (ix Half half "Thirds or Parts oj the Hour.

This is the Proportion of Triple Ttme or three in a Meafure, as
ufually put down; yet fometimes it amounts to twenty four Dem't-
femi-qtiavers

Having now (hewn that the Hours of the Day may be efteem'd
as fo many Meafures of a Tune ox Dance > it muft consequently be
underftood that a Day of twelve Hours contains the like Number

•

The A*t 0/ Dancing explain J. 143

Meafures; and, admitting that the Tune or Dance confided of ie-
venty two Bars, fix Divifions or Days would compleat it. Tljtis
Comparifon may poflibly be thought byfome foreign to the Purpofe,
tho* it is indeed very juft and (uitable; and I queftion not but up-
on farther Confidcration it will appear fo to the judicious Reader, tor
fince the Subject in Hand is Ttme and there is Nothing more cer-
tain than the Day and its Hours, the latter will of Courle imprint
in the Mind ftronger and jufter Ideas of the former.

However, it may perhaps be objected and at firft View with great
Show of Reafon, that the Time in Dancing is various and liable to be
changed to fafter or flower, according to the Performer's Fancy;
whereas the Day and Hours are immutable or without any Change.
I anfwer, for this very Reafon, as I have juft obferved it will give
them a truer Notion of the Juftnefs of Time, and be a Means to
prevent their darting from or dragging behind it, which is pften
done by fuch whofe Ears are pretty good, as well as by thole who
have very bad Ears, tho' it is the natural Fruit of the Want of an -
Ear which of all other Things is moft difficult to cure, it being
more a Gift of Nature than Art This caufed the Ancients to
fay, the Gods gave a Genius to Mufic and Dancing; and it is of that
Importance in the latter as to render it impoflible to pleafe without
Keeping Time, nor is it to be called Dancing without it. .

From what has been faid it appears, that to have a juft and true
Idea oiTtme is of no fmall Confequence in order to dance well,
and that too much cannot be (aid upon this Head; which is, I
think, a fufficient Motive for me to proceed in a few farther Ob-
fervations upon it, which if dulyconfider'd, I am confident, will be
found of remarkable Service.

In the firft Place then, you are to take Notice, that of the fore-
going Proportions of Ttme one is common and the other triple, from '
whence arife all the Times and Movements made ufe of in Dan-
cing. From the former of thefe flow very flow Entrees containing
two Steps in each Meafure call'd, Quadruple or of two Times on
Account of their Slovvnefs or admitting of a fuppos*d Bar in theNfid-
die of the faid Meafure; but the reft as Alkinatgies, Gavots, Gal-
Hards*

»•

144 The A fir of Dancing explain d.

» *

bards, Bottrees, Rigadoons, &c. are only of one Time, as not al-
lowing of more than one Seep to a Meafure by Rcafon they are much
lighter Movements than the aforcfaid Quadruple, of which they
are cfteem'd but as half a Meafure. The latter confifb of Louvres,
or flow Jigs, Courants, Sarabands, Paffacailles, Cbaconnes, Minuets,
Paffepieds, &?c . the firft of which namely Louvres or flow Jigs arc
of two Times or Steps to a Meafure and agreeable with Quadruple,
fo that in EfFed there are three Sorts of Times in Dancing viz,
common, triple, and quadruple proceeding from the two former;
yet they are all reckon'd but as common and triple TtmevcA only
beat as fuch, except that fome are flower and otters quicker, which
is the Subjed I am now about to explain.

Common Time, for, Inftance, is of four Notes to the Bar or Mea-
fure, as has already been obferved in the Explanation of the Steps
upon that Time j and the Rife or Beginning of the Step, in Dan-
cing, from a Sink always marks Time to the Tune, as well as the
fourth or laft Note is in the Sink or Preparative for the Rife or beat-
ing Time to the fucceeding Step, which no fooner is performed
than the Dancer proceeds to the next, as in Walking; and fo on
'till the Dance is compleated, keeping a juft and equal Diftance
or Space between every Beginning and Ending of a Meafure of the
Dance, as has been obferved by the Hours of a Day, which is call'd
Time, the fame Way, as not making the Rife or marking of the
Ttme, from a Sink v iipon the firft Note which in all Meafures is out
of Ttme, and alfo performing the Steps of a Dance fometimes faft-
cr or flower than at others; but this is as morally impoffible for
one of a good Ear, as it wou'd be for a well timed Watch to go out
©f Ttme, Dancing may juftly be confider'd as a Watch; for as,
when the latter is fet a going by the Springs, the Wheels move round
rrwafuring out the Hours or Divifions of a Day in certain and e-
qual Spaces, during the Time it goes: So the Springs and Steps of
a Dame ought to be continued after it is put in Motion by Muftc,
'till the Whole is ended, which may eafily be accomplifh'd. But
the Difficulty arifes here ; for Example, fuppofing a Perfon, would
fet his IVatcb a going at Twelve at Noon, having no Rule nor any

Thing

The Abt ofDAHcinaexplam'd. 145

to direct him in it but beholding of the Sun, is it not aThoufand t°
One but he wou'd be either before orafter the Time? The Cafe is die
very fame in Dancing, as to thofe who have not a Genius or Ear to
Mafic; and tho' I durft engage to make fuch a One acquire the
former, namely to dance in juft and regular Time, yet I wou'd not
anfwer for his commencing upon the right Time by Reafon, as I
have obferved in the Comparison of the Sun, it is a Point of a ve-
ry nice Nature and in Reality not to be done with any Certainty,
if the Ear is not firft helped and improved by a Knowledge of that
Science; no more than the former without a Skill in Dialling.

Having by the going of a IVatchQaem the true and exact Time
in which the Steps of a Dance ought to be perform'd, and the Dif- ■
ficulty of fuiting the Movement of the Dame to that of the Tune, I
(hall proceed to give the Rules to be obferved in beating or keeping
Time to the foregoing Proportions of Time, which I take to be the
firft Step in the Affair under Confederation ; and I (hall begin with
the Gavtt, upon which Movement thcTime isfometimesbeat directly
upon the firft of the four Notes belonging to the Meafure, but moft
ufually after letting pals or flip half a Meafure, that is to fay, the
third and fourth Notes. For the better Underftanding of this 1 lhall
name two or three Dances of the latter Sort, viz. the Princeft Rtyat
compos'd by Mr. I'Abbee, the Princefs Am by Mr. Siris, and the
Gavot to the Dance, named the Prince Eugene, of my own Com-
pofition, and they all begin with odd Notes to which in the Dance
a plain Step or Walk is made, whilft the Pcrfon who beats Time
raifes the Heel or Toe on playing the odd Notes of the Tune, in
Order to ftrike full upon the Time or firft Note of the enfuing Mea-
fure ; which is done in the Fall or Coming down of the Heel or
Toe, either of which remains upon the Floor during the Counting
of the firft and fecond Notes or half Meafure. While the third and
fourth Notes, or concluding Half are counting the Heel or Toe is
raifed to mark Time to the fucceeding Bar, as at firft, and fo on
'till the whole Tune or Dance is ended, keeping an exact and e-
qual Motion up and down neither fafter nor flower, and counting
the faid firft, fecond, third, and fourth Notes fucceffively over and

T over

146 The A*t of Dakgimq explalrid.,

over during die feme ; lo that die Heel or Toe rifes upon the third
Note, remains in the Air the fourth, conies down to the firft, and
refts the fecond, 6fc. as before.

The Galhard Movement is intirely the fame, as to the beating
Part, but not as to the odd Notes, for inftead of two, as in the fore-
going, there is only one here ; an Inftance whereof we have in
Mr. I/aac's Galliard, upon which the Heel or Toe is railed to beat
the Time upon the firft Note, as afbrefeid. Thefe two Movements
are rather more folemn and grave than the following, namely,
Attema'tgnes, Bourns, Rigadoom> &c. but with Regard to the Me-
thod of beating Time the very feme, for they ufually begin with
an odd Note; and if not, 'tis only borrowing the laft Note of the
foregoing Meafure for railing the Heel or Toe, as aforefeid.

It is here to be noted, that it can never be reckoned out cSTtme,
whether the faid four Notes of the Meafure be counted fetter or
flower, provided* they are continued through the Dance, as begun
at firft ; for tho' the Fancy of Maflers often differs upon this Point,
yet every Movement has its proper 77/w.

From what has been faid it fully appears, that the firft Note or
Beginning of a Bar is the Ttme or Mark the Dancer muft hit; and
in Order thereto, as the Performer in Afujtc, in playing of the Tune,
prepares for beating Time by taking up of the Toe or Heel, fo does
the Dancer in making a Sink or Bending of the Knees to beat or
mark Time to the Tune, as well as to perform the firft or introdu-
cing Step of the Dance \ but whether it be done by a Rife upon the
Toe, a Hop, or any other Step, it matters not, in that it is to be
obferved, the Rife from a Sink beats Ttme in Dancing as the Fall
of the Heel does in Afu/ic.

Before I proceed to triple Ttme^ it will be neceffery to fay fame-
thing farther of quadruple) which from its Gravenefs is reckoned as
two Times, as was already obferved; and I know no more pro-
per or fuitable Method of explaining it, fince in Time and Value it is
equivalent to two Meafures of common Ttme t than the Counting e-
very Note double as One One, Two Two, Three Three, Four Four,
and fuppoung them, what in Effect they really are, four Minims, for

1 in

The Art of Dancing explained. 147

in this Sort of Time the Crotchets are of equal Length to die Mhtims*
and wou'd be as before obferved, if the Ttme was beat in the Mid-
dle of the Meafure. For Inftance, on the commencing of the* third
Mtnim it is no longer quadruple but common Ttmt\ from whetice
it follows, that the Minimi muft be beat in their Timing, as one
Meafure, the fame as the Crotchets, tho' in Length and Value dtiuble
to them.

Tunes of quadruple Time rarely, if ever, begin with odd tfotei,
as the foregoing Tunes of common; and, for an Example, I fliall
name a Tune or two of this Kind, as the Entree d* Apoton. But as
that Dance may not probably be known to fuch as this Book Is prin-
cipally defign'd for, I (hall name a fecond of the fame Soft, name-
ly the Godolphirty compos'd by the late Mr. Ifaac, upon which may
be pradifed the Time of this Movement; to which End the' Heel u
raifed to mark the Time, as already explain'd, after which it remains
on the Floor the playing of the firft and fecond Minims or half
Meafure. The third and fourth Minims are in the two Motions
the Heel or Toe makes in riling, in Order to mark the enfuing
Meafure : For Inftance, the firft Rife is made ftrong and brifk up-
on the Beginning of the latter half of the Meafure or third Note;
the fecond Rife is made farther up into the Air, in the fame Manner
as the firft, to the fourth and laft Note ; upon the Expiration where-
of the Toe or Heel comes down marking the Time to the next Bkr,
counting One One, Two Two, &c. as before, whilft the whole
Tune is compleated.

Having fhewn how the Dancer fuits his Steps to the Notes of
the MuJtCj it will be of no Ufe to fay any thing farther of that here;
and therefore I fhall only obferve, that as there are in this Sort of
Tunes two Steps to each Meafure, the firft is beat, as ufual, down,
but the fecond is marked up in the Air, on the Beginning of the
third Minim, as above explained. .

Being now arrived at triple Ttme or of three in a Meafure, I have'
little to fay, having already in the foregoing Proportions of Tims
defcribed the Manner of beating or marking Ttme - t for it is altoge-
ther fuperihtous and uhneceflary to enlarge, fince it is intirely in'

T i the

148 The Art of Dancing explaitfd.

the lame Method, except to make a few Objurations touching die
moft material Difference in the Movements thereof; and firft obferve,
that the Courante is a Sort of quadruple Movement which confifts of
three Minims, inftead of the like Number of Crotchets, as in the
reft following ; which Minims are ufually divided into double the
Quantity oi pricK d Crotchets and Quavers, mix'd or blended pro*
mifcuoufly together, according to the Compofers Fancy, produ-
cing this Movement and play 'd as three Minims, which renders it
very folemn and grave; and, in its counting or beating in Time
it is the fame as the foregoing quadruple, only it is a Minim lefs and
generally begins with an odd Quaver or half Note. Upon this the
Heel or Toe is raifed, as aforefaid, to mark the Time or firft Note
in the Coming down of the Toe or Heel, counting One One, Two
Two, during which, two Thirds of the Meafure the Foot refts upon
the Ground. In the third and remaining Minim or Part the
Heel or Toe is raifed in Readinefs to mark the Meafure following,
which is performed fucceffively on, in like Manner, keeping juft and
regular Time, &c. as was fnewn before; but, for an Example, I
{hall name the La Burgogte by Mr. Pecour and Brawl of Audenarde
by Mr. Sir is.

The next grave Movements are Sarabands, PaJ/acaiHes, andG&j-
conncs, each of three Crotchets to a Meafure, and every one a De-
gree lighter than the other : Neverthelefs the Method of beating Time
is the fame as defcribed above in the. Courante Movement, only in-
ftead of Minims to Crotchets and of the7//w*'s commencing after an
odd Note, k is mark'd directly as in quadruple', that is to fay, ex-
cepting Cbaconnes, which always begin with odd Notes. Exam-
ples of the two former Sorts are the Prince/s Ann, the FolUe TyBf-
paigncy and Paffacaille U at mid, all which Dances were compos'd
by Mr. LAbbee\ and alfo of the latter the Prince/s Ann's Chaconneby
the fame Author is an Inftance, where a whole Meafure is let flip
beforethe Time commences.

The next Minuets and Pajfepieds are Mill brifker, the firft being
of three Crotchets to a Bar or Meafure, and the fecond of three
Quavers ; and the firft ufually begins without odd Notes, but the fe-
cond

The Art of Dancing explain* d. 149

cond never. The Time of thefe Movements, in Dancing, ought never
to be beat after every Bar but every other Meafure, by Reafbn, as
has been (aid, one Minuet Step takes two Meafures of thefe Move-
ments; and it is to be noted that, as in quadruple * the Time is to
be mark'd the firft Meafure down, and die fecond up, inftead of twice
down. It muft be farther obfcrved that if the Strains of theAfhut-
et or Paffepied confift of eight, as they moft frequently do, four
Minuet Steps are equivalent to a Strain once over; from whence it
follows, that the Beginning of a Strain, whether the firft or fecond
it matters not, is always the Time the Dancer is to mark or hit, and
from thence to proceed on from one fecond Bar to another upon
the Time, neither varying to fader nor flower, than at firft fetting
out, during the Performance of the whole Dance; and if the Minu-
et or Paffep'ted 'is of more Meafures, it is neverthelefs performed;
in the fame Manner. There is Plenty of Examples of the former'
Kind, as is of the hitter the Royal George, that is, the Conclufion
and Beginning of the Bretagne ; . the firft by Mr. VAbbee, the
fecond by Mr. Pecour, to which I fhall add one more of my owtt
Compofition, namely, the Paffepied Round, •

As to Tunes of triple Time agreeing with quadruple, viz. Lot*
vres or flow Jigs, they are of two Meafures, or of fix Crotchets iff
the Bar, the firft three whereof are beat down and the remaining
up, each anfwering to a Meafure of a Saraband, and a Movement
ufually beginning in odd Notes. For Inftance, die Entree E/pagml
zxAPafloral Dance, the latter by the late Mr. Ijaac\ and the Union
by the fame Author is of this Nature, tho* it does not begin with
odd Notes as the Dances aforefaid. As the foregoing Difcourfe
fhews that Louvres or flow Jigs are agreeable to quadruple Time, I
fhall next proceed to obferee, that Jigs and airy light Tunes of the
like Number of Notes to the Meafures, as the aforefaid, agree with
Rigadoons in common Ttme, and beat as fuch in marking the firft •
three down, and the remaining up ; as for Example, in Jigs or For-
lanes, the Princefi Amelia compos'd by Mr UAbbee, and die Dana
of that Movement by Mr. Pecour; and the Shepberdefs compor d.
by my felf is likewife an Example of this Sort-

There.

150 The Art of Dancing explain d.

There is yet another Movement that occurs to my Memory,
namely, the Canary, which is of a very brifk Nature, confiding on*
ly of three or fix Quavers in a Meafure, but ufually the latter,
flipping before the Ttme is beat three Quavers or half a Meafure,
and marking the three firft down and the reft up; and the laft
Movement of the Royal GaWtard by the late Mr. 1/aac it an
Example of this Kind.

There is dill a Movement unobserved, of the like Quantity of
Notes to a Meafure, viz. the Hornpipe, which is of three Minims
or fix Crotchets in die Bar, and, in marking or beating Time, agrees
with a Tune of triple Ttme or of three , as for Inftance a Saraband,
in which the Foot remains down, during the counting of One, Two,
and upon the third rifes to mark the enfuing Meafure &c. The fe*
cond Parts of the Union and Richmond sue both Dances of a Horn*
pipe Movement, and of the late Mr I/aac*s Composition.

Befides the foregoing Rules of beating Time it may be of Service
to fuch as have but indifferent Ears, when they are about to dance
in any Aflcmbly or private Room, or in their Dancing to hearken
to the Tune, that they may know the Ttme in which the Dance is
to be performed; which they may more eafily do by Rcaibn the
Mufic rarely fail of beating Time to the Tune they are playing, or
at leaft ought not, becaufe hearing the beating or ftriking of the
Toe or Heel againft the Floor are vifible and certain Marks of the
Dancers commencing.

Moreover in Dancing, if the Partner with whom we dance be a
good Performer, wefhould take Care to keep our Steps and Figure
agreeable with theirs; and I am of Opinion, if a Perfon has the leaft
Notion of the Steps he is performing, it will be very eafy for him to
obferve, whether they begin and end together, which I believe may
be ufeful in Dancing*

However, as I have laid before, the moft fure Method I take to
be, liftening to the Mu/icand Ttmebcsx thereto, tho 'h^t ltfelf is
uncertain, nothing being more common than the hearing of a
Tune begun in one Ttme, and, before it is ended, to be ueu as faft
again; which renders it impofliblc for the beft Dancers whatfbever

The Ait of Dancing explain '</. 151

to dance as they ought, forinfteadof their finding the Note upon
which they (hould ftep, it is pufh'd or drove from under their Feet
during every Step they take, and of Confequence caufes them to
lofe that natural and carclefs Air lb agreeable in Dancing notwidj-
(landing they keep up with the Tune, as being never certain of its
Time. Indeed, it muftbeown'd to be the Dancer's Bufinefs to dance
to the Tune ; yet it is neverthelefs the Mufic's Part to beat and keep
conftant and true Time, as well at the latter Part of a Time as at
firft. By this Means the Dancers, furc of the Time they dance to, ,
perform not only with Pleafureand Eafetothcmfelves, but alfo give*,
double Satisfaction to the Spectators in beholding the Dancers; for
altho' the latter are at a conliderable Diftance from each other, yet
the former will obferve, that every Movement or Sink and Rife the
Dancers make is exactly the fame in one as well as the other;
the former in Order to mark Time, and the latter in marking of it.
Moreover every Turn, Step, Spring or Bound fcen in one will be
at the fame Inftant obferved in the other, in fuch an cxad Symme-
try and Harmony of the Parts agreeing with the Notes of the Mi*
fie, as to caufe the moft agreeable Surprize in the Beholders of the
two Dancers; or admitting a Dozen or more in Number, by ob-
ferving them all to move as only one Perfon. This is the natu-
ral Efl'efi of good Dancing adorn d with all its Beauties, in that the
Mufic Teems to infpire the Dancing, and the latter the former; and
the Concurrence of both is fo requifite to charm thofe who beheld
them, that each of them in fome Meafure fuffers by a Separation.
For Example the Eye can receive no Pleafure in the Mujie any
more than the Ear in Dancing; but in Conjunction there is at once
an Attack upon both thefe Scnfcs.

Tho' this is only an imperfect Draught of fine Dancing, yet it
may ferve to (hew how frequently this Art fuffers by the UnjkilfuU
ncjs of its Performers, whether it arife from the Want of a true
Knowledge of the Steps, a bad Ear, or from any other Caufe; and
this it was that gave Birth to my Treatife on Dancing, in which the
principal and moft remarkable Steps in that Art are described and
taken in Pieces, I have alfo {hewn how the Step sof each Meafure

are

152 The Abt 0/ Dancing explain d.

are made to common or /r/p/<? 77/»f ; and in the Minuet I have given
an Explanation of all the Steps of that Dance; and ftiewn, tho* in
Effcd it is not fo, how it may be reduced into a regular Dance.
In difcourfing upon Time, I have given Examples in the moft known
Tunes of every Movement, upon which it may be pra&ifed or beat-
en ; and in the Rules for the fame I have fully made appear, how
the oteps of the foregoing Difcourfe, altho' in Pieces, are there uni-
ted and fet together again, moving in juft Time to the Sound of Ma-
fic, as the Watch is put in Motion by its Springs. Upon taking
fome farther Notice or the Elevation, Movement, and graceful Fall
of the Arms, together with fome Obfervations concerning Country
Dancing, I (hall conclude this Work, in Hopes that, as the
chief, nay only Motive of undertaking it was the Publick Good,
it may anfwer the defired End ; the accomplishing whereof will be
a fufficient Recompence for the great Pains, Trouble, andExpence
I have been at in compleatingthe fame; and, as there never hither-
to appeared in the World, at leaft in our Language, a Piece of this
Nature, I flatter my (elf it will meet with the more Acceptance.

c HAP. XIV.
Of the Movement of the ARMS in DANCING.

• -

HAVING (hewn the Method in which the different Steps are
to be taken and perform'd, I (hall now proceed to (hew how
the Movements of the Arms ought to accompany the (aid Steps in
Dancing j left this Work (hould be compared to the Legs and Bo-
dy of a Man without Arms.

However as on the one Hand, I (hall make it my Study to omit
Nothing that can contribute to compleat this IVork, I (hall at the
fame Time, on the other, only obferve what I apprehend to be ma-

- tcrial

• •

.' The Ait ^Dancing explained. 153

terial, without tiling the Reader's Patience on a Subject which can*
not be compleated without the verjr bcft Mafters. The Correfpon-
dence of the Legs and Arms in Dancing is a Point of fo nice a Na-
ture that any Awkwardnefs or improper Movement* therein would
deftroy the Beauty of the whole, fincc that Dancing cannot be good
which is decrepid or lame in any of its Parts, any more than a Gentle-
man or Laaycan be juftly efteem'd compleady genteel who are
naturally and eafily difpofed in fbme Parts and difagreeable in 6-
thers; fo that in fine it is the very Polifh and finifhing Stroke. •'

For the better comprehending of this we muft firft take Notice
that, in whatfbever Pofition we ftand before the Elevation or Rai-
fmg of the Arms, the Palms or Infides of the Hands are to our Side
in a genteel eafy Shape or Fafhibn, the whole Arms hanging from un-
der the Shoulders without Force downwards, or too much Relaxati-
on upwards, but natural and eafy inaReadinefsfbrthe Elevation +.

The next Obfervation relates to the Pofition of the Hands after
their Elevation or being raifed ; and we fliould find them with the
Palms of the Hands to the Prefence or right forwards with the Arms
both open or extended, in the like Manner we have defcribed them
by the Sides, neither too much raifed nor too much funk beneath
the Shoulders, but graceful and eafy, and being fo difpofed ready
to perform the firft Motion, which in the Movement of die Arms
above correfponds with the Sink or Bending of the Knees below %.
This is done by moving or railing the whole Arms $ and, in die
Fall of the (aid Arms to their firft Situation after their Elevation,
the Palms of the Hands, inftead of right forwards as before, are
now to the Floor j which is effected by a flow and eafy Turning of
the faid Wrifts during the Motion of the (aid Arms downwards,
compleating the Movement or Motion of the Arms, from whence
all other Movements take their Rife or Beginning; fo that, if the
graceful Raifing or Elevation of the Arms from the Sides to the
Palms right forwards be by a flow and even Raifing of the Wrifts,
turning outwards or backwards 'till they arrive at their proper
Height as before defcribed £, their becoming Fall muft in like

^— — - — — ^— — — ■ ■ ■--■■■ — ■ - ■-

f See the Figures in Plate I, B. I. t See Plates II and XV in B. L

U Manner

iS4 Tbe Abt of Dauciho explain d.

Manner * be in the Turn of the Wrifts and Palms of the Hands
downwards in a flow and even Motion inwards, or forwards,
whilft the Palms are to the Sides, as: at firft^, greatly refembiing
the Fall of a Feather or the Coming down of a Bird, their Fall is fo
fmooth and cafyj and it is a wonderful Grace to Datttitg when
well performed.

. To avoid being tedious, or overloading this Subject with tod ma-
ny Obfervations I fball reduce the various Movements of the Arms
to three or four, via. firft, die Movement of the Wrifts from the
Elbows round upwards (a). Secondly, the Mcvtmtxt of the Arms
inwards in their Motion upwards {b). Thirdly, the compleating
the (aid Movement of the Arms inwards by the Movement of die
Wrifts round upwards mentioned before (a). And fourthly, the ir-
regular or contrary Movement 4p)* •- • :

Now, as to the Method of Performance and Timing of die Move*
mem of ihetPriJh xoudd upwards, it is by a flow and even Motion
or Movement of the Knutkles or Forefingers and*. Thanhs upwards
round from a fmall Bend of the Wr'tfls and JM&ows corresponding
therewith (b). * The Commencing is. upon one, the Movement
round backwards {b} finishing in a Flirt or carelefi Motion of the
Wr'tjU and Arms in their Return to their former Situation, as in
the Poiition of the Attns after their Elevation $ upon two fa) and
three if to triple Time, in the Motion or Preparative for the Move*-
merit of the Arms next enfuing, as it will conclude in like Manner
upon four, if to €oinmonTmi& ': . r)

The next Movement is made by the eafy Fall of die Elbows at
the fame Time or Inftant ; and the Knuckles or Forefingers and
Thumbs lead the Way in a fmooth and eafy Motion from helow up-
wards forming a quarter or half Circle or Bow f. The Hands in a
handfome FauSion may be fuppofed the Ends or Points of the faid
half Circle or Bow; and it is to be noted that this Movement is on-

• See the Plates XV, and II, B. I. J See the Figures in Plate I, B. L

(a) See Plate XV, B. I. (b) See Plate X, B. I. (c) See Plates IV, V* VI, TX,

XII, XIII, XIV. B. I. f See the Figures in Plates X, and XI* B. L

The A*t of Dawciko explained. 155

ly about the one Half of the aforefaid. But as that begun by form-
ing the Circle round upwards above the Pofition of the Arms, the
Elbows during the Movement of the fVrifts remaining elevated un-
til the Flirt or Finishing is made, on the other Hand in this
Movement of the Arms the half Circle,* or Motion the fVr'tfis
make, is below the Pofition of the Arms\ and, inftead of the Elbows
remaining elevated, as before, together with the whole Arms, they
fall or fink down in a flow, fmooth, and eafy Motion, whiHV the Ab/r-
fingert and Thumbs, as aibre&id, at the fame Time move up-
wards in the like flow and deliberate Manner, fintfhing together
with the Hands above and the Elhws below in Order to the throw-
ing the Arms open oft again, as in Heps, Chaffee?) and the like,
for which thefe are the proper Arms. The bringing them in on
the Concluflon of the foregoing Step, as juft defcribed If, is in Order
to the faid throwing them out on the Time or Beginning of die
next Step t for which this is the Preparative, tho* t)\t Movement of die .
Arms to the palms of the Hand* downwards rhuft always be firft
made by Way of farther. Preparation, concluding open and exten-
ded, 'till the Meafure is expired $ and from hence it appears, that
thefe two Movements ufualry anfwer each (eparatety to a Meafure
or Step, forming together much about a whole Circle. The for-
mer Half, as I have faid, moves under the Pofition of die Arms, and
the latter Half above in the Movement of the Arms round upwards
in the Form and Manner above defcribed; and thefe are thefe*-
cond and third Movements I propofed to explain.

The nregular or fourth and loft Movementh produced from die
two former, viz, by the Fall -of the tZUxrm of one Hand as the
Knuckle moves upwards, whilft the other at the fame Time per-
forms the Motion of the Arm round, upwards j which compote a
fine Contrafl, concluding both at the fame Time (d) with one
Hand bended and the other extended (d). This beautiful contraft-
ed Movement changes, every Step alternately, firft one Hand and
then the other, and is the proper Movement of die Ami in Half

1 See the Figures in Plates X and XI, B I. f See Flaw XV, 6.L (d) See
Plates IV, V, VI, IX, XII, XIII, XIV. B. I

U i Coupees,

i$6 The Art of Dakcino explatttd.

Cnipees, Marches, Bourees, and the like ; only it muft be obfcr-
ved that the bended Arm is the contrary Arm to the beginning
Foot in any of the Steps (e) aforefaid, excepting backwards or tide-
ways, becaufe then the Oppofition or Contrafi is between the fame
Hand and Foot, as was already (hewn in treating of Walking (f).
The Movement of the Arms round upwards t is made ufe of in
Pirouettes, Bourees with a. Bound, and all fuch like Steps.

Altho' there are various other Methods or Manners of moving the
Arms in Dancing, yet asthefe, like the five Pofitions with Regard
to the Feet, are as it were the principal, it is needlefs (nor indeed is
it agreeable to my prefent Dengn). to enlarge, efpecially on a Sub-
ject which, as I have already (aid, cannot be fufficiently described by
Words but muft be compleatedby the very bc& Mafters ; and there-
fore to avoid Trifling, as I have defcribed and given fomc Hints of the
Method or Manner of moving the Arms which will agree with
all the Steps made Ufe of in genteel Dancing, I /hall refer the reft
to' the perfonal Inftrudions of a Mafter properly qualified, who
muft compleat what is here wanting, not only in Relation to the
Movements of the Arms but alio thole of the Feet between
which there is, as I have already obferved, a . perfect Connexion
and Harmony. The Fingers and Toes, fVrifts and Ancles, , El-
bows and Knees, Shoulders and Hips, in Dancing muft move all of
a Piece ; and in fine the Compleating of this is the End I had
chiefly in View in compofing this Work. ;;.-..,."

♦

CHAP. XV,
Of COUNTRY DJNCING.

00 ■

t *

TH O* my original Defign was only to have fpoke of genteel
Dancing, yet as Country Dances are at all Affemblies or Balls
introduced as it were a Part of or belonging to the former, (and

(e) See Plate IV, VI, IX, XII, XIV. B. L (f) See Plate XTO, B. L f See
Plate XV, B.L .:....

indeed

The Art of Dancing explained. 157

indeed I think it may very properly be efteem'd as a luxuriant or
carclefs Branch growing out from the other) and is become as it were
the Darling or favourite Diverfionof all Ranks of People from the
Court to the Cottage in their different Manners of Dancing and as
the Beauty of this agreeable Exercife (I mean when perform'd in the
genteel Chara&er) is very much eclipfed and deftroyed by certain
Faults, or Omijpons, in the Performers not hitherto, if I remem-
ber right, taken Notice of in any Books t I (hall, at the Requeft of
fome Perfbns of Figure my Subfcribers, endeavour to point out
thole Neglects which render this Diverfion, to fine Dancers, cither
altogether dilagreeable, or much lefs pleafant, becaufe one or two
Couples either through Carelefnejs, or Want of better InftruBiorts,
will put the whole Set in Difbrdcr.

This will always be occafioned by the Couples below thofe who
lead up the Dance, when they omit moving up into the firft Couplet
Places, on their calling off, and down again in their cafting up to
their Places as at firft; or the like, if the firft or leading Couples
crofs over and figure in. In a Word, whenever the leading Cow
ples move downwards, the Couples coming up to lead the Dance
mould move upwards and, when they move up again, the Out-
pies who do not lead the Dance ought to move down again,
attending the Motion of the Dancers going down with the Dance r
who- in Return will attend them in like Manner, when they ar-
rive at the upper End to dance in their Turns. The nice Obfer-
vation of this prefents to the Beholders an agreeable Profped of the
whole Company in Motion at once, inftead of the Confufion that
happens when this is neglected ; as when in giving the right Hand
and left in going round downwards from above, or upwards from
below, inftead of continuing on and giving firft the right and then
the left Hand to thofe you meet, you turn back, or if in Conver-
fation with your Partner, or otherwife, you be not attentive and
ready to begin at the Conclufion of any Part or Divifion of the
Dance; which frequently falls out for, when the coming up Couples
have concluded the Dance with thofe going down, they often, for-
get that they are immediately to begin again- with- the next above
• • - them*

158 The Art of Dancimo explain d>

them* and To for Want of Attention breed Confufion and at the
fame Time expofe themfelvcs to the Spectators.

Indeed good Breeding, in Regard to thofe with whom we dance,
requires our not being car clefs; and yet my fair Readers and 0-
thers I hope will excufe me, if I tell them I fear this is too often the
Cafe, fince with due Circumfpe&ion and Care it is imponlble not
to follow almoft any Country Dance, tho* I muft own when I was
a Youth 1 thought it Conjuration. If we place ourfelves at the
Bottom, and, inftead of Talking, take a Survey of the Dance,
whatever it is in its Performance, over and over again, nrft with one
Couple and then with another, it is impoffible, 1 fay, but we muft
Jbe able to go down with it, when it comes to our Turns, as well
as avoid Diforders in our gradual Afcent to the upper End; it be-
ing only to obferve and diflinguifh one from another the Things of
of which the different Parts of all Dances whatfoever are compofed
whether Cafting off or up, Fsguring in, Hands acrofs or round,
Right Hand and Left, Flying Purfuinfy Clapping of Hands,, Heys,
Leading up or down, Back to Back, Changing of Places, Falling
hack, Meeting again, or whatever it be, by dividing one Part of
the above Catalogue from the other. And with a little Pra&ice
you will foon be able not only to follow Country Dances but alio
lead them up, tho* you never danced them before: Forlnftance,
if a Gentleman or Lady at the upper End propofe a Dance to their
Partner unknown to one of them, you need only aflc how it be-
gins, and they will acquaint you, and whether it be Falling Back,
Meeting again,, CroJJing over, or whatfoever elfe, you will readily
perform it For this Reafon I would advife all young People and
others who are not perfect in Right Hand and left, Figuring in y
Heys, and the like, before they attempt to dance in Public, to
make themfelves well acquainted with and able to perform all the
different Parts or Divifions of Country Dancing; which they may
privately learn amongft one another, if they don't care to pra&ifc
in Public, and thereby not only render this Diversion more agree-
able to themfelves, but alio mere pleating to thofe who accompany
them in this Excrcifc*

Befidet

The Art ^Dancing explain J. 159

Befides as I have before hinted, inftead of giving a confuted Idea
to the Beholders it will afford an agreeable Landscape or Propped c£
fo many Pairs of fine Gentlemen and Ladies gracefully in Motion
to the Sound of Mujic, and compleating each Part of the Dance in
Time to the Meafure, or Strains of the Tune, as it were of one Ac-
cord : As of even Rows longwife when falling back and meeting
again ; half Circles, when calling off or up again ; Figures of Eight
or Binding of a Hedge, as in Figuring in, or the Heys; irregular
Figures, whenone flies and the other purines; found Codec;
when Hands are joined; crofc Figures, when die right or left
Hands are joined moving round; Beating Time inContraft, as when
Hands are clapped firft in Time with their own, and next croflwife
with their right Hand againfl their Partner**, or othe« aga\h clap
their own Hands, and afterwards ftrike the left in Contraftj Lead-
ing croflwife in Rows, in Order of marching op the Room and tie
like down, with various other beanttful Circles «nd Figure* -' if t *
fine Picture, beautiful Fields, cry ft al Streams, green tiw, and W
broider*d Meadows inLandfcape or Nature itfetfTviflaffotd Iodide*-
lightful Profpeds, how much more muft Co many well (hap'd
Gentlemen and Ladies, richly drefs'd, in tfee'exacV Performance of
this Exercife, pleafe the Beholders, who entertain them with fuch
a Variety of living rVofpe&s. -•'-'.

Having in the above Sketch, or Draught attempted to raife fome
noble Ideas of Country Dancing, when performed in a proper Man-
ner, and in the foregoing Inftruftions pointed out and removed
all the moil material Faults and OmiJJions in die Performance
of this ©ranch or our Jvt, which either ooftroct the PJeafbre'ijt
the Dancers, or Beholders, 1 think I have finished what I defigned,
viz. the Improvement and Pleafure of others. I (hall] therefore
conclude this fVork, not in the leaft queftioning but my good Inten-
tions will meet with a favourable Reception from the Public, ef-
pecially from thole who receive Benefit or Profit thereby,

FINIS,

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And Graceful Dancing charms^ ravifhd Sight,
They give a double Force to Cupids Dart;

Which through^Eye, makes Faflage to^ Heart

BOOKE.

3%&fi&rvmf Ci/TS re/trefenf tAe Figures ^"Gendemen and Ladies
vne efeaM, in a, Flate, oj Dancing a Minuet, Aepintunf^vnvtf Reverem
7r Bow and/irvcctdena rtptdatw an 'ed/t/u wAa/t u^n£neds/n\en?in\
(A* A&utfrfU eZaVXtdu and&raA^/@f^rtnien&j^£Ae y^rfermem in &
de/ferent fr%furat andGreAe* aftAa£ CeAcA^raSed Dance, tney Aeinf cf~
tfundeAtw an, tsuzrt and ' *nat&endan£ < ffihiL.

UAgft Prints are aA£ ddpn'a as firc/ur- Furniture /£/* a- Room , oj ntACa*
/vreAt l^ter Explanation gftAe fecond Book en/rffod. The ART of DANCTJ
ixplai n'd by READING and FlGt/RES; andwAen Aunp ufi in ifcir r*yta/ar t
der in SPram&f nx/A J//a/&y , tAsy wti/At a faaad/SU 'and ' in/2ruc£uK> tfUpr
finat&eneftAs. ri/A#A?jj*i\cc at anc^'tenr.

2A%e,J 3 ZATE ?nar£ed Oisa Specimen ^Explanation aftAe Characters .
Dancing: andtAat marked U caztfninj tAe n/Aa/t Sbrm efiAe, Minuet nn
ten. in Characters in fit* Order de/rriAtd in £4* fecond Book under- ife*
SZde a/irre/atd.

2\S. 6B<>£A de& qfCutU were invt/ited and cag/ed £a Ac de/tn.ea£ed/9mn.
fiAeJtye AyKELLOM 7 T OVZ/yxc>;rDancing-Mafter.

TTlmlyC* J*?* ***••

■jtm 4p ;

1 *£2sM

. \

>»

£Utrf. Jt»i,'Mv Hate u »//vt /imttUu uurH'/vd f lt//i/rJtii/i/At'/u tTtrtd/tiitJjin*^

7 ' ~' ' .•«>»,:««••

'Je my ettrrrjpfe/i'itecfolato SJC/'SiiiionEvfTY^E^iisron in //u /huttfy efDEJtBV. Jen. to At
• £(VtrendJir%yxm^vct^ B*rfahd vWifi Aim Every AitJvt&r: '/hi FZjlffc '£* ffatr/SUff tntcri&k fy

i
I

• *.

t'.Ta M! Cotton, Jen & Howknd Cuaon </'Kn«ili <w «»*/• &#M? o/ ll JMKSf 'Gyfamd 'at my m*M r&»fctint>—

• ""%

ffg fa, m&VtUHt kT^MtfiantZard George Talbot,Earl ^SWcwIbury^-Ai^wrTil^f
Etf&Ljf7ri>,k £art ^Watrrford.fc Wexford r'» JBUSZJJVJ?;& e> mymmA JTt>twurr4JrJu<l*p

Qpi Corbet Owen e/Ynyfonm$yimc MERIOKETHSHIKE ^lu/iimfuba MONTGOtmmxaKk
and my ever rej/icrSsd<JcAr6ir Mifi Elizabeth Owen A J Jit/er. rti.t JPLA7X ujr*jyittfy mM*

• •

, J?»*y mmiA /w*e*r«fJeA*br utt »uve//<<M *>u< fttfont Lord Wifcan Suflbd Howud.Etrl.YftoM WM

i//Snflaril.«M>/'>- <& /fy4f &£*-***//* Ms Udv Mary Stafford. -4*/ X<"->&AfJ Jutes, tAti I'LATJZ it maifAmmfj"

*.«.

«.

" f

limy tmceSatumrrdJbhafarJ dttW»rqm& de SeyJ*cl<£lfadenjoifeIle«ii Stjtkd.Jtfn *£
It hii XxctiU m~f die Mn-([uif» d'Aix hfcJSnvvy J5- Z&H* r d martt frrm yZzy&efJLSJtpiNLt bjrjr**td&&

1 •

* f 7 - •

.5'^/' £*>ntJus60n-*v3fainw//Mt/ tf-SSrtA /Inn*.

. . »

* •

£Mf ■ rtytt/ar On&r vfMi i

JLJ.tnr. — ~— — -^.

jMuu//iu»MyiHjrrtM./y/dar ivrumaiA (>Mi/ri/Jrn>ii>i/i ■— — — ■— ; l —

7 ' ' ■' '//Mar .'Ax/IMJ*

IJ//U

* *•

fli*. JMmC fin.. ^ *£-. fiw.

ffe /?**■' ^& *<W 9/farAjJur'S yr*m deJ&MJ ui iA*#'*rmr&%uet.

~X> ff'

gtoat.*

ifnifiHffniiu

^sdSit 1

frs3< ^-t&3?V ^-£>g<>

1 f ^

<>!■ Ayg* u*t*fi*r*

u 4 k w

* *- J - ** J* J*

The NOBIUTY and GENTRY, who uc dWiroui tlieir Childmi fhoukl Irani die CixMtrr, of DANCING, of vbj<±
the above it ■ Specimen, and willing to honour die .■fv/A>r in learning ot him.ln.dl pay no more than y ufual Pnx*
lor Dancing only. w.« (heir own node* one 6mi»m and an Lt/f\i LHlons: and in Proportion, if tbry ire pletfi"
to come to him. for in his humble Opinion teaching to ^/ijr 6y £ar and mliamv ridxwtfiooA are equally wingi!
(Right tobediicontinucd. Young Dunrmg Afy&AI alibiing be inftrudnJ in &w.1r{ oC/bwmg i-H'rra^g W Tintn^-

Cm*, effittr&ducfam.

%H'ilfjjUjWj l rrWp

. u

?/Ae S revee&edor cemttunu
firm e/tfie Minuet.

?/Ae ft*6*e*tft*tp cfik>
naAtfirm,.

Pi igi^

"^^^

£*i2&2z*£5-

Zmc S rcveeveder omnium,
firm e/mU Minuet.

and Onu

ffaA&rm

c-Tf/*

xe^zz&rr

2/%e afa&e u fa n'Aek ?/orm and read/ar (?rder ofime Minuet
Nmttett m Characters k Figures,^./ dejerd''dm SooAlf.

112.

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Full text of "The art of dancing explained by reading and figures; whereby the manner of performing the steps is made easy by a new and familiar method:"

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