{image (p2)} 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: Being the ORIGINAL WORK Firft Defign'd in the YEAR 1724, And now Publifhed by KELLOM TOMLINSON, Dancing-Mafter. In TWO BOOKS. --Tulit alter Honores. LONDON. Printed for the AUTHOR: And are to be had of him, at the Red and Gold Flower Pot next Door to EDWARDS's Coffee-Houfe, over againft the Bull and Gate, in High-Holbourn. MDCCXXXV. The FIRST BOOK treats of the beautiful Attitudes or Poftures of STANDING, the different Pofitions from whence the STEPS OF DANCING are to be taken and performed; and likewife of the Manner of WALKING gracefully. The feveral Sorts of BOWS and COURTESIES are alfo fully defcribed, and all or moft of the STEPS ufed in Genteel DANCING, as well as many of thofe properly belonging to the STAGE: Illuftrated with fixteen Copper Plates containing twenty nine Figures. The SECOND BOOK contains fourteen Plates, confifting of twenty eight Figures of GENTLEMEN and LADIES, one of each in a Plate, as dancing a MINUET; beginning from the REVERENCE or BOW, and proceeding regularly on 'till the whole is finifh'd; fhewing the beautiful Attitudes and graceful Deportments of the Performers, in the different Figures and Circles of that celebrated DANCE; together with the Inftructions for underftanding and keeping Time, and Directions for the Elevation, Movement, and graceful Fall of the Arms in DANCING. To which are added at the Requeft of fome particular Perfons of Quality, fome Inftructions concerning COUNTRY DANCES. The whole WORK is adorned with thirty Copper Plates, confifting of fifty feven Figures; with five other additional Plates, marked A. E. I. O. U. containing all the Steps defcribed in this Treatife, written in CHARACTERS; for the Amufement of the Curious, the farther Illuftration of this Work, and the Inftruction of fuch as are defirous to underftand the CHARACTERS of DANCING. THESE are to certify, That the following Work, entitled, THE ART OF DANCING EXPLAIN'D, was defign'd and compofed by Mr. Kellom Tomlinfon in the Year 1726 in the fame Manner in which it now appears, we having feen the faid Work in the Year above mentioned, which he told us be intended for the Prefs as foon as his Subfcription was full; in Witnefs whereof and in Juftice to the Author we have hereunto fet our Hands this twelfth Day of February 1728. JOSEPH SANDYS, Gent. HENRY CAREY, Mafter of Mufic. To the RIGHT HONOURABLE CATHERINE Vifcountefs FAUCONBERG. MADAM, THE Work I here prefume to offer your Ladyfhip, treating of a Subject in which you are not only well verfed, but even excel; it was natural and obvious for me to dedicate it to you, confiding that, under fo honourable a Protection, it may at leaft be skreen'd from fuch unjuft Cenfures as Malice or Envy ordinarily produce. It may perhaps be expected that I fhould fay fomething of the Nobility and great Endowments of your Anceftors, as is ufually done in Dedicatory Epiftles; but the World is fo well acquainted with your LADYSHIP'S illuftrious Families, both that from which you came as well as that to which you are happily ally'd, that to mention any thing of them would rather 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 fay is, that your Candour, Affability, Sweetnefs and Charity, join'd to all your other great Qualities, give as great a Luftre to your Family, as what you receive from it. BUT of all your Perfections what touches me the moft, is your great Talent in the ART of DANCING, which I can fpeak the more freely of, as I was not only a Spectator, 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 happy in having had the good Fortune to give Leffons to a LADY that perform'd in a Manner no lefs elegant than uncommon. NOR do I fo much wonder at the Progrefs your LADYSHIP made in this Science, when I confider your wonderful Genius and exquifite Tafte for Mufic, which is one of the greateft Helps to a perfect Performance in DANCING. All thefe rare Talents give me a greater Title to your LADYSHIP'S gracious Acceptance of this Work; at leaft it gives me an Occafion of affuring you how much I am, with all Refpect and Efteem, MADAM, Your LADYSHIP'S moft obliged, moft obedient, and moft humble Servant, KELLOM TOMLINSON. A LIST OF THE SUBSCRIBERS NAMES. N. B. This + Mark fhews that the Subfcriber, before whofe Name it is placed, died while this Work has been carrying on. A. THE Right Honourable the Lord Afton The Hon. Edward Afton, Efq; The Hon. Mrs. Catherine Afton. Sir Francis Andrews, Bart. Sir John Aftley of Patfhull in Staffordfhire Bart. William Andrews Efq; + Mrs. Eleanor Andrews. Mr. A. Labbe, Dancing-Mafter to their Royal Highneffes the young Princeffes. Mr. Jonath. Ayleworth Dancing-Mafter. B. Sir Edward Blount, of Soddington in the County of Worcefter, Bart. The Lady Blount. + Sir William Blacket, of Newcaftle, Bart. John Bafket, Efq; three Setts. B. Bagfhaw of Wigwell in Derby Shire Efq; Edward Brett: Bainbrigg of Derby Efq; Ed. Bigland of Long W--n near Loughborough Efq; + William Bourke, Gent. Mifs Bullar. Mrs. Grace Brown, of Bentley in Darbyfhire. Mrs. Deborah Bowdler of Queen's-fquare. Mrs. Catharine Bird. Richard Boftock, M. D. Capt. William Brooks, of Derby Efq; Mrs. Margaret Butler, of Maryland. Mrs. Booth the celebrated Dancer. Mrs. M. Boftock, Paintrefs. Mr. John Brograve, of Rudgley, Dancing-Mafter. Mrs. Bullock, Dancer, at the Theatre in Goodman's-Fields. Samuel Buck, Engraver, for two Setts. Mr. Geo. Bickham junior, Engraver. C The Right Honourable James, Earl of Caftlehaven. The right Honourable Elizabeth, Countefs of Caftlehaven. + The Right Honourable Ann, Countefs Dowager of Clanrickard. + The right Honourable the Lady Frances Clifton. Sir Richard Corbet, Bart. The Lady Curzon of Kedlefton in Derbyfhire. Mrs. Anna-Maria Calmady, of Devon. + Francis Cottington, of Founthill-Giffard, Efq; W-- C--, Efq; Mrs. Elizabeth Cannon Daughter to the late Dean of Lincoln. Richard Creffwell, of Bridgnorth in Shropfhire Efq; Rowland Cotton of Etwall in the County of Derby Efq; Mr. Thomas Caverley, of Queen-Square Dancing-Mafter. John Clark Engraver. Mr. Henry Carey Mafter of Mufic. Mr. Ben. Cole, Engraver. Mr. Thomas Cobb. D Her Excellency the Marquefs D'aix, Lady of Honour to the late Queen of Sardinia. F. D--ll Efq; Kenelm Digby, of North-Luffingham in the County of Rutland, Efq; Mrs. Ann Darnall, of Maryland. John Dalton, Gent. Mr. J. Dupree, Dancing-Mafter at the Theatre Royal in Covent Garden. Mr. Lewis Dupleffy Dancing-Mafter. E. The Right Hon. Hannah-Sophia, Countefs of Exeter. The Right Hon. the Lady Mary E--. Henry Every of Egginton in the County of Derby Efq; Charles Edmonds Efq; Mr. John Effex Dancing-Mafter. Mifs Everet. F. The Right Hon. Thomas, Vifcount Fauconberg. The Right Hon. Catherine, Vifcountefs Fauconberg. + The Lady Fuft of Hill near Gloucefter. C. Fleetwood, of Gerards-Bromley in Staffordfhire, Efq; Mrs. Mary Fairbrother. G. Mrs. Giffard, of Chillington. H. Gaylor, M. D. Mr. Leech Glover, Dancing-Mafter. H. + The Right Honourable the Lady Mary Howard, of Workfop. The Hon. Mrs. Winifrede Howard, of Norfolk. The Lady Elizabeth Heathcote, Daughter to the late Earl of Macclesfield. The Lady Hanmer. Sir Arthur Hafelrigge, of Nofely in Leicefterfhire, Bart. Thomas Heneage, of Cadeby in the County of Lincoln, Efq; George Heneage, of Hainton, in the fame County, Efq; M. Hare Efq; + Richard Holland, Efq; William Herbert, Gent. George Hills, Gent. Mr. Henry Hargrave, of Newark, Dancing-Mafter. J. The Right Hon. Sir P. J--k, B. The Lady Ifham. Mrs. Dorothy Jackfon. Mrs. Elizabeth Jennens of Gopfhall in Leicefterfhire. Mr. Jofeph Jackfon, Dancing-Mafter. K. The Right Hon. the Lord Kingfale. + The Right Hon. the Lady Frances Keightley. Mr. Afcough Kirk, of Stamford, Dancing-Mafter. Meffieurs Knapton Bookfellers. L. Sir William Lemon, of North-hall, Hertfordfhire, Bart. Richard Langley, of Grimfton in the County of York, Efq; George Legh, of the Temple Efq; The Lady Lambard of Sevenoak in Kent. Coke Littleton, Efq; Mifs Mary Lewis of Tarracoed in Carmarthenfhire South Wales. Mr. Tim. La Bufiere Dancing-Mafter. Mr. Daniel Lewis of Briftoll Dancing-Mafter. Mr. Henry Lintot Bookfeller, three Sets. Mr. Edward Langton Dancing-Mafter of Leicefter. M. Sir Richard Moor Bart. L. Mafters, of Red-Lion-Square, Efq; William Moore, of Fetcham in Surrey, Efq; Mr. James Mechel Printer. Mr. A. Moreau Dancing-Mafter at the Theatre in Dublin. N. + His Grace Thomas late Duke of Norfolk. His Grace Edward Duke of Norfolk. The Right Hon. Francis Lord North and Guilford. Mrs. Jane Needler, of Hollyland in Surrey. John Newton of Gray's-Inn, Gent. Mr. William Newton of Burton upon Trent, Staffordfhire. O. Jofeph Offley, of Norton-hall, Derby, Efq; + Thomas O'Brien, Efq; P. His Grace William Duke of Powis. Her Grace Margaret Duchefs of Portland. + J. Pearfon, M. D. Mr. P. P. of Litchfield. Mrs. Parkhurft. Mrs. Mary Peacock. Mrs. Charlott Pigott. + Mr. Edmond Pemberton Dancing-Mafter. R. Aymor Rich, of Bullhoufe, Yorkfhire Efq; Mrs. Catherine Rolf, of Lynn. John Rich, Efq; Mafter of the Theatres Royal in Lincoln's-Inn-Fields, and Covent-Garden. Mrs. Mary Ricardy. Richard Ruffel Gent. S. + The right Hon. William Earl of Stafford. + The right Hon. Ann Countefs of Stafford. The Right Hon. Mary, Countefs of Shrewfbury. The Right Hon. the Lady Frances Shirley. The Right Hon. the Lady Ann Shirley. The Hon. John Stafford, Efq; Sir Thomas Samwell, of Upton in Northamptonfhire, Bart. Robert Sutton, Efq; Samuel Sanders of Caldwell in the County of Derby Efq; Mifs Elizabeth Stanley Daughter to Sir Edward Stanley, Bart. + Mrs. Elizabeth Smith of Great James Street. Thomas Southcote, Efq; John Southcote, of Blyborough in Lincolnfhire, Efq; J. Strickland, Gent. + William Somerfet, Gent. Richard Stanley, Gent. William Stukeley, M. D. Mr. P. Siris, Dancing-Mafter. Mr. William Sawyer, of Rudgley in Staffordfhire, Dancing-Mafter. Mr. Robert Smith, Dancing-Mafter. T. The Hon. Mrs. Talbot, of Longford. The Hon. Mrs Ann Thompfon. Wilbraham Tufton, Efq; + John Tufton, Efq; Mr. James Tully, Dancing-Mafter. Mr. John Topham, Dancing-Mafter. John Tayleur of Roddington in the County of Salop Efq; Mr. W. H. Toms Engraver. W. The Hon. Lady Webb, of Canford. Mrs. Webb, of Hadthorp. Mrs. Mary Wingfield William Woolfe, of Queen's-fquare, Efq; Edward Walpole, of Dunfton in the County of Lincoln, Efq; Mrs. Alethea Walpole. + Mrs. Mary Walpole. Ernle Wafhbourne, of Wafhbourne, in Worcefterfhire, Efq; Thomas Wollefcot, of Gray's-Inn, Gent. John Walkinfhaw, Gent. Ayliffe White, Gent. Edward Wright, Gent. Mrs. Jane Williams. John Woolley of Darley in the County of Derby Efq; Mr. John Weaver Dancing-mafter. Y. Charles Young of the Friers in Shrewsbury Gent. THE PREFACE. I Now at laft have the Pleafure of prefenting to the World a Work, which has been long promifed; but which, through the Difficulty of the Undertaking itfelf, and the many Obftacles to the Execution of it, I was not able to finifh before. This Undertaking muft needs have been attended with great Difficulty, becaufe it was really the firft of the Kind. For tho' Monfieur Beauchamp lay'd the firft Foundation, upon which Monfieur Feuillet built, (as fome more ingenious Perfon may perhaps improve upon mine); yet the Works of both relate only to the Characters of Dancing; which, like the Notes of Mufic, can be only ufeful to Mafters, and cannot be underftood by any other without their particular Inftructions. But the Piece which I here offer to the World will be of general Ufe to all, who either have learned, or are learning to dance: the Words defcribing the Manner in which the Steps are to be taken; and the Figures reprefenting Perfons as actually taking them; both which together will make the Learning more pleafant to the one, and ferve as a continual Remembrancer to the other. As moft other Arts and Sciences, reduced to certain Rules, have been now long fince taught in Books, I have often wondered no one fhould have hitherto paid the fame Regard to the Art of Dancing. This is what I have endeavoured to do in the following Work: wherein I have not pretended to advance any new Laws for Dancing unknown before; but only to collect and fubmit to view thofe Principles and Rules, which I had feen taught with the greateft Succefs by the moft eminent Mafters in the genteel Way. As the Notes of the Mufic are placed on the Top of every Plate, the Characters of the Steps marked below, and the Figures reprefent two Perfons in the very Action of Dancing; whoever has made any Progrefs in the Knowledge of mufical Notes and of the Characters of Dancing, will be able by intently viewing one of thefe Plates, at one and at the fame Time, 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 perfectly underftood without fome Study and Application; yet by a little Affiftance from the Author, or others of the Profeffion properly qualified, all the Difficulties will be foon furmounted. The Figures in each Plate are defigned only to fhew the Poftures proper in Dancing, but not to bear the leaft Refemblance to any Perfon to whom the Plate is infcribed; which it had been ridiculous to have attempted: The fole Intent of the Infcription being to do Honour to my felf, by this fmall Teftimony of my Gratitude to fome honourable Perfons. The continual Change of the Fafhion will afford, I prefume, a fufficient Excufe for the Drapery of the Figures: and Gloves were defignedly omitted, on Purpofe to fhew the beautiful Shape of the Hands. The Faults, which may have happened in the Execution, either of the Printing, or Ingraving, will, I hope, be the more eafily excufed, if the Nicety of the Subject be confidered, 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 firft Attempt, but likewife the firft that has been made of the Kind. It may feem a little ftrange, that I fhould claim the Honour of having firft treated of the Art of Dancing; when a Book upon the fame Subject was publifhed in France as long ago as in 1725. But the following Account will, I hope, clear up all Doubt in Relation to the Juftice of my Pretenfions. In Mift's Journal Sat. Jan. 13 1728, appeared this Advertifement, "Next Week will be publifhed The Dancing-Mafter or The Art of Dancing explain'd by Monfieur Rameau". This gave me no fmall Surprize, having never before heard of either any fuch Book, or Author. Had it been my Fortune to have known, either before, or after I undertook to write on this Art, that fuch a Book was extant, my Curiofity would certainly have led me to have confulted it; and had I approved it, 'tis highly probable I fhould have given the World a Tranflation of it, with fome additional Obfervations of my own. This had been a much eafier Tafk, than to compofe a Work entirely new upon the fame Subject: which I had actually finifhed in 1724 ready for the Prefs, as it is now publifhed, without any material Alteration, a full Year before the Publication of Monfieur Rameau's Book, and near four Years before this Advertifement appeared; the Truth whereof feveral credible Witneffes have teftified under their own Hands. I advertifed this Work of mine the firft Time, as ready for the Prefs, and that it only waited for a fufficient Number of Subfcribers to defray the Expence, in Berington's Evening Poft, Oct. 15, 1726, and again in the fame Paper Oct. 22. This Advertifement was repeated in The White-Hall Evening Poft, Nov. 12. and in The London Journal, Dec. 3. In Mift's Journal of March 4. 1727, I gave Notice of the Publication of my Propofals, together with fome Plates done by Way of Specimen; and renewed that Notice on 18th, in Berington's Evening Poft, and again on Oct. 28. in the fame Paper. From this particular Account it appears, that I had publifhed feven Advertifements concerning my Work; the firft of which was two Years and three Months, before ever the Tranflation of Monfieur Rameau's Book was advertifed in Mift's Journal Jan. 13. 1728. To fecure my felf in fome Meafure from the Damage I might receive by this Advertifement; I thought it neceffary to publifh one my felf a few Days after, in Mift's Journal Jan. 27. To which I prefixed this Motto from VIRGIL, --Tulit alter Honores; intimating, that another Perfon had attempted to bear away the Honour of my Invention; and I may juftly add, the Profit of it too. That this was his Intention is very plain from two Circumftances: the Addition to the Title; and the Alteration of the Form of Monfieur Rameau's Book. The Title of his in the original is onely The Dancing Mafter; to which the ingenious Tranflator, or perhaps Bookfeller, thought proper to add that of mine, The Art of Dancing explain'd: The French Original was publifhed in Octavo; but the Tranflation was magnified to a Quarto, almoft the Size of mine, and yet propofed to be fold at half the Price. The affuming thus the very Title and Form of the Book propofed to the Publick by me, feems to have been done with no better View, than to raife an Advantage by anticipating my Defign; and to obftruct the Succefs of it, by making it feem to be only a fervile Imitation of the original Invention of Monfieur Rameau. This Contrivance was the more likely to have the defired Effect, from the unfavourable Situation in which the Propofals for the Subfcription to my Book might at that Time appear. It was above two Years fince it had been advertifed as ready for the Prefs: and this delay in the Publication, the not fixing any certain Time for it, and the Difficulty in procuring Subfcriptions, upon the Number of which the Publication muft in depend, might probably induce many Perfons to fufpect that it would never be publifhed at all. And this Difficulty would be much increafed, by offering to the Public a Book on the fame Subject, with the fame Title, and of almoft the fame Size, which yet fhould coft no more than half the Price of mine. To make which Book appear ftill more perfect and complete, and mine lefs neceffary, or ufeful, the Gentleman who publifhed it was not fatisfied to prefent it to the World merely as a Tranflation of Monfieur Rameau's Work, approved by Monfieur Pecour, the greateft Mafter in France; but was prompted by his Ingenuity and Generofity to make fuch furprizing Improvements in the Figures, as will be a lafting Monument of his great Abilities in the Art of Dancing. Before I conclude this Preface, it feems neceffary to fay fomething more particularly of my felf, for the Satisfaction of thofe to whom I may not have the Honour to be known; who will naturally expect, before they encourage a Piece of fuch an extraordinary Nature, to receive fome Evidence, that the Perfon who undertakes it is in fome meafure qualified for the Performance. In April 1707. I was placed as an Apprentice with Mr. Thomas Caverley, now living in Queen's-Square, St. George the Martyr, with whom I continued till the Year 1714. During which Time, I had likewife the good Fortune to be further inftructed in the Theatrical Way, by that great Performer Mr. Cherreir, once contemporary with the inimitable Mr. L'Abbe, with whom alfo I have had the Happinefs of a perfonal Acquaintance. Mr. Cherreir's great Merit, after he quitted the Stage, was fupported a long Time by the late Mr. John Shaw, who was juftly efteemed not only one of the fineft Theatrical Dancers, but one of the moft beautiful Performers in the Gentleman-like Way: the Acquifition of both which Excellencies in Practice, muft be chiefly owing to thofe admirable Inftructions in the Theory, which he received from Mr. Caverley, when He and I were fellow Apprentices to that great Mafter. I beg Leave to mention in the next Place two of my Scholars, who have appeared upon the Stage with no fmall Applaufe. The one was Mr. John Topham, who danced upon both Theatres under the Name of Mr. Kellom's Scholar, when he had been with me no longer than betwixt two and three Years. The other was Mifs Frances, who, on the Theatre Royal in Little Lincoln's-Inn-Fields, performed the Paffacaille de Scilla, confifting of above a thoufand Meafures or Steps, without making the leaft Miftake; but fhe left me in the midft of her Improvement. To this I hope it will not be thought improper to fubjoin a fhort Account of fome of my Compofitions, which have been well received by the World. The Paffepied Round O in 1715 dedicated to Mr. Caverley; the Shepherdefs in 1716; the Submiffion in 1717, which, by the Name of Mr. Kellom's New Dance, was performed by Monfieur and Mademoifelle Salle, the two French Children, on the Theatre in Lincoln's-Inn-Fields, to very confiderable Audiences, every Night, for a whole Week together. To which I beg Leave to add the Prince Eugene in 1728; the Addrefs the next Year; the Gavot in 1720; and the Paffacaille Diana the Year following, dedicated to Mr. L' Abbe. All which I compofed, wrote in Characters, and publifhed, for the Improvement of the Art of Dancing. I 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 Dedication of my Plates. But I have perhaps dwelt too long upon this Subject already, which I hope the candid Reader will excufe; and not impute this Account of my felf to Vanity or Conceit, but to an earnest Defire in me to give the utmost Satisfaction to my Subfcribers, and to remove all Sufpicion of my Want of Talents proper for the Execution of this new Undertaking. And this was the more neceffary to be done, becaufe of the Difadvantage to which I have been expofed by going accidentally under two different Names, Kellom and Tomlinfon; being known formerly by the firft, but of late only by the last; the Occafion of which it may not be thought improper to relate. During the Time of my Apprenticefhip I went generally by the Name of Kellom, a Corruption of Kenelm my true Chriftian 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 Apprenticefhip, feveral of my Friends out of Refpect called me by my Sur-name of Tomlinfon; but, being unwilling to decline the Advantage I might probably receive from the Reputation of having learned the Art of Dancing under fo great a Master as Mr. Caverley, I chofe rather to retain the Name of Kellom, by which I had been fo univerfally known to have been under his Inftruction. 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, refufing to employ Mr. Tomlinfon tho' recommended to them; and many, who would have employed Mr. Tomlinfon, rejecting Mr. Kellom. To prevent which Confufion for the future, I fhall acknowledge my felf obliged to thofe, who, inftead of either fingly, fhall be pleafed to call me by both conjunctly, Kellom Tomlinfon. THE CONTENTS. BOOK I. I. OF Standing. 3 II. Of Walking. 5 III. Of Bowing, or the different Sorts of Honours. 7 IV. Of the Dancing-Room. 18 V. Of the Coupee of one Step or Half Coupee. 25 VI. Of the Coupee. 26 VII. Of the Coupee with two Movements. 27 VIII. Of the Bouree-Step or Fleuret. 29 IX. Of the Bouree with two Movements. 32 X. Of the Pafgrave or March. 33 XI. Of the Point and March. 34 XII. Of the Spring or Bound. 36 XIII. Of the Clofe or Jump. 37 XIV. Of the Spring or Leap. 39 XV. Of the Rigadoon-Step of one Spring, open in the fame Place and Clofe. 41 XVI. Of the Rigadoon-Step of two Springs or Siffonne. 44 XVII. Of the Galliard and Falling Step. 48 XVIII. Of the Bouree with a Bound. 52 XIX. Of the Slip before and then behind, or Slip behind and afterwards before, and Half Coupee fideways. 54 XX. Of the Hop or Contretemp. 58 XXI. Of the Chaffee or Driving Step. 64 XXII. Of the Chaffee or Driving Step of two Movements or Bounding Coupees. 71 XXIII. Of the Beaten Coupee or Hop. 74 XXIV. Of the Chaffee or Driving Step, of three Springs in the fame Place, from the third Pofition. 77 XXV. Of the the Flying Chaffee or Driving Step backwards, with a Clofe and Coupee to a Meafure. 79 XXVI. Of the the Hop of two Movements, from the fifth Pofition round in two half Turns. 81 XXVII. Of the the Chaconne or Paffacaille Step. 83 XXVIII. Of the the Hop and two Chaffees or Drives round in the fame Place. 84 XXIX. Of the Fall, Spring with both Feet at the fame Time, and Coupee to a Meafure. 86 XXX. Of the Clofe beating before and falling behind in the third Pofition, upright Spring changing to the fame before, and Coupee to a Meafure. 88 XXXI. Of the Pirouette. 90 XXXII. Of the Pirouette introduced by a Coupee. 96 XXXIII. Of the Bouree before and behind, and behind and before, advancing in a whole Turn. 98 BOOK. II. I. OF the Minuet Step. 103 II. Of the Hop in the Minuet. 113 III. Of the Double Bouree upon the fame Place. 115 IV. Of the Balance. 118 V. Of the two Coulees or Marches. 119 VI. Of the Slip behind and Half Coupee forwards to the right and left Hands, each to a Minuet Step. 120 And of Dancing the Minuet in general. 124 VII. Of the Figure of S reverfed or fecond Divifion. 126 VIII. Of Prefenting the right Arm or third Part. 128 IX. Of the fourth Divifion or Prefenting of the left Arm. 131 X. Of the fifth Divifion or fecond S. 133 XI. Of the fixth Divifion or Prefenting of both Arms and Conclufion. 135 XII. Of the Miftakes in Dancing of a Minuet, with their Ocafions and Rules to prevent them. 137 XIII. Of Time, or fome Account what Time is; with Rules to be obferved in Keeping it. 141 XIV. Of the Movement of the Arms in Dancing. 152 XV. Of Country Dancing. 156 An Explanation of the Characters or Steps contained in the Tables of Plate E, in the exact Order they are treated of in this Work, fhewing the different Ways in which the faid Steps are performed whether forwards, backwards, fideways, or round, &c. in which you will fee the Steps treated of in Words written down in Characters and Figures, which will not only convey a ftronger Idea of the Steps, but alfo be very entertaining to the curious Reader. The Steps treated of in BOOK I. TABLE I. The HALF COUPEE. FIG. 1. Forwards with either Foot. FIG. 2. Backwards with either Foot. FIG. 3. Sideways to the right, and fideways to the left. TABLE II. The COUPEE. FIG. 1. The Coupee forwards with either Foot. FIG. 2. The fame backwards with either Foot in two Movements, or plain, as Fig. 1. FIG. 3. Sideways before in two Movements with either Foot, or plain, as Fig. 4. FIG. 4. Sideways behind with either Foot. TABLE III. The BOUREE. 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. 5. 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. FIG. 1. Forwards with either Foot. FIG. 2. Point fideways with either Foot. FIG. 3. Forwards with either Foot. TABLE V. The BOUND. 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. 5. Twice to a Meafure. FIG. 6. Thrice to a Meafure. TABLE VI. The CLOSE. FIG. 1. With either Foot into the firft Pofition forwards. FIG. 2. With either Foot backwards into the firft Pofition. FIG. 3. Forwards with either Foot into the third Pofition inclos'd before. FIG. 4. The fame backwards with either Foot inclofed behind, and a Walk forwards to a Meafure. TABLE VII. The LEAP or JUMP. FIG. 1. Forwards. FIG. 2. Backwards. FIG. 3. Sideways to the right Hand. FIG. 4. Sideways to the left Hand. FIG. 5. The upright Spring. FIG. 6. Round in an upright Spring. FIG. 7. Two Springs and a plain ftraight Step forwards to a Meafure. FIG. 8. Three Springs to a Meafure forwards. FIG. 9. The upright Spring and plain Step forwards to a Meafure. FIG. 10. Two Springs to a Meafure forwards. TABLE VIII. The RIGADOON STEP of one Spring open in the fame Place. FIG. 1. Upon the fame Place with either Foot in the firft Pofition. FIG. 2. Upon the fame Place with either Foot inclofing into the third Pofition forwards. FIG. 3. The fame inclofing into the third Pofition backwards. FIG. 4. Upon the fame Place inclofing into the third Pofition, firft before and then behind, upright Spring, and Change of the hind Feet firft with either Foot. FIG. 5. The fame with either Foot, firft behind and then before, upright Spring into the firft Pofition, and plain Step forwards to a Meafure. FIG. 6. The fame in the firft Pofition. TABLE IX. The RIGADOON STEP of two Springs. FIG. 1. Forwards with either Foot. FIG. 2. Backwards with either Foot. FIG. 3. Sideways croffing before with either Foot. FIG. 4. Sideways croffing behind with either Foot. TABLE X. The GALLIARD and FALLING STEP. FIG. 1. Forwards with either Foot. FIG. 2. Backwards with either Foot. FIG. 3. Sideways to the Prefence with either Foot. FIG. 4. Sideways with either Foot in a quarter Turn facing the Sides of the Room. FIG. 5. Sideways with either Foot in a half Turn to the Bottom of the Room. An Explanation of the Characters or Steps contain'd in the Tables of the Plate marked I. as firft Slipping before, and then flipping behind, &c. TABLE XI. The SLIP BEFORE, SLIP BEHIND, and HALF COUPEE. FIG. 1. Sideways with either Foot before and behind to the Prefence. FIG. 2. The fame with a Bound behind and before with either Foot. FIG. 3. Sideways with either Foot before and behind in a quarter Turn to each other. 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 CONTRETEMP. FIG. 1. Forwards with either Foot from the third Pofition. FIG. 2. The fame backwards with either Foot. FIG. 3. With either Foot advancing to the Sides of the Room in a quarter Turn. FIG. 4. The fame with either Foot to the Bottom in a half Turn. FIG. 5. Sideways croffing before with either Foot to the Prefence. FIG. 6. The fame with either Foot in a quarter Turn facing the Sides. FIG. 7. The fame in a half Turn with either Foot to the Bottom. FIG. 8. With either Foot ftepping fideways and a Draw behind. FIG. 9. The fame in a quarter Turn to the Sides. FIG. 10. Sideways croffing before with either Foot from the fourth Pofition. FIG. 11. The fame with a Bound. FIG. 12. From the fourth Pofition advancing 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 CHASSEE or DRIVING STEP. FIG. 1. Of three with either Foot from the fourth Pofition to the Prefence. FIG. 2. The fame fideways. FIG. 3. Of four to the Prefence with either 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 laft Step of the four. TABLE XIV. The BEATEN COUPEE, or HOP and DRIVING STEP of two Movements. FIG. 1. The Beaten Coupee forwards with either Foot. FIG. 2. Driving Step of two Springs backwards with either Foot. FIG. 3. Beaten Hop forwards with either Foot. FIG. 4. Driving Step of two Springs with either Foot fideways. FIG. 5. The fame of three Springs. FIG. 6. The fame of two Springs and a Clofe or Join. FIG. 7. The fame of one Spring and a Clofe. TABLE XV. The CHASSEE or DRIVING STEP of three Springs upon the fame Place. FIG. 1. Of three Springs to the Prefence with either Foot. FIG. 2. The fame to the Sides of the Room. FIG. 3. The fame of two Springs to the Prefence. TABLE XVI. FIG. 1. The FLYING CHASSEE or DRIVING STEP retiring backwards, CLOSE and COUPEE to a Meafure with either Foot, and HALF COUPEE. TABLE XVII. FIG. 1. The HOP of two Movements with either Foot from the fifth Pofition upon the fame Place. TABLE XVIII. FIG. 1. The PASSACAILLE STEP with either Foot to the Prefence. TABLE XIX. FIG. 1. The HOP and two CHASSEES or DRIVES round upon the fame Place with either Foot. TABLE XX. FIG. 1. The FALL and SPRING with both Feet at the fame Time, &c. with either Foot. TABLE XXI. FIG. 1. The CLOSE beating before and falling behind, upright SPRING, and COUPEE &c. with either Foot. TABLE XXII. FIG. 1. The fame beating before and falling behind in a whole Turn, &c. with either Foot. TABLE XXIII. FIG. 1. The BALONNE with either Foot. TABLE XXIV. The TURN upon a whole Pofition, a quarter, half, three quarter, &c. 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 fame with either Foot and a whole Turn. TABLE XXV. The PIROUETTE croffing behind. FIG. 1. 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 either Foot to the Sides. FIG. 4. The fame with either Foot quite round. The PIROUETTE croffing before. 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 either 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 Foot. TABLE XXVII. The BOUREE before and behind, and behind and before, advancing in a whole Turn. FIG. 1. Before and behind with either Foot in a half Turn. FIG. 2. Behind and before with either Foot in a half Turn more to the Prefence. TABLE XXVIII. The fame before and behind, and the COUPEE introducing a HOP or CHASSEE. 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 before and behind in a half Turn with either Foot. FIG. 4. The Half Coupee opening the difengaged Foot in the Air fetting down inclos'd 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 BOOK II. TABLE II. FIG. 1. The MINUET STEP of two Movements or ONE and a FLEURET. FIG. 2. The fame open off fideways to the right Hand. FIG. 3. The fame croffing behind to the left fideways. FIG. 4. The fame of three Movements croffing behind to the left. FIG. 5. The fame of three Movements before 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, the firft, Fig. 1. the fecond, Fig. 2. forwards. FIG. 4. The Double Bouree forwards the firft Fig. 1. and the fecond Fig. 2. FIG. 5. The Balance, the firft Fig. 1. and the fecond Fig. 2. FIG. 6. The two Marches, the firft Fig. 1. and the fecond Fig. 2. FIG. 7. The Slip behind and Step forwards to either Hand. The Slip behind to the right, Fig. 1. 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 exact Order treated on in BOOK II. THE ART of DANCING EXPLAIN'D. BOOK THE FIRST. CHAP. I. Of STANDING. BEfore I proceed to treat on Motion, I apprehend it to be neceffary to confider that Grace and Air fo highly requifite in our Pofition, when we ftand in Company; for, having formed a true Notion of this, there remains nothing farther to be obferved, when we enter upon the Stage of Life, either in Walking or Dancing, than to preferve the fame. And, for the better underftanding of this important Point, let us imagine ourfelves, as fo many living Pictures drawn by the moft excellent Mafters, exquifitely defigned to afford the utmoft Pleafure to the Beholders: And, indeed, we ought to fet our Bodies in fuch a Difpofition, when we ftand in Converfation, that, were our Actions or Poftures delineated, they might bear the ftricteft Examination of the moft critical Judges. Let us, therefore, to draw nearer to the Subject in hand, inquire into the Nature of thofe Pofitions that muft be obferved, in order to attain this fine and becoming Prefence: And that our Readers may be furnifhed with proper Directions to arrive at the fame, tho' perhaps, our Rules may not be fo perfect as could have been wifhed, we flatter ourfelves they will be of no fmall Ufe and Advantage; wherefore, without farther Apology, I fhall enter upon the Defcription of Pofition in general. Pofition, then, is the different Placing or Setting our Feet on the Floor, whether in Converfation or Dancing; and thofe for Converfation, or when we ftand in Company, are when the Weight refts as much on one Foot as the other, the Feet being confiderably feparated or open, the Knees ftreight, 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 improper, in the Prefence of Superiors, among Familiars, it is a bold and graceful Attitude, called the Second Pofition+: 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 fupported, the Hands being put between the Folds or Flaps of the Coat, or Waifte-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||: Or, if the inclofed Foot be moved open from the other, fideways, to the Right or Left, about the Diftance of half a Foot, or as far as, in fetting it down to the Floor, the Weight of the Body refting on the contrary Foot is not difordered by it, with the Toes handfomely turning out, the Hat under one Arm, and the + See Plate III. || See the Feet in Plate IV. other in fome agreeable Action, the Head alfo turning a little from the Foot on which the Poife refts, this we ftile the Fourth Pofition open, and it may be very juftly efteemed a moft 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 confiderably feparated or open(b). Thirdly, when the Poife refts upon one Foot, the other being inclofed or placed before the Ancle of that Foot by which the Weight is fupported(c). Fourthly, when the inclofed 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 croffed 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 leaft, interrupt the other (e). Having briefly defcribed the moft agreeable Poftures of Standing in Converfation, and laid down the Rudiments of the whole Art of Dancing, I fhall now proceed to treat on Motion, the Refult of Pofition, and firft begin with Walking. CHAP. II. Of WALKING. WALKING confifts of Motion and a Change of Place, by transferring the Weight or Poife of the Body from one Foot to the other, by ftepping or advancing the difengaged Foot (whichfoever it be) from the firft Pofition+ to the fourth advanced||, and fo alternately, concluding as at firft+, but always on the contrary Foot. In order to walk gracefully, it is to be obferved, that, during the Step or Motion made by the difengaged Foot, as above||, the * See Plate VIII. (a) See Plate II. (b) See Plate III. (c) See Plate IV. (d) See Plate IX. (e) See Plate XI. + See Plate I. || See Plate IX. whole Weight of the Body muft reft on the fame Foot as at commencing it+, 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 +; 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 attending the Motion of the ftepping Foot, as above defcribed||, it fhould either go before or along with it, the Grace that ought to accompany our Steps, in Walking, is loft, becaufe the Foot muft conftantly go before the Body||, to receive it, otherwife it will always reprefent the Body in a falling Pofture. And it is farther to be noted, that, in Walking with a good Grace, Time and Harmony muft be obferved, as well as in Dancing: 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 Two is in the coming up of the difengaged Foot, after the Step has been made+, which may be continued fafter or flower, 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 ftanding, 'till two Thirds of the Three we count, muft neceffarily add great Beauty to our Walking, which is the Cafe under Confideration; for the Step is made upon One||, the Preparation or Taking up the Foot, to make the Step, Three+, and Two is in the coming up of the releafed Foot, to continue our Walking. And, as to the Motion of the Arms in Walking, they will naturally have their due Courfe or Swing, in a continual Contraft or Oppofition to the Feet; for, when the right Foot fteps + See Plate I. || See Plate IX. forwards(f), the left Arm advances, in Contradiction, as the right Arm does, when the left Foot fteps forwards (g), and fo alternately; and the like in Walking backwards, in Relation to the Contraft, but not with Refpect to the Arms, becaufe, in Walking backwards, the Contradiction is between the fame Arm and Foot; for, when the right Foot fteps back (h), the right Arm advances in Oppofition, as, when the left Foot fteps backwards(i), the left Arm advances, as aforefaid, and fo on, if continued. Having, I hope, offered what will prove fatisfactory, on this Head, I fhall next inquire into the different Sorts of Bows and Courtefies in Converfation. CHAP. III. Of BOWING, or the different Sorts of HONOURS. BOWS or Courtefies are the outward Marks of Refpect 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 Standing 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 paffing either on the Right or Left. Thefe are the two different Claffes or Sorts of Bows and Courtefies, 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 firft of the faid Orders, I fhall (f) See the fecond Figure or Woman's Side in Plate IX. (g) See the firft Figure in Plate IX. (h) See the firft Figure in Plate IX. (i) See alfo the fecond Figure in Plate IX. obferve, that Taking Leave in Converfation confifts in ftepping afide, bowing, and leaving the difengaged Foot pointed, fideways, in one intire Motion to the firft Divifion of the Bow or counting of One+, during which it remains the Refpect or counting of Two+; and, in the graceful Raifing of the Body upon Three, it is drawn pointed, with the Knees ftreight 'till it croffes behind the Foot on which the Poife refts, and ftands erect on the Foot that it croffes behind||, to be repeated as often as Occafion requires; and it is to be noted, that the Refpect, 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 ftanding, the very fame 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 Refpect, if neceffary(l), becaufe, in this Bow of Repetition, it always fteps firft to one Hand+, and then to the other+, 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 refting in the fame Place; and it is a very genteel and becoming Bow, if the Stepping afide, Bow, and Point of the difangaged Foot, be made, at once+, and a Paufe or Counting of Two is obferved between the Stepping afide and Bowing+, 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 Refpect the former + See the 2d and 4th Plates in the 2d Book. || See the 3d Plate in Book the 2d. $ See the 2d Plate in Book the 2d. (k) See Plate 4 in Book the 2d. (l) See the Feet in Plate 5. (m) See Plate 3, Book the 2d. * See the Feet in Plate 5. fhews to any is by bending the Body, but the Courtefy or Refpect, which a Lady pays to thofe of either Sex, is by a graceful Bending of the Knees+, accompanied with a becoming and fuitable Difpofition of the different Parts of the Body: As, having the Hands before them, in fome agreeable Pofture fupporting, as it were, the flanting or falling Shoulders, which, at the fame Time, lengthen and more gracefully expofe a fine Neck, as well as a beautiful Face compofed of fo many delicate and charming Features, with which they are ufually adorned by the Bounty of Nature; and, tho' it may be, in fome Meafure, prefumptuous 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 Afpect, with a Chin neither poked out nor curbed in, but the whole Countenance erect and graceful, will add a Luftre 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 handfome 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+, or Walking, 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 fteps afide and makes her Honour, in the Manner we have fhewn a Gentleman leaves a Room, after ftepping afide$, by drawing the difengaged or pointed Foot+ into the firft Pofition, equal to the Foot, which ftepped afide||, inftead of drawing it croffing behind, as aforefaid(n); or that Courtefying, without ftepping afide at all||, as fome do, is only to let the Weight or graceful Fafhion of the Body, as juft defcribed, fall, or rather feat itfelf, as on a + See Plates 2d and 4th in Book the 2d. $ See Plate the 2d in Book the 2d. || See Plate the 2d. (n) See the 4th and 11th Plates. Chair or Stool, without Diforder, upon that Foot which is drawn or croffed behind(n), as in leaving Company, or on both Legs equally alike||, if the pointed Foot be drawn into the firft Pofition||; 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+ or that which is croffed behind(n), after touching the Heel of the Foot on which the Poife refts*, in like Manner as when the Gentleman takes Leave+, and retires back, as it were a Seat for the Weight to reft upon(n), whilft the Courtefy or Lady's Refpect is paid, upon the Beginning or firft Divifion; whereas, in a Bow for the Man, it does not receive the Weight, 'till the third Divifion+, refting the Counting of Two for the Refpect, as we have obferved, in the contrary Sex; and, upon counting of Three or compleating the Courtefy, it rifes in the fame flow, graceful, and deliberate Manner, 'till it ftands upright on the croffing behind Foot**, as at firft it feated itfelf thereon, in the Courtefy or Bending of the Knees+, compleating the Refpect or Courtefy, on a Lady's leaving a Room, in the difengaged or foremoft Foot's being at Liberty to renew the Refpect, as Occafion requires**. As to which Foot the Stepping afide begins with, in Relation to taking of Leave, it is altogether the fame, as was defcribed for the other Sex; but, as this Courtefy or Refpect has the like Effect, as I obferved, in treating of the Bow in Converfation with another; viz. Retiring from each other, it is to be evaded in rifing, 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 preferve the fame Ground. And the like may be faid, in Relation to concluding the Courtefy on the ftepping afide Foot, (n) See the 4th and 11th Plates. || See Plate the 2d. + See Plates the 2d and 4th in Book the 2d. * See the Feet in Plate 5. ** See Plate the 3d in Book the 2d. when the pointed Foot is drawn into the firft Pofition*; or the like, without ftepping at all, by fwaying or waving the principal Part of the Body, as Occafion offers, either upon the right(o) or left Foot(p), as will be moft 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 refts(q); and this, I think, concludes all that is neceffary to be faid, concerning the Reverence or Courtefy made by Perfons of either Sex, according to the firft Clafs, relating to Pofition or Standing, at leaving a Room, or in Converfation with others. I now proceed to the Second Sort of HONOURS, viz. thofe which are introduced by Motion, as in Walking, &c. and I fhall, firft, finifh 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 Refpect or Honour, they are to make a graceful Paufe or Stand upon the Foot that made the laft Step, which, as has been already faid, in Walking, is compleated upon counting of One; fo that the whole Perfon refts the counting of Two, in the coming up of the difengaged Foot into the firft Pofition, equal to the Foot which made the laft Step preparatory for the Courtefy(r); and Three is the Reft it makes, when thus joined in the graceful Difpofition of the whole Fafhion, or upon taking it up, if afterwards ftepping afide(s), and thus erect 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 * See Plate the 2d. (o) See the 2d Figure or Woman's Side in Plate 1. (p) See the 1ft Figure in Plate 1. || See the 2d and 4th Plates in the 2d Book. (q) See Plate 2d in the 2d Book. (r) See the 1ft and 2d Plates. (s) See Plate 1. Occafion requires; or the like, if the Courtefy be made in ftepping afide, as in taking Leave+, for there is no other Difference between the Honour or Refpect, on leaving Company and coming up to them, than that, as I have obferved, the former proceeds from Pofition or Standing||, and the latter is introduced by Motion or Walking$; but, having fhewn, what that Preparation is, there is no Occafion for any farther Enlargement. If a Lady makes an Honour Paffing, either on the Right or Left, or in meeting any One, in Converfation, Walking, or the like, at the End of the Step preceding the Complaifance or Refpect, fhe turns about half way towards the Perfon, upon Conclufion of the faid preparatory Step or Counting of One; and, upon Counting of Two, fhe lets the difengaged or coming up Foot touch the Heel of that Foot which ftepped, crofsways, before the faid coming up Foot++, which now attends the Poife, in order to make the Honour; and, upon Three, fhe fets it down, fomewhat obliquely or flanting off from the Perfon to whom the Refpect is paid, without Weight**, and thus becomes duly prepared to make the Courtefy*; I mean, when the Head is beautifully turned to the Right or Left, according to the Side on which the Refpect is made, in a graceful Contraft of the whole Fafhion; and, being fo difpofed, fhe 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 aforefaid, refts the Counting of Two*, or, as we have already faid, the Refpect in a fine Contraft; and, upon the third Divifion or compleating the Courtefy, it rifes gracefully from the Foot on which it refted, all the while, in this becoming Twift, paffing on, 'till it ftands erect 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 Refpect, which, being now at + See Plates 2d and 4th in Book the 2d. || See the 4th, 5th and 8th Plates. $ See Plate 1. ++ See the Feet in Plate 5. ** See the Feet in Plate 10. * See Plates 2d and 4th in Book the 2d. Liberty, is ready to repeat the fame, as often as Occafion requires$; and from hence it becomes a Kind of Walking Courtefy, changing the Poife from one Foot to the other. And it is to be noted, that it muft always be the Foot next the Perfon, which makes the laft Step in Walking, before the Refpect: 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 Courtefy, and directing the Eye, fideways, upon the Perfon to whom the Refpect is paid, inftead of 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 Complaifance may be repeated, once or more, after paffing a Perfon, it muft never be made, before we come parallel to the Perfon to whom we pay this Refpect; and if Occafion requires its being transferred to the other Side, which often falls out, as when Company are feated or ftanding, on both Sides of a Room or Gallery, &c. we continue walking on, till we arrive at the next Occafion of paying this Refpect, as when Company are fcattered, at fome Diftance, and then make the Paufe or Stand, at the End of the Step next the Perfon or Perfons, by turning, &c. as before; or if the Change or Transferring may be fooneft performed, as when Company are thick on both Sides, it muft be divided by two Steps made between the preceding Courtefies, the fecond Step preparing to pay the Refpect, as I have already fhewn, 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 Paffing 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 1. becaufe they are all to receive it, in their Turns. As what has been faid is all that I apprehend to be material, relating to the Ladies, I flatter myfelf, that they will not be wanting in putting thefe Rules into Practice, fince I have been at fo great Pains in compofing them for their Service. I fhall now proceed to the Conclufion of what I have to offer to the Gentlemen, on this Head, which is much to the like Effect with what was obferved to the Ladies; for, when a Gentlemen enters a Room, the graceful Stand or Reft he makes, as already defcribed, in the Courtefy for a Lady on this Occafion, muft be always made on the laft Step before Bowing, which may be on the left Foot; whilft the right, in coming up, as aforefaid, in its Attendance on the Poife, inftead of ending in the firft Pofition+, as in Walking, is placed confiderably more open, fideways, without Weight, the Heel being fomewhat raifed, the Ball or Inftep pointed or preffing lightly on the Floor, the Knee ftreight, and the whole Weight of the Body, in a Gentleman-like Manner, refting on the left Foot||, bows, as Occafion requires, by bending the Body and fcraping the open Foot, at the fame Time, in one intire Motion forwards; upon the Counting of One**, remains the refpect or Counting of Two, in this refpectful Pofture, with the Knee on which the Body refts bended, to prevent its being awry, which otherwife would be the Confequence, and the Arms naturally hanging under the Shoulders; and, upon Three, it rifes from this humble Pofture in one intire flow Motion, 'till it ftands erect on the right or fcraping Foot; and the left, at the fame Time, being releafed from the Weight of the Body, falls into the firft Pofition, as in Walking*, to repeat it, if it be neceffary. The Bow Paffing differs, in no Refpect, from that advancing or coming into a Room, except in the Situation of the Perfon: For Inftance, in entering a Room, the Perfon is before us, but only + See Plate 1. || See the Feet in the 2d 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 one Side, on the prefent Occafion. From hence it appears, that, after the Step preceding the Bow and Paufe, placing the contrary Foot or Preparative, is made+, the Refpect is paid in the very fame Method, as forwards, only that the Body is turned in a beautiful and agreeable Twift or Contraft, fideways, looking upon the Perfon to whom we pay the Refpect; if the Bow be made upon the Right, the antecedent Step is made with the left Foot, and the right, during the Paufe, is placed for the Scrape in Bowing+; as, if it be made on the contrary Side, the right Foot makes the preparatory Step, and the left will be placed, as aforefaid, to pay the Refpect*; and, if repeated, it will always begin and end with the fame Foot, 'till changed by adding a fecond Step, which transfers the Bow to the other Side, as Occafion offers. This Bow is alfo made, in walking with a Gentleman or Lady, upon fome obliging Expreffion in Converfation, once or oftener, as Neceffity requires, with the right Foot fcraping, if the Perfon be on the Right, but the contrary Foot, if the Perfon be on the Left. It muft alfo be noted, that the Step made, before placing the Foot for the Bow, is to be made with the contrary Foot to the Side the Perfon is on, to whom the Refpect 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 Refpect 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 Gentlemen, to take fome farther Notice of a Difficulty that may arife, in the Application of the Bow Paffing; I mean, the Changing or Tranferring it from one Side to the other, becaufe, in paffing 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 Refpect to thofe that firft fall in our Way, + See the Feet of the 2d Figure in Plate 6. * See the Feet of the 1ft Figure in Plate 6. 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 Refpect 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. James's Park, or other publick Places, where you may walk, perhaps, a confiderable Way, before you find an Occafion for paying this Refpect, you are to note, that thefe Bows, as we faid, in Relation to the Ladies Courtefies, 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 Refpect, in paffing; 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 fingular Ufe, in paying Refpect to the Company in general, as the former is to the Perfon we falute in particular, by a Caft of our Eye round the Company, omitting none, for an Omiffion may, many Times, be efteemed an Affront and ill Manners. It will be likewife expedient to obferve, that fome Ladies make the Paffing Honour the very fame, as that I have defcribed for the Gentlemen; the only Difference is, that, after placing the Foot+, inftead of bowing, in the Scrape of the Foot||, they courtefy to the Right** or Left++, as Occafion requires, in the graceful Contraft defcribed for the other Sex's Bowing, concluding on the fcraping Foot||; which, if on the Right, will be the right Foot$$, and left at Liberty to ftep and place the preparatory Foot; as, on the contrary Side, it will conclude on the left Foot=, and the right will $ See the Feet of the 1ft Figure in Plate 6. * See the Feet of the 2d Figure in Plate 6. + See Plate 6. || See the Feet in Plate 9. ** See the Feet of the 2d Figure in Plate 6. ++ See the Feet of the 1ft Figure in the fame Plate. $$ See the 2d Figure in Plate 9, and 2d of Plate 1. = See the 1ft Figure in Plate 9, and 1ft of Plate 1. then be in Readinefs to make the Step, and place the Foot, in order to its being repeated, according to the various Occafions before mentioned. Some alfo ufe this Method of Courtefying, when they enter a Room, or meet, a Perfon, which is, in all Refpects, agreeable to the Gentleman's Bow, as above defcribed, except in the Scrape or Sliding of the prepared Foot forwards+, viz. to bend both Knees, at the fame Time, and to let the Poife fall gracefully upon the hind Foot, during the firft and fecond Divifions; and afterwards the Body rifes beautifully, as aforefaid, 'till it ftands on the advanced Foot+, by transferring the Weight from the hind Foot, which, being releafed, is ready to walk(t), and place the contrary Foot, in order to repeat it, in like Manner, if neceffary: Or, if the Courtefy ufed, at leaving a Room, be added*, it will then, in all Refpects, be anfwerable to the Gentleman's Bow, at coming into a Room. But in Fine, let the Bow or Courtefy, notwithftanding all the various Methods, and the feveral Occafions, here defcribed, be made in which of thofe Forms we pleafe, they cannot fail of being performed to Advantage, but muft neceffarily produce a good Effect, provided they be made in the Manner already fhewn, upon Counting of One*, the Paufe or Reft Two*, and the Rifing upon Three(u). Having, therefore, in this Difcourfe upon Honours in general, endeavoured to take Notice of every Particular, that might prove ufeful or inftructive, fo as to omit nothing material, I flatter myfelf, that, if it be not, in all Refpects, accomplifhed, according to my Intentions, the Difficulty of the Subject will plead my Excufe; and, as I have, in the preceding Chapters, regularly gone through what I apprehended neceffary, upon Standing, Walking, and Honours in general, under the laft of which Heads, as the Reader will eafily perceive, it was fcarce poffible to avoid fome Repetitions, in my treating diftinctly on Bows and Courtefies, I fhall now proceed to the various Steps of Dancing. + See the Feet in Plate 9. (t) See Plate 1. * See Plates the 2d and 4th in Book the 2d. (u) See Plate 3d in Book the 2d. CHAP. IV. Of the DANCING-ROOM. BEFORE I enter upon the various Steps of Dancing, it will be neceffary to defcribe the Room in which the Dancing or Steps are to be performed; which indeed feems to claim our more immediate Notice, fince it will greatly affift us, in forming clear and diftinct 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 fomewhat 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 juft and true Idea of the Room, in its different Situations; becaufe, if this be wanting, altho' they may perform very handfomely, at their own Houfes, or in School with a Mafter, yet, in Affemblies or Rooms Abroad, they are as much difordered and at a Stand, as if in an Uninhabited Ifland. I therefore conclude, that the Crime, if it fhould by any be efteemed fuch, of dwelling fomewhat 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 earneft 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, fhall receive Improvement. Encouraged by fuch a pleafing Profpect, I proceed to inform the Gentlemen and Ladies, that, when they are about to dance in a Room of the firft Sort, viz. a direct Square(a), the dance 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 Prefence or Upper 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 call'd the right Side(d), and the other the left(e); from whence it is to be underftood, that the Back is to the Lower End of the Room, and the Face to the Upper, fo that, if, inftead of Beginning, as aforefaid, you was to commence, either upon the right or left Sides, they would not be then Sides, as before, but the Upper and Lower Ends of the Room; that is to fay, if upon the right Side(f) the left would be the Prefence or Upper End(g), and if upon the left(h) the right(i), and confequently the Parts or Sides, which at firft were the Lower(k) and Upper Ends(l), now are the Sides; but all this is fubfervient to, and depends upon the Company, who muft always be feated at the Prefence or Upper End. As to the longifh or fecond Sort of Rooms, they differ from the Square, 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 likewife 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 1, in the 1ft Plate diftinguifh'd by the Letter A. (b) See the Letters A B in the faid Square. (c) See the Letters C D. (d) See the Letters E F. (e) See the Letters G H. (f) See the Letters A B in the Square mark'd 2. (g) See the Letters C D in the faid 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. (l) See the Letters C D in the fame Square. (m) See the Letters E F G H in the Rooms marked 4, 5, 6. (n) See the Letters A B in the Rooms marked 4, 5, 6. the Dance commonly begins, at the End next the Door(o). However that be, the Dancers muft have a particular Regard to the Prefence and Bottom of the Room, where they begun, otherwife it is no Wonder that thofe, who are of a timorous and bafhful Nature, with the Fears of being out together with the various Turnings and Windings of fome Dances, fhould be perplex'd and nonplufs'd; and this I have perceived to be the Cafe, when I have feen a Minuet begun at the Bottom of the Room, and ended at the Upper End; which could not poffibly have happened, had they obferved the preceding Rules. I fhall, for the more fully Clearing of this Point, add an Obfervation 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 Practife of the Steps contain'd 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 fingle Page to the longifh or fecond; but you are to take fpecial Notice, as to the Part or End of the Room intended for the Prefence, that the Title or Page of the Book be fo placed or laid upon the Table or Ground, as that, when you ftand at the Bottom facing the Upper Part of the Room, to perform the forefaid Steps or Dances, you can read the faid Book: Or, fuppofing the whole Floor to be the fame Book, and to contain the Matter written in the Page or half Page, the Book lying fix'd 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 poffibly make the leaft Miftake; 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'd; fo that from what has been faid upon (o) See the following Mark + in the Rooms aforefaid. 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 Prefence 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 placing 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 Reverfe 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, fuppofing the Dance for one Perfon alone in the fquare Room or two Pages of the Book, as juft mentioned, the Dancer places him or herfelf in the Center, or upon the Joining of the two Pages, which, when open, is directly in the Middle (q); or, to practife any Step of this Book, the Cafe is the fame; but, if the Dance be of two, the Lady takes the right Side of the faid Center or Line(r), and the Gentleman the left(s), fo that the joining or prefenting of Hands, if neceffary, would fall upon the Line or Center upon which the fingle Dancer begun(q); in which it is to be noted, as on other Occafions, 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 arife, in Dancing, on Account 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 Honour of being a Profeffor; but, having prepared and made them thoroughly acquainted with the Room, in which the Steps (p) See the 7th Example of the Book in the Plate of the Room. (q) See the Letter S in the faid 7th Example. (r) See the Letter W in the Example aforefaid. (s) See the Letter M in the before mentioned Example. of Dancing are to be perform'd, I fhall invite them into the fame; but, before I defcribe the various Steps of Dancing, I fhall, in a few Words, endeavour to prepare their Minds to form a clearer and more diftinct Idea of the following Defcriptions. As the Human Structure is compofed of different Parts, viz. Head, Neck, Body, Arms, Legs, Feet, &c. fo likewife is Dancing of Pofitions, Steps, Sinking, Rifing, Springing, Capering, Falling, Sliding, Turning, Figures, Cadence or Time, &c. And as the Head confifts of Eyes, Ears, Nofe, Mouth, &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 faid Arms, as the Legs, which fupport them both, are compofed of the Hips, Knees, Ancles, Feet, Toes, and Joints+ of the faid Toes, on the firft of which the Rifing upon the Inftep is always made; and as all thefe different Parts have their peculiar Excellencies, to adorn the Whole, fo 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 Twifts or Turns the Head makes, in Oppofition to the other Parts of the Body, whilft the Mouth, at the fame Time, adds thofe becoming Smiles, which, together with the Brightnefs and Luftre of the Eyes, compleat a moft agreeable and pleafing Countenance. The Neck too, in its graceful Compliance with the Turn of the Head; the Shoulders, in their natural Rifing, Falling, or Hanging down(v); the Elbows, in their eafy Bendings, 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 refpective Oppofing the Head, in Conjunction + See the Figure in Plate III. (v) See the different Parts, as above defcribed, in the Ladies Figures contained in the 2d Book. (w) See the Figures in Plate 10. (x) See the Parts above mentioned in the Arms and Fingers contained in Plate 13. 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 Bendings and Rifings of the Knees or Infteps+, the Pofitions or handfome Turn of the Feet compleating the Beauty of the Legs, on the neat Management of which the Perfection of Dancing fo 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 Attitudes or Poftures**. Having, by the foregoing Simile or Comparifon, given an Account of the outward Form of the Human Structure, fo far as it relates to, or correfponds with Dancing, or may, in any Refpect, 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 Explanation of the faid Parts, fhewing how they agree in forming the moft pleafing Object, to grace the ART of DANCING++, before I proceed to treat on its various Steps, I fhall, by the way, obferve, that the forefaid Particulars, from whence the whole BODY or ART of DANCING is produced, namely, Pofition, Sinking, Stepping, Rifing, Springing, &c. are of the very fame Ufe, in Dancing, as the Alphabet, in the Compofition of Words; for as Words vary and are produced, according to the different placing of the Letters; and different Subjects, Languages, &c. according to the different Compofition of Words; or, as in Mufic, by the different placing of the Notes, that compofe the Gamut upon the Scale or Spaces between the Lines, are produced (y) See the Turn of the Head, Body, and Arms, of the Figures in Plate 6, or in the 4th, 5th, 7th, 9th, 11th, 12th, and 14th Plates. (z) See the Figures contained in the 3d, 6th, and 8th Plates. + See the Figures in the 3d and 10th Plates. * See the Feet of the Figures in general. ** See the Figures in the 4th, 6th, 9th, 11th, 12th, and 14th Plates. ++ See the Figures in Plate 13, &c. different Sounds, which, as they afcend or defcend, compofe various Bars or Meafures, that may be compared to Words, and the various Bars and Meafures compofe the various Pieces of Mufic, in different Keys and Movements; fo the different Steps of Dancing are produced, according to the various Placings of the Sinks, Rifings, Bounds, &c. upon the Step, whether confifting of one, two, three or more Steps to the Meafure, and the different Steps produce Variety of Dances, according to the Compofer's Fancy, upon all Sorts of Movements in Mufic, whether grave or brisk. We are, next, to fhew, how thefe Actions or Motions of the Body, which, as we faid above, compofe the whole ART of DANCING, correfpond with the Pofitions and various Motions and Steppings of the Feet, in compofing 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 faid Steps, beginning with the HALF COUPEE, the Movement that firft occurs in Dancing. CHAP. V. Of the COUPEE of one Step, or HALF COUPEE. IT is, firft of all, to be obferved, that the Half Coupee, tho' a very agreeable Step in Dancing, as well as one of the moft difficult to be performed well, by Reafon of its Plainnefs, is originally nothing more than a fingle Step, made with either Foot, from one Place to another with the additional Ornament of a Movement or Bending or Rifing of the Knees in Time to Mufic; and it is moft amiable, when executed in that gentle and graceful Manner it ought to be, whether upon the Toe or Heel. The Half Coupee may be perform'd various Ways, as by Sinking, Rifing, and Stepping forwards; and the like backwards, fideways, to either Hand, or in turning a quarter or half Turn(a), &c. It ufually takes up a Time or Meafure of the Tune, and, being continued, transfers the Weight, as in Walking, from one Foot to the other; and, in Diftinction from the reft, the Dancing-Mafters have named it a Half Coupee, tho' I think it may rather be called a Coupee of one Step, as the Title above fpecifies: But, as I fhall have Occafion to give a farther Account of this Step, when, in treating of the Bouree or Fleuret, I carry on a Comparifon between the Step and the Half Coupee, I fhall, in the mean Time, proceed to the Coupee, the Movement that next occurs in Dancing. (a) See the Explanation and Table of this Step in the Plate mark'd E. CHAP. VI. Of the COUPEE. THE COUPEE, on the other Hand, is a compound Step; that is to fay, it is formed of two Steps joined together, which, however, are to be accounted but as a fingle Step: The firft Movement of which begins in a Sink and Rife. If the Tune, to which it is perform'd, be of triple Time (as a Saraband, for Inftance, 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 are counted in the remaining Step. The Weight of the Body muft always reft on the contrary Foot to that, on which you begin; fo that, if you begin your Coupee with the right Foot, the Poife muft be on the left +, and continue fo to be, 'till you have compleated the firft Step of the two, which, as I faid, compofe the Coupee. The firft Part being finifhed, 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, flides 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 Inftant when the left Foot a fecond time receives the Weight ++. This Step, like the Half Coupee, admits of being varioufly + See the 1ft Figure or Man's Side of Plate I. * See the fecond Figure or Woman's Side in Plate 9. || See the 2d Figure or Woman's Side of Plate I. ** See the 1ft Figure or Man's Side in Plate 9. ++ See the 1ft Figure of Plate 1. performed as forwards, backwards, fideways, and circularly (b). It differs, indeed, from the Half Coupee, in the Continuance of performing it; for whereas the Half Coupee, as in Walking, transfers the Weight, every Time, from one Foot to the other, the Coupee does the very Reverfe, 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 on the left (c); and fo mutually, as often as ever it is repeated, and until it is changed by fome other Step. It is called a Coupee, from its containing two Steps inftead of one, which is all that the Half Coupee employs. CHAP. VII. Of the COUPEE with two Movements. THE Coupee with two Movements is compofed, as the Coupee I have already explain'd, of two Steps; but it differs in this, that whereas the Coupee treated of before confifts only of one Movement, that is to fay, of one Sink and Rife, which is what we call Movement, 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 (b) See the Explanation and Table of the Coupee in the Plate mark'd with the Letter E. (c) See the Table and Explanation, as aforefaid, of the Plate of Tables mark'd E. the Leg makes, in ftepping, as in the preceding; and fuppofing the Step is to a Louvre, or fuch like flow Air, it is performed in the Manner following, viz. to make the firft Step which is to fink, before the Foot moves+, 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 Step+, 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 Movement; and the Rife from it takes up the third Note of the fame Meafure, and compleats the Step; fo that the firft Movement and Step are made to the firft Note of the three, and the fecond to the remaining two, and may be performed the different Ways aforefaid, as forwards, backwards, fideways before, or fideways behind, &c.(d) and, as to its Continuance in Dancing, it is the fame as the Coupee of one Movement, that is, always beginning with the fame Foot, whether right or left: It is 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. + See Plate 1. || See Plate 9. (d) See the Explanation and Table of this Step in be Plate mark'd E. CHAP. VIII. Of the BOUREE-STEP or FLEURET. THE Bouree is compofed of three plain ftreight Steps or Walks, except the firft, which begins in a Movement, and is to be performed in the fame Method, as the Half Coupee, or Coupee with two Movements, that is to fay, muft 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 Chaffees, &c. wherefore, for the Future, I need not fay any more of the Method of beginning 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, confifts only of three plain ftreight 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 laft Note of the Meafure, concluding together. You are alfo to note, that tho' in the Bouree there are three diftinct Walks or Steps, yet neverthelefs, thefe three Steps are to be efteem'd but as one Step, in Regard of its being a compofed Step; as will appear by the Half Coupee, which, tho' no more than a fingle 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 the Knees, rifing in a flow and gentle Motion from thence; which Rifing, as I have faid, is upon the firft Note of the Meafure, the Weight of the Body being fupported by the Foot that made the Step, during the Counting of the fecond and third Notes of the Bar. The graceful Pofture of the Dancer's 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 Half Coupee, tho' a fingle 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 perform'd various Ways, as forwards, backwards, fideways, croffing before, the fame behind, before and behind, behind and before, &c (e), the Explanation of which, I think, may not be improper, in this Place; and therefore I fhall proceed to fhew 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 faying any thing farther of them here, I fhall begin with the Bouree-Step croffing before, fideways; which is to be perform'd, as follows, either with the right or left Foot: For Inftance, provided you begin with the Latter, the Weight muft 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, croffing before the Foot on which the Body refts +, the Face being to the Upper Part of the Room, and it receives the Weight ||. The fecond is the right Foot, which fteps the fame Way*; and the third and laft, which is with the left, croffes before, as at firft +, only without a Movement ||. The Bouree croffing behind, fideways, differs from the Former in this, that whereas that was before, this is behind; that is to fay, the Weight being, as aforefaid (f), (e) See the Explanation and Table of the Bouree in the Plate mark'd E. (f) See the 2d Figure or Woman's Side of Plate I. + See the firft Figure in Plate 4, and the 2d Figure or Woman's Side of Plate XI. || See the firft Figure or Man's Side of Plate 5. * See the 2d Figure in Plate 6. the left Foot, inftead of making the Movement and firft Step croffing before the right, it now is made croffing behind it; and the next Step, which is with the right Foot, moves the fame Way, after which the third and laft 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 croffing before the Foot on which the Weight is, whether right or left, the fecond Step moving fideways, 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'd before but behind, the fecond ftepping fideways, and the third drawn croffing before. The Bouree, which I call twice behind, is made as follows: Suppofe, for Example, you make a Movement, ftepping backwards with the right Foot (g), into the third Pofition inclos'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 inclos'd in the third Pofition behind the right (i), which then performs the third Step of the Bouree, in a plain Step forwards+. 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 fhall only obferve, that this Step, continued feveral Meafures, changes the Foot, every Step, as has been taken Notice of in the Half Coupee; but with this Difference, that whereas the Half Coupee changes the Weight, every fingle Step, as in Walking, the Bouree or Fleuret only changes it, at the End of every third Step. (g) See the 1ft Figure of the 1ft Plate. (h) See the 1ft Figure of the 4th Plate. (i) See the 2d Figure of the 4th Plate. + See the 2d Figure in Plate 9. CHAP. IX. Of the BOUREE with two Movements. THE Bouree with two Movements confifts of the fame Number of Steps, as the former; but as that was of one Movement, this is of two; which fecond Movement is added to the laft of the three Steps of which the Bouree is compos'd. This Step, in Effect, contains in itfelf two diftinct Steps, namely, the Whole and Half Coupee; only it is not the fame, in the Manner of its Performance; 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 muft be accounted only as one Step: For Example, to a Tune of three Notes in a Bar, admiting it begins with the right Foot (k), it is to be likewife granted, that the Weight muft be on the left(k), which fupports the Body, 'till the firft Step and Movement are made*; the Rife of which Step is to the firft of the three Notes belonging to the Meafure, on which the Weight refts, until the fecond Step is performed, that anfwers the fame Note+ and ends the Coupee; whereas the fecond Step of the Coupee to a Meafure takes up the fecond and third Notes, and confequently is as flow 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 the Half Coupee, and is the third and laft Step on which the fecond Movement falls*, from whence this Step derives its Name. (k) See the 1ft Figure of Plate the firft. * See the 2d Figure in Plate 9. + See the 1ft Figure in Plate 9. From what has been obferved we may fee, in what this Step differs from the two faid Steps before defcribed. In the Continuance of this Step the Weight changes (l), as in the Bouree with one Movement, and may be perform'd forwards, backwards, fideways, circularly, &c. Note, this Step may be done with a Bound, that is to fay, on the laft Step upon which the fecond Movement is made, with a Spring from the Ground, which is what we call a Bound; and of this I fhall take Occafion to fay fomething in its proper Place, and give it the Name of Bouree with a Bound, as not being made on the Floor, as the Bouree with two Movements. CHAP. X. 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 Movements, 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 beginning Foot muft touch the Heel of the Foot that fupports the Weight (m); from which Pofition this Step always begins and is performed by making a Sink and Rife; but inftead of ftepping forwards, as in the Half Coupee, you rife and point the right or left Toe, fideways, according to the Foot you commence with, about (l) See the 2d. Figure in Plate I. (m) See the 1ft and 2d Figures in Plate V. 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 +, preffing the Floor, as it paffes along, about the Length of a Step in Walking + which Preffing 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; the March or fliding 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 moft agreeable Steps in Dancing; and it may be performed either forwards, backwards, or fideways, &c. and in Performance, when continued, it transfers the Weight from one Foot to another, as in the Half Coupee. CHAP. XI. Of the POINT and MARCH. THE Point and March is fo 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, inftead of the fecond and third Notes being taken up in the marching or fliding of the Foot forwards or backwards + &c. they are counted, during the Time you ftand or reft, in the graceful Manner before obferved in the Half Coupee; only with this Difference, that the difengaged Foot, inftead of being in the firft Pofition, as in that, is upon the Point here, as may be feen by the Beginning or firft Movement of the forefaid March ||. The Point is made with either (n) See the firft and fecond Figures in Plate VI. + See Plate IX. || See Plate VI. * See Plate V. Foot, as has been obferved in the March (o), which Point is performed with a foft eafy rifing from the foregoing Sink+, 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 refting upon the fame Foot as at commencing; after which follows the March ||; as it has been before defcribed, and the Point (o) and March ||, generally fill up two Meafures of the 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 || 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 the fame Place, on which the firft Point was made, marks the fecond Note(o), and the third is counted in the March or Progrefs of the Foot, either forwards or backwards from thence ||; which are two Methods, in which this Step is ufually perform'd. But when this Step is perform'd to two Meafures of the Tune, the 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 ||, 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 Inftep (o), you paufe or reft, until the Meafure is expired*. (o) See the Figures in Plate VI. + See Plate V. || See Plate IX. * See the Explanation and Table of this Step in the Plate marked E. CHAP. XII. Of the SPRING or BOUND. THE Spring or Bound is produced from a plain and fingle Step, as the Half Coupee, or March, but it very much differs from them in Performance; for, as they are both made on the Ground, the Bound fprings off from thence. For Example, fuppofe you was about to perform a March, then, inftead of finking and rifing on the Floor, you are to fink, and, in the Spring or Rife from the faid 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 +. One Bound alone rarely, if ever, anfwers to a Meafure; but, in Tunes of common Time, or of four in a Meafure, as in Rigadoons, Marches, &c. two Bounds anfwer a Time; and, in Sarabands or flow Tunes of triple Time, three of them may be done in one Bar. This Step may be performed various Ways, as forwards, backwards, fideways before, or fideways behind, as alfo in turning either 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. + See the fecond and firft Figures of the forefaid Plate. (q) See the Explanation and Table of this Step in the Plate marked E. 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 Rife jump or clofe both Feet equal one to the other, in the firft Pofition (r), or the Feet are inclofed either before or behind, in the third Pofition +; and this Step generally concludes in the faid 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 farther 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, fo 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 enfuing, 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 both 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) See the Figures in the firft and fecond Plates. + See the Figures of Plate IV. (s) See the Figures of Plate V. || See Plate VI. (t) See Plate the fecond. without quitting the Ground with your Inftep or Toe, and from hence it is call'd a Clofe on the Ground. To clofe in the third Pofition is perform'd 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 is the very fame, only, inftead of beginning from behind the Foot on which the Weight is, it commences from before the fame, or fourth Pofition open in the Air +; fo that what we have defcrib'd forwards is to be accomplifhed backwards in the fame Method: For Example to clofe backwards in the firft Pofition||, or inclofe backwards into the 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 mentioned Pofitions, whether forwards or backwards, and it is called a Clofe or Jump. You are alfo to obferve, that this Step never advances either forwards, backwards, or fideways, as is ufual 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 ftand, the Weight always comes down in the fame Place: For Inftance, 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, the right Foot is brought equal to that on which the Weight is, the very Inftant the Clofe or Jump is made (w); and, if the Fall or coming down be inclofed in the third Pofition before the Foot (x), inftead of joining even to the Foot on which the Weight is (w), the Heel of the right (u) See the Figures in Plate IV. + See the Figures of Plates the IVth, IXth, XIth, XIVth, or XVth. || See the Figures in the firft and fecond Plates. (v) See the firft Figure or Man's Side of Plate V. (w) See the firft Figure or left Side of Plate I. (x) See the fecond Figure or Woman's Side of Plate IV. 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 fhuts up a Sentence, the Clofe in Dancing does the very fame in Mufic, fince nothing is more frequent than, at the End of a Strain in the Tune, to find the Strain or Couplet of the Dance to conclude in this Step, as alfo at other remarkable Places of the Mufic. Befides, this Clofe gives great Life and Variety in the Compofition of Dances; for whereas moft 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, fince it is as eafy to take up one Foot as the other. This Step generally 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 performed 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, Rigadoons, &c. this Step and Time it is to reft fometimes are a Meafure, and at others not, as having a plain Step or Walk added thereto, which faid Clofe and Step together fill up the Time. CHAP. XIV. Of the SPRING or LEAP. THE Spring or Leap is the fame as the latter End of the foregoing Clofe or Spring from one Foot upon both, except that the Clofe or Jump always begins from one Foot +, the Weight conftantly coming down in the fame Place *, whereas this Step + See the Figures of Plate V. * See the Figures in Plate I. begins and ends upon both Feet#, whether in the firft or third Pofition +* and may be performed feveral Ways, viz. forwards, backwards, fideways, 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, backwards, &c. they fpring or leap, about the Length of the Half Coupee or March, 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 Meafure, 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 upon the fame Place. Upright and circularly are the two Ways in which this Step is performed, when it fingly 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 other Ways of performing it, we often meet, inftead thereof, two Leaps and a plain ftraight Step in a Meafure, which together with the two Springs agree with the Notes of the Mufic; and many Times we find a third Spring added, inftead of the plain ftraight Step; which three Springs agree with the Notes, as before, tho' they are feldom ufed except in Comic Dancing and Tunes of common Time, that is to fay, of four in the Bar, as in Gavots, Marches, Rigadoons, &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 # See the Figure in Plate II. +* See the Figure of Plate IV. #* See the Steps in the fecond Plate and the Explanation and Table of this Step in the Plate of Tables marked E. 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 counted, during the Performing of the plain Step. The fourth Note is always taken up with the Sink which prepares for the fucceeding Step; and confequently it is very neceffary to take Notice, that the two Leaps are performed in the fame Method. The Coming down of the firft Spring, as I faid before, 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 the Weight in the Sink, &c. as was juft obferved, which Step, if continued, is a fort of an harmonious Leaping to Mufic either forwards or backwards, &c.(y). It is to be likewife noted, that the 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 fame Manner, as we have already defcribed it in the Jump or Clofe from one Foot. CHAP. XV. Of the RIGADOON STEP of one Spring open in the fame Place and Clofe. THE Rigadoon Step of one Spring open upon the fame Place is 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 a Meafure, and introduces the upright Spring or Clofe on both Feet, before treated of, to another Meafure in its Attendance on the former, from which it is almoft infeparable; (y) See the Table of the Leap or Jump, in the Plate marked E or fecond Plate. infomuch that the faid Rigadoon Step is feldom, if ever, without this Clofe following it, as adding the greateft Grace and Beauty thereto, and being from thence fo ftrictly united that, altho' in themfelves they are two diftinct Steps, the firft never appears but concludes in the latter which in its Performance is as follows, viz. commencing from the firft Pofition, or the Feet join'd even one with the other, from whence the Sink or Preparative for the Hop is taken, and may be done with either Foot. However, for the better Underftanding thereof I fhall defcribe it, with the right Foot: Therefore, as has been already obferved, the Weight being on both Feet in the firft Pofition (z), you fink and give a Rife or Spring, either off from the Ground, or upon it, as you fhall think moft agreeable, fince it may be perform'd both Ways; which faid Spring is made upon the left Foot, in rifing from the aforefaid Sink, by taking the right Foot up from the Floor, the very fame Inftant the Spring or Hop is made, and moves open off to the right Side of the Room, if to the upper End, or otherwife according to what Part of the Room the Body is directed in the Air, about the Length of a Step in Dancing (a); and then it returns to the firft Pofition from whence it came receiving the Weight; upon which the left Foot, being now difengaged, moves open fideways in the like Manner (b), and, in returning, receives one half of the Weight in the fame Pofition as at firft (z); after which comes the Clofe on both Feet (c) which fometimes is to a Meafure, and at others not, in that there often follows in Rigadoon Movements, a plain Step or Walk in the Time or Meafure, as for Example, you'll find in this Movement of the Bretagne; that is to fay, the Beginning of the fecond Part is the very fame Step I have here defcribed. As to the Agreement of this Step with the Notes of the Tune, which is of four in the Meafure, the Spring, or Hop, that is made (x) See the Figure in Plate II, only inftead of facing down the Room you may fuppofe it looking to the Prefence. (a) See in fome Meafure the Feet in the fecond Figure of Plate XV. (b) See the Feet in the firft Figure of Plate XV. (c) See Plate II. upon the left Foot, on the taking up of the right, marks the Time or firft Note; the fetting of it down the fecond; the third is in the fetting down of the left Foot; and the fourth and laft Note, in the Sink for the enfuing Clofe that attends this Step, which together compofe one of the moft agreeable Steps in Dancing. There are, befides thefe already defcribed, many other Ways of performing this Step, as in the third Pofition forwards, and the fame backwards; but, for the better Underftanding of this, fuppofe you are ftanding 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 foregoing 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 elfe the firft of the faid two Steps, namely, the Spring, may be done in the third Pofition before (i), and the fecond behind (j); or the firft with a Spring behind (k), and the fecond Step before (l), and are to be performed from either of the faid Pofitions, whether 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 coming 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). (d) See the Figure in Plate II, fuppofed to be looking up the Room. (e) See the fecond 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) See the two firft or inclofed Feet of Plate IV. (i) See the two hind Feet of Plate IV. (k) See the hindmoft Feet in Plate IV. (l) See the inclofed Feet in Plate IV. (m) See the Table and Explanation of this Step in the Plate of Tables marked E. CHAP. XVI. Of the RIGADOON Step of two Springs or SISSONNE. THE Rigadoon Step with two Springs differs from the former of one in this, that whereas the aforefaid is performed in the fame 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 perform'd fideways croffing before, or fideways croffing behind, either to the right or left, or turning +, &c. the Difference of which, in the Manner of Performance, I fhall defcribe in their Order. For Example, firft 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 Ancle 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 the fame Inftant, moves directly the fame Way, as in the March, except 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 already obferved, about the Length of a March; but it does not receive the whole Weight of the Body, as in that, by Reafon of its continuing principally on the fame Foot on which it was, at + See the Explanation and Table of this Step in the Plate of Tables marked E. (n) See the firft Figure of Plate V. commencing; fo that, altho' the right Foot is advanced before the other, 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 Pofition 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 againft the 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 continued from one Foot to the other, as in the March, &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, viz. the right and foremoft 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 firft 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 Pofition as at beginning except that the contrary Foot is foremoft (s), and the left is ready to commence, as before. This Step Sideways croffing before is fo called, from its being croffed before the Foot on which the Weight of the Body refts, and it chiefly differs from the two Ways already defcribed namely, forwards and (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 fome Meafure the firft Figure in Plate IX, or fecond Figure in Plate XI. (s) See the firft Figure in Plate IV. backwards, 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 croffing 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 contrary Foot(v); which faid Foot is ready to perform the fame Thing either fideways croffing before the right on which the Body is, or fideways croffing behind, the latter of which I fhall explain, in the next Place, and it is as follows. Sideways croffing 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 firft Spring with the right, falling in the fifth Pofition croffing behind; that is, the Toe of the right Foot is equal to the Heel of the left, the Weight being divided, as has been already explained (x). The fecond Spring is performed upon the right, on the left's 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 difengaged 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 croffing before, as alfo the fame behind, it is unneceffary here to take any farther Notice of this Step fideways to the right, than that it differs in Nothing from what we have defcribed to the left but in the contrary Foot; nor likewife of the Manner of its Performance in (t) See the firft Figure of Plate V. (u) See the Feet of the firft Figure in Plate XI. (v) See the fecond Figure of Plate V. (w) See the fecond Figure in Plate IV. (x) See the Feet in the fecond Figure of Plate XI. (y) See firft Figure of Plate IV. turning, otherwife than that it may be performed feveral Ways, as to the right or left, in a quarter Turn, half Turn, or three quarter Turn, &c. fince I fhall take Occafion hereafter, in the enfuing Steps, to treat more particularly on that Head. I fhall only obferve at prefent, that thofe who learn to dance, and are acquainted with the Rigadoon of the late Mr. Ifaac, will meet with this Step, turning in all or moft of the Ways above mentioned, in the different Parts thereof; and it is here, for Diftinction fake, named of two Springs. There is ftill 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 or that Foot which advances or retires is taken up: For Inftance, admitting this Step to begin with the right Foot, of Confequence the Weight muft then be upon the left, from whence you make the firft Spring, as is ufual, upon both Feet; but, inftead of the left Foot's being taken from the Floor, as in the aforefaid, the right or beginning Foot is taken up on making the fecond Spring; which Choice of Feet in this Step renders it of equal Ufe, in the Compofition of Dances, as the Clofe, in that the Change of Figure is to be effected in this, as well as in the aforefaid. Having defcribed moft of the different Manners of performing this Step in Dancing, I fhall proceed to fhew 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 firft 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; and the fourth is in the Sink preparing for the fucceeding Step. And, when it is done to a Saraband or Tune of triple Time, it is in all Refpects the fame, except that, inftead 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 Step, in which it chiefly differs from the foregoing of common Time, but that it is not fo brifk. CHAP. XVII. Of the GALLIARD and FALLING Step. THE Galliard Step is in a Manner the fame, as the befor defcribed Clofe from one Foot to both, except that in this the Weight of the Body, after making the Spring or Movement for the Clofe, remains on the fame Foot upon which it was at the Beginning; from whence it follows, that the Foot which, in the foregoing Clofe, received one half of the Weight, is here to be difengaged, and at Liberty to perform the fucceeding one which is a plain ftraight Step or Walk; which Step could not have been performed 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 in Dancing. I fhall defcribe the moft ufual of thefe Ways, which are as follow viz. forwards, backwards, fideways to the right or left, and alfo in turning a quarter Turn, half Turn, &c. (z) and, in all the aforefaid Methods of performing the Galliard 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 before defcribed, tho' they are two diftinct Steps in themfelves. However, fometimes, inftead of the Galliard Step, we find the Coupee croffing before fideways introducing the Falling Step; which it does very naturally, their Endings being directly alike. (z) See the Explanation and Table of this Step in the Plate of Tables marked E. and Plate VII. Now, as to the Method of performing the Galliard Step which, as I have faid in the Defcription thereof, is compounded of a Clofe and plain ftraight Step or Walk, I fhall begin with the right Foot advancing forwards, in the following Manner, viz. the Weight of the Body is upon the left Foot in the third Pofition, and the 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 directly the fame Way as has been defcribed in the Clofe from one Foot to both, except with this Difference that, as I have faid, the before mentioned lights on both Feet, but this comes down only upon one, namely the left; and it varies from the aforefaid, the right Foot being in the firft Pofition, joined even with the left, and at Liberty to perform the following plain ftraight Step (b), which together with the foregoing Clofe compleats the Galliard Step; that is to fay, after the plain ftraight Step has been made forwards with the right Foot, about the Length of a Step in Walking, 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 fetting to the Floor of which receives the Weight; fo that, as I have juft obferved, the left Foot is upon the Point behind, the like Diftance, and the right advanced from it, in which Pofture the Galliard Step concludes (c). Upon this commences the Falling Step, which is performed in the following Manner, viz. the Weight of the Body ending in the following Manner, viz. the Weight of the Body ending in the Galliard 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 Purpofe 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 Sink or Bend of the Knee, in the third Pofition inclofed behind, releafing the (a) See the firft Figure of Plate V. (b) See the firft Figure of Plate I. (c) See the fecond Figure in Plate VII. 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 aforefaid 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 foregoing Galliard Step was taken, with the contrary Foot (e) and, in continuance together with the Galliard Step, it changes the Foot, as in the Half Coupee, or March, &c. In performing this Step fideways, either to the right or left, it only differs from the former in the plain Step, which, inftead of being made, as in the aforefaid forwards, is here performed fideways; and it may eafily be underftood 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 fideways to the right Hand, in like Manner 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 faid Toe was left pointed behind, as it now is fideways; from whence commences the Falling 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 faid, is prevented; for, at the fame Time the Weight falls, the left Foot which was upon the Point is brought with a fwift Motion to its Relief, croffing behind the right on which the falling Weight is in the fifth Pofition, receiving the Body (g) which muft otherwife have fallen, and releafes the right Foot (h) which immediately receives the Weight again, in a Bound or Balonne fideways to the Hand the (d) See the fecond Figure in Plates IV and XIV. (e) See the fecond Figure in Plate V. (f) See the firft Figure in Plate VI. or Plate XV. (g) See the firft Figure in Plate XI. (h) See the fecond Figure in Plate XIV. Fall was on, in that the left no fooner receives the falling Weight in a Sink or bended Knee, than it gives a Spring, in rifing, and throws the Body, as in bounding back, upon the right Foot, concluding 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 Falling 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 Rigadoon Part of a Dance, named the Bretagne, the firft Time of its playing over, for they are 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 perfect Idea thereof, I fhall explain 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 Clofe in the firft Pofition as aforefaid only, inftead of the Prefence looking up the Room after the Clofe, it now faces to the right Side, which is a quarter of a Turn, and in this it differs from the two Ways laft defcribed; but the remaining Part of the Step is intirely the fame, ftepping the beginning Foot fideways 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 faid, 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 Bottom of the Room, the left Foot ftepping fideways to the fame Hand, as aforefaid, &c. As to the Agreement of thefe Steps with the Notes of the Mufic, it is much the fame as in the others: For Example, in the following Tunes, as Forlanes, Figs, &c. the Clofe is made to the firft Note; the fecond and third are counted in the ftraight Step of the Galliard, that is to fay, the fecond Note, at the Beginning of (i) See the fecond Figure in Plate V. the faid 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 Rife 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 preferved 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, Rigadoons, &c. 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 fhewn in the Rigadoon Step of two Springs; and the moft ufual Manner of performing this Step is in a foft and gentle Movement upon the Floor, tho' it may be done to Advantage either Way, viz. off from the Ground, or upon it. CHAP. XVIII. Of the BOUREE with a BOUND. THE Bouree with a Bound, fo called from its having a Bound added to the Bouree, 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 Movement or Sink and Rife to the firft of the four Steps, the fecond and third compleating the Bouree or Fleuret; and the fourth and laft is a Bound which is always performed off from the Floor, as we have already fhewn, in treating of that Step. I fhall now proceed to fhew, how thefe four Steps are to be reduced to agree with the Notes of triple Time or of three in the Meafure, which may be accomplifhed, as follows, viz. the left Foot, with which we fhall for Example begin, and the right are to be performed in a Motion as fwift again, as the remaining two Steps, by reafon they are both to be accounted but as one Note, and are made to the firft of the Meafure. The third Step, which is with the left Foot, is to the fecond Note, upon which the Bouree concludes; and the fourth Step is a Bound with the right Foot to the third Note, and compleats the Bouree with a Bound. This Step continued in Dancing, whether it be the right or the left, always begins with the fame Foot, as has been already obferved in the Coupee, and may be performed forwards, backwards, fideways to either Hand, croffing before, croffing behind, or croffing before and behind in the fame Meafure, or twice behind; and they are all of them directly the fame, in their Manner of Performance, as was fhewn in the Bouree of one Movement, only, as that was but of three Steps and one Movement to a Bar, this is of four and two Movements; and confequently, 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 faid; 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 Bouree aforefaid. It is unneceffary to fay any thing farther of thefe Steps, in this Place, fince they will be underftood by what has been faid in the Bouree or Fleuret of one Movement, having in that defcribed all the different Ways mentioned here; but only to obferve, that the firft two Steps, as above, and the Bounds muft be added. CHAP. XIX. Of the SLIP before and then behind, or SLIP behind and afterwards before, and HALF COUPEE fideways. THE Slip before and then behind is a Step compofed of four plain Steps, in a Meafure, and two Movements; which faid 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 firft Movementis 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 alfo to be noted, that thefe Steps feldom, if ever, are performed any otherwife 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, or flipping behind and then before; the firft 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, ftepping open off fideways to the right Hand (l), and the fecond Step, which is with the left Foot, is drawn croffing before it, (m) after which the right Foot makes (k) See the firft Figure in Plate V. (l) See the Point or fecond Figure of Plate VI. (m) See the Point or firft Figure in Plate VI. and fecond Figure of Plate XI. the fecond Movement the fame Way, which is the third Step; but, inftead of the left and laft Foot's being drawn before, as in the firft Slip (n), it muft now be drawn behind where it concludes receiving the Weight in the fifth Pofition (o). To Slip behind and then before is, when the right Foot has made the firft Movement and Step fideways in the Manner juft defcribed; and the fecond Step, which is with the left Foot, (p) inftead of being drawn croffing before, as in the former, is drawn behind (q). The fecond Movement is alfo with the right Foot, ftepping to the fame Side (r), which is the third Step; and the fourth and laft, which is with the left Foot (s), is drawn croffing before the right into the Pofition aforefaid (t). To perform this Step with a quarter of a Turn,either to the right or left Hand, is only turning a quarter Turn to one of the faid Hands, as it fhall fall out; in Dancing however, as an Example, I fhall explain it fideways 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 Slips, as before defcribed, were fideways, 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 the firft Movement, you prepare for the Rife or Beating Time; but inftead performing it, facing to the upper End of the Room, as in the foregoing, in the rifing, it makes a quarter of a Turn to the left Hand, which then will face to the left Side of the Room; yet in the Performance of the reft of the Step to the right, it is intirely in the fame Manner as I have explained it, to the upper Part of the Room, there being no Difference 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 the right Foot, inftead of (n) See the fecond Figure in Plate XI. (o) See the firft Figure in Plate XI. (p) See the firft Figure in Plate VI. (q) See the firft Figure of Plate XI. (r) See the fecond Figure in Plate VI (s) See the firft Figure in Plate VI. (t) See the fecond Figure in Plate XI. turning a quarter Turn as before, that is, facing the left Side of the Room, in this you make a half Turn, which then faces the Bottom of the Room, performing the reft of the Step to the right Hand, in the fame Manner we have defcribed it to the upper End. Thefe Steps may likewife be done, both flipping behind, 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 croffing behind the firft or beginning Foot; and the fecond Movement and Slip are performed in the like Manner. Both flipping before is, when, in performing the faid Movements, the Foot, which makes the Slips, is both Times drawn croffing before the Foot which begun, that is, the fecond and fourth Steps; and the firft of thefe Steps, namely, twice flipping behind, is in the Rigadoon of the late Mr Ifaac, where, in the Beginning of the Tune, the fecond Time of playing over, it forms a perfect 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 frequently 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 fo likewife, and confifts of one plain Step, as has been obferved, in treating of the Half Coupee; 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 the 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 Ancle (u) See the fecond Figure in Plate VI. of the right Foot, opening to the left Hand, and accomplifhes the Time or Meafure (v). It ftill remains to fhew, how thefe Steps agree with the Notes of common or triple Time; for they are very different in their Manner of Performance, which we fhall 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 flow again; yet, for the farther Illuftration of this Point, I fhall 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 Rigadoons, Bourees, &c. But having already defcribed the Motion or Stepping of the Feet, I fhall wave the faying any Thing farther of it here, and only fhew, that the firft Slip or firft and fecond Steps are to be performed in the fame fwift Manner we have fhewn, in the Beginning or two firft Steps of the Bouree and a Bound, 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 fetting down of the third Step, or Beginning of the laft Slip, beats Time to the third Note, which faid 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, Paffacailles, &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 faid, the firft Slip or Coupee being made with the firft and fecond Steps to the firft Note, the fecond Slip, which begins with the third Step, is to the fecond Note; and the third is taken up in the gentle fliding or drawing of the fourth and laft Step, whether before or behind. (v) See the firft Figure in Plates XIV. and XV. Half the third Note is borrowed, tomark the Sink which is for thenext Step, as has been obferved before; and, if the firft Slip is flow, the beginning Step is to the firft Note, the Slip or eafy drawing of the fecond Step behind or before tothe fecond Note, and the remaining Slip is fwift to the third Note. As to the Half Coupee, the firft Movement or ftepping fideways 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 faid. CHAP. XX. Of the HOP or CONTRETEMP. THE Hop or Contretemp is a compound Step confifting of two Walks or Steppings of the Feet, as the Coupee; and it may be performed various Ways, as advancing, retiring, fideways to the right or left, turning, &c. There are alfo two different Pofitions from whence this Step is taken and performed, namely, the third and fourth; the firft of which we fhall 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 act; 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 directly fideways, as in the March (x); but it does not prefs upon the Floor, as in that, by Reafon the March is performed upon the Ground, and this off from thence which is the principal Difference; for, inftead of the Progrefs made by the difengaged Foot, as in the March, in this it (w) See the fecond Figure in Plate V. (x) See the firft Figure in Plate VI, or firft Figureof Plate X V. muft be performed in like Manner off from thence in the Air, the Weight all the while continuing on the fame Foot upon which it was at commencing, 'till the left has advanced the Length of a March or Step in Walking (y); after which it receives the Body, and releafes the right Foot that fupported it, during its Proceffion, 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 defcribed 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, &c. the Weight of the Body, as has been obferved, being on the right Foot, the Hop or Contretemp is performed, as we have already explained, 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 Refpect differs from the former, except in its not ftopping 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 fame, except that the quarter or half Turn, inftead of being made to the right (y) See the firft Figure in Plate IX. + 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 Figure in Plate IX. (b) See the firft Figure in Plate VI, or firft Figure of Plate XV aforefaid. (c) See the fecond Figure of Plate IX, and for the fecond Step of the Contretemp the firft Figure in the fame Plate concluding as at firft. See the firft Figure in Plate IV. 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 Example, in that the faid 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 Lady does the fame to the right. There are, befides, other Ways of performing this Step from the faid third Pofition, as fideways croffing 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, thefe, on the contrary, are always fideways, tho' they are performed turning all the Ways aforefaid: For Inftance, to the right Hand fideways, the Face or Prefence 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, inftead of the left Foot's advancing as in that, or retiring from the Hop or Spring which is made on the right, it is here caft croffways 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 fecond 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 lower 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 XI. (f) See in fome Degree the fecond Figure in Plate VI. the laft of which begins from the fame Pofition treated of in this Step, namely, the third, the difengaged Foot being upon the Point behind the right (g), from whence this Step commences by 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 the 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 the Hop and Step are made, as aforefaid, is 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 Hop croffways to the right, only in the latter's not being made to the fame Hand; for the quarter Turn, inftead thereof, is performed, as above defcribed, ftepping to the left Hand, facing full to the right Side of Room, as in the other, and the half Turn, facing the lower Part of the Room, is, in its Performance to the left Hand, the fame as the quarter to the right. Having explained the foregoing Hop's 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 directly 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: For Inftance, 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 Preparation for the Spring or Hop (l) by transferring the Weight from the (g) See the fecond Figure in Plate V. (h) See the firft Figure in Plate VI. (i) See the fecond Figure in Plate VI. (j) See the firft Figure in Plate IV, or fecond of Plate XI. (k) See the firft Figure in Plate VI. (l) See the firft Figure in Plate X. right to the left Foot, the very Moment before the Spring is made, in taking up the right Foot from the Ground, the left at the fame Inftant receiving the Body, upon which the Hop is begun and compleated, as follows: The right Foot, being then at Liberty (m), makes a plain Step or Walk fideways croffing before the left, that fupports 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 (o), by Reafon you are now in the fame Pofition, as at commencing, and concludes the Step. This Hop, as juft defcribed, is to be found in the fecond Strain of the Rigadoon of the late Mr. Ifaac, the firft Time of playing over, at the End of the third Bouree of the Woman's Side; where the Lady ftands upon the fecond Step of the faid Bouree, viz. the right Foot, whilft the left, inftead of receiving the Body as it would otherwife 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 referred to this Place for an Example, I think it will not be improper to fay fomething here of the Hop 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 Bourees, 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 before the right, as the other was upon one Side of it; which Manner of Standing is what we call the fourth Pofition, from whence the Hop is to be made, being, in all Refpects, the fame as fideways (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. to the left Hand only, as I have faid, the left Foot muft be advanced 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 croffing before the left; after 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 Readinefs to repeat the fame (r). But, inftead of that, I fhall proceed 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 the 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 or or Walk backwards the fame as before forwards (s); after which the right Foot makes the fecond and laft Step backwards alfo and receives the Body, leaving the left Heel to the Floor, as at firft, either 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 Contretemp, both from the third and fourth Pofition, being now explained, I fhall take fome Notice, how they agree with the Notes of Mufic, either of common or triple Time, &c. as for Example, from the third Pofition forwards, beginning with the left or advancing Foot to a Tune of common Time; which being accomplifhed will fhew the Manner 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 Time, tho' it be upon the right Foot, as in the third Pofition, or on the left in the (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 as follows, viz. the Spring or Hop, that is made upon the right Foot, beats Time to the firft of the four Notes; the fecond Note is counted in the fetting down or receiving the Weight of the Body upon the eft Foot, after its having advanced the Length of a Step forwards; and the third Note is counted, when the right Foot receives the Body, as before, and finifhes. The remaining fourth Note, as has been faid, is in the Sink which prepares for the fucceeding Step; and, to triple Time or of the Notes in three Bar or Meafure, 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 the Cadence of the fucceeding Step. CHAP. XXI. Of the CHASSEE or DRIVING STEP. THE Hop or Contretemp laft explained having introduced us to the Pofition from whence the Chaffee or Driving Step is performed, namely, the fourth, fince in that we took no farther Notice than of its being fideways, or forwards, in the faid Pofition, without explaining the particular Manner in which the laft Step, whether of a Bouree, Coupee, Half Coupee, or March is to be performed, when introducing any of the aforefaid Hops or Driving Steps; and as this Step confiderably varies, in its Method of Performance, from the Way in which it would otherwife have been done, had a Bouree, or Coupee, &c. followed, I fhall obferve, that it is much the fame as when, in Fencing, we put ourfelves in a Pofture of Defence; but, this Pofture being probably unknown to the Ladies, I fhall 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 fideways to the fame Side of the Room, about the Length of a Step, as in Walking; the full Part of the Heel firft comes to the Ground, but afterwards the Foot is flat, only free from Weight, both the Knees being bent (u); from which Pofition 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 Pafs is made in Fencing. However it ftill remains to fhew the Method, how the above-mentioned Step is to be performed, when we put ourfelves in the faid 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 the 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 ftand in one of the Pofitions from whence it is to be taken, which differ according to the foregoing Step's being performed forwards, backwards, or fideways; 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 the Kick or foft Stamp fideways, for fo 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 gentle and eafy Motion, the Toe or Ball of the Inftep pointing down to the Ground, but not fo as to bear upon it, by Reafon it will not be ready to perform the Step aforefaid; which is exceeding fwift, becaufe, as I have faid, the Dancer makes a Paufe or Reft, until the fourth Note in common Time is almoft fpent, and in triple the third; but, before either of them expire, the eafy Stamp or Kick is given, and inftead of the Foot's being flat to the Ground, as in Fencing, 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 I. fecond Figure in Plate IV. or firft Figure in Plate V. or Hop that fucceeds (w). How the latter of them is to be executed, we have fhewn in the Hops; and, having juft before obferved the raifing of the Heel and pointing of the Toe, I fhall 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, rifes 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 ftruck againft the Floor, it only remains to perform the Steps treated on; and whether forwards, or backwards, the Method is the fame, as fideways above explained to the right Hand. Having now given fome 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 fometimes of three, and at other Times of four Steps to the Meafure or Bar; and the moft ufual Way of their Performance is forwards and fideways. I fhall begin with the former of thefe, namely, the Chaffee or Driving-Step of three Steps in a Meafure, 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 Pofition (x) with the Knees bent, in order to the Performance of the Chaffee, it begins by transferring 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 fupports it, whilft the left, difengaged 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. (y) See the fecond Figure in Plate IV. or firft of Plate XI. Liberty, makes the fecond of the three Steps (z); but it differs fomewhat from that of the Bouree, in its being ftepped more open off to the right Hand, whereas the Bouree is directly advancing forwards upon which is counted the fecond 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 faid, the Body, being on the right, refts thereon, whilft the left moves flowly forwards, the Toe preffing 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 the left 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 differs 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 advanced into the fourth Pofition, in the Manner we have juft obferved, begins by transferring the Weight, and taking up the right Foot, as the other did by the left(b), and fo 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 Prefence of the Body being to the upper End of the Room, the Weight upon the left Foot as before, with the right placed, as defcribed by the Pofture of Defence, or Step which introduces this Sort of Steps (c). The Weight is transferred, as before; and, in rifing, the left Foot is taken from the Ground, but, inftead of advancing up the Room, is now brought (z) See the fecond 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 faid, fee the firft the Figure in Place IX. and for the laft Step, fee the fecond Figure in the fame Plate. (c) See the fecond Figure in Plate X. fideways into the third Pofition inclofed behind the right, and receives the Weight in Time to the Mufic (d). The fecond Step, with the right Foot, is fideways, the fame Way, and receives the Body (e), which it fupports, 'till the third or fourth Note is expired (f), according to the Time in which it is done, that is, whether it be of triple or common; upon which the laft Step or light Stamp is made, the fame Way croffing 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 fhall defcribe it, advancing 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 Chaffee 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), directly the fame Way as in that of three, except with this Difference, that as the firft Note in that was counted in the rifing 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) See the fecond Figure in Plate IV. or firft Figure in Plate XI. (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 VI. (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 XI. and, for the fecond Step which is made quick at the fame Time, fee the firft Figure in Plate IX. (j) See the fecond Figure in Plate IX. in triple Time is fpent, or in common the fourth, in like Manner as, in the Driving-Step of three, it refted on the fecond, waiting for the Expiration of the third or fourth laft Notes, at which Inftant the Step or Preparative for the next enfuing is made, and concludes (k). In performing the Chaffee of four Steps in a Meafure, above explained 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 fhewn, in the Hop or Contretemp, to this Side of the Room (l) 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 rifing 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 croffing 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 alfo 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 croffing before the left, as before, in the ftepping of it, turns a quarter Turn, which then faces full to the left Side of the Room to the Mufic 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 Prefence, and, if continued one Step farther, the firft two Steps face to the left Side (k) See the firft Figure in Plate IX. (l) See the firft Figure in Plate X. (m) See the firft Figure in Plate IV. or fecond Figure of Plate XI. (n) See in fome Meafure the firft Figure in Plate VI. (o) See the fecond Figure in the fame Plate, and firft Figure in Plate XI. (p) See the firft Figure in Plate X. 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 the lower End of it; the fourth Step, with the left Foot, fteps fideways 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 Chaffee of three in the Meafure, or Bouree, but always 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 Half Coupee, in the Nature of a Driving-Step; which faid Step is the fourth of the laft defcribed Chaffee, 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 Circle, &c. As to the Performance of this Chaffee 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 advanced, but without any Weight (q), as has been faid, except its own, commences by transferring the Weight in the fame Manner 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 aforefaid, it does not receive any Weight, by reafon it prepares for the Half Coupee, 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 of fideways (q) See the firft Figure in Plate IX. (r) See the firft Figure in Plate IV. For the fecond Step which is made quick at the fame Time, fee the firft in Plate IX. it is forwards (s); and, as was already fhewn, the Knees being bent and Weight upon the left Foot, the Half Coupee, the fecond Movement of the Chaffee, begins by conveying or transferring the Body from the left to the right and foremoft Foot, immediately before rifing, on which the left or hindmoft Foot advances, fliding the Ball or Inftep flat to the Ground into the third Pofition behind the right (t), which it releafes; and, in its being taken up from the Floor, it makes a quarter of a Circle in the Air, opening to the right Side (u), facing the upper Part of the Room, or a quarter Turn to the right Side; or a half Turn to the Bottom, a three quarter Turn to the left Side, or a whole Turn; which faid Coupee is performed to the third Note, if to triple Time; and in common to the fourth. CHAP. XXII. Of the CHASSEE, or DRIVING STEP of two Movements or Bounding COUPEES. THIS Step is performed two different Ways, viz. advancing and retiring; the former of which begins by transferring the Weight refting on the right or left Leg in the fourth Pofition, and the latter by a Sway or Wave of the Poife of the Body, either on the right or left Leg from the fecond Pofition, which is the moft ufual Method of performing this Step; for, being in the fecond Pofition, and the Weight as much on one Foot as the other, it is only waving or fwaying the Body, whether upon the right or left Foot, during the Sink, preparing for the Chaffee or Driving Step, that is made by the difengaged and pointed Foot, whichfoever it be, (s) See the fecond Figure in Plate IX. (t) See the fecond Figure in Plate IV. (u) See the fecond Figure in Plates XIV and XV. always retiring to the right or left, or backwards. But, if it begin from the Weight refting on the right or left Foot, as advancing to make the Contretemp, Chaffees, or the like, it begins by changing, otherwife directly, without changing, being duly prepared; tho' in its Performance advancing, it much refembles the Chaffee to the left Hand, of one Movement to four Steps, except that, inftead of one Movement made upon the Ground, here are two Movements or Coupees off from thence; and it is a Step frequently found in Tunes of common 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 one Heel 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 Chaffee of two Movements or Bounding Coupees is ufually perform'd fideways, tho' fometimes 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 the Room; for the better underftanding whereof I fhall give an Example of it to the left Hand, facing up the Room as follows, viz. the Weight of the Body being upon the right Foot, the left in the fourth Pofition fideways, as in the foregoing Chaffee or Driving Step of four Steps, to the fame Side of the Room, the Knees bent (v), &c. it begins by transferring the Weight to the left Foot, as in that, only in the rifing, inftead 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 fooner 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 fome Meafure the firft Figure in Plate VI. Pofition, the Knees being bent, as in the Pofture of Defence. This fecond Step concludes the firft of the two Movements or Coupees (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 fhewn, not only in the Bouree and 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 tranfferring 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 difengaged from any Weight, except its own, as has been fhewn by the foregoing (z); the reft intirely, in the like Manner, advancing fideways to the right Side of the Room, as the other to the left. Having explained this Step advancing, I will proceed to its Method of retiring; and the Difference between this and the former principally confifts 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. fideways to the left, then, inftead of the Body's refting upon the right Foot, as in the aforefaid, 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 fhall explain it retiring down the Room; which is from the fame Pofition, only the right (y) See the firft Figure in Plate X. (z) See the fecond Figure in Plate X. Foot is advanced, and not fideways, as here; and becaufe a Beaten Coupee or Hop, either forwards or fideways, generally introduces this Step, it may likewife not be improper to take fome Notice of it, which I fhall do, in the Explanation of the faid Step's advancing up the Room, fince that will be fufficient for the comprehending of it both Ways, in that the fame Manner of Performance is to be obferved in the one as in the other, only in the former the Beat is made fideways, inftead of backwards, as in the prefent. CHAP. XXIII. Of the BEATEN COUPEE or 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 fhewn in the Half Coupee up the Room(b) and receives the Weight, as in that, upon the firft Note, fupporting the Body, whilft the left Foot ftrikes or beats againft the Heel of the right (c), which Beat is upon the fecond 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, inftead 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 I. (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 come upon the advancing Foot, by Reafon a fecond Spring is to be given firft, here it muft, 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 conducts 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 finifhing of the Beaten Hop or Coupee; being I fay in the fourth Pofition, with the Knees bent, the Flying Chaffee 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 aforefaid 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), 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 Swiftnefs, but as one; 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 fhewn, 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 refts at beginning, purfues or drives before it the Foot without Weight, in this the difengaged 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. (f) See the fecond Figure of Plate IX. of advancing, which I think plainly appears from what has been faid in the Defcription of them. The latter of the faid Steps being now fully defcribed, it only remains to add that, inftead of backwards, it muft be made retiring directly fideways, croffing the Room to the left Hand, in the fame Manner as retiring down it, which is all the Difference; and confequently it is unneceffary to make a farther Repetition, except that, as where I left off (g), it commences from the fourth Pofition; and if perform'd retiring crofs the Room to the right Side, it is taken from the fame Pofition as when advancing to the left, only 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 finifhing the additional Coupee, or in the Bound's lighting upon one Foot, as in that I defcribed, it comes down upon both Feet, at the fame Time, to the third Note in triple Time, compleating the Meafure, as if the Coupee had been finifhed. Examples of the latter are to be found in the Chaconne de Phaeton of Monfieur Pecour, 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 fame Mafter, twenty feven Meafures before the End, and in Tunes of common Time, as Allemaignes, Rigadoons, Bourees, &c. but, inftead of the Chaffee or Driving Step of two Springs, we frequently meet with one of them put with the aforefaid Clofe to a Meafure (h). (g) See in fome Meafure the fecond Figure in Plate VI. (h) See the Table of this Step in the Plate of Tables mark'd I. CHAP. XXIV. Of the CHASSEE or DRIVING STEP, of three Springs in the Same Place, from the third Pofition. THIS Chaffee or Driving Step differs from the aforefaid, in its not being taken from the fourth Pofition, but from the third, in which Pofition as an Example we fhall defcribe it, beginning with the right Foot, as follows, viz. the Weight is upon the left Foot, and the right in the third Pofition behind, being at Liberty (i), commences by bending both Knees, and at the fame Time preparing for the Clofe or Drive, which is accomplifhed in the Straightening of the right Knee directly fideways (j), in the Rife or Spring from the Sinking aforefaid; in which it is brought into the third Pofition before the left on which the Body refts (k), and drives the left off fideways, or rather obliquely, in the Air (l), the Length of a Step. The faid Spring or Drive with the right Foot marks Time to the firft Note of the three in a Meafure or triple Time; and the fecond is in the Spring or Drive with the left Foot now in the Air, which together with the right Knee that fupports the Body bends, in order for the fecond Spring, which is made in a Rife from the fame by a Spring or Bound into the third Pofition behind; then it releafes the right by receiving the Weight (m) and drives the right Foot fideways into the Air, the Length of a Step (n), from whence the third Drive or Clofe is made to the fame Note, (i) See the firft Figure in Plate V. (j) See the fecond Figure in Plate XV, or fecond Figure in Plate VI, only the Toe does not touch the Floor. (k) See the fecond Figure in Plate IV. (l) See the firft Figure in Plate VI, only the Foot is in the Air. (m) See the fecond Figure in Plate IV. (n) See the fecond Figure in Plate XV. by bending both Knees, as before; and, in the Spring or Rifing from thence, the right Foot in the Air bounds into the third Pofition before the left + which it releafes, tho' it is not driven, as in the others, but inftead thereof remains in the third Pofition behind the right on which the whole Weight refts, concluding the Step on the contrary Foot (o), in Readinefs to perform the 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 Man's Side, but with the contrary on the Woman's; and in the Dance it is performed facing to the right Side of the Room or Lady, and not to the upper End of it, as here defcribed. 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, inftead of three Drives or Springs in a Meafure, as in triple aforefaid, there muft be only two; and confequently, if continued, they will always commence with the 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 the 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 fometimes found in three or four Places of one Dance, which demonftrates, how greatly it is valued and efteemed by Mafters (p). + See the fecond Figure in Plate IV. (o) See the fecond Figure in Plate V. (p) See the Table of this Step in the Plate of Tables mark'd I. CHAP. XXV. Of the FLYING CHASSEE or DRIVING STEP backwards, with a CLOSE and COUPEE to a Meafure 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 compofed of three different Steps, and commences with the firft Movement of the Flying Chaffee or Driving Step retiring down the Room exactly in the fame Manner as was explained, in treating of that Step +, 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 faid, left without Weight, in Readinefs to begin the fecond Movement of the faid Step (q); which Movement is made upon the fecond Note of the Saraband or Paffacaille, 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 the firft Note ended; which Spring or Clofe is made, in turning a quarter Turn to 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 is inclofed (r). The third Note is in the Coupee, which is the third Movement and concludes the Step; and the faid Coupee, which muft be performed fwift to the laft Note, commences, by the right + See Page 75. (q) See the fecond Figure in Plate IX. (r) See the fecond Figure in Plate IV, only it muft be fuppofed facing to the right Side of the Room. or inclofed Foot's making a Movement or Sink and Rife, ftepping open off fideways to the right Hand (s), facing, as aforefaid, to the right Side of the Room, rather inclining backwards than directly fideways, by Reafon of its making Way for the left or hind Foot's more eafy and natural croffing before the right fideways into the fifth Pofition, in the Method fhewn in treating of the Slip before and then behind, ending, as I have faid, upon the third Note, with the Knees bent preparing for the following Step, which moft ufually is a Half Coupee (t); and it begins by taking of the right or hind Foot up, in rifing from the aforefaid Bending of the Knees, which is brought behind the left into the third Pofition (u), turning a quarter Turn back again, from the right Side of the Room to the upper End, upon the firft Note of the Meafure. The fecond 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 faid, 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 fuch 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 the fourth Pofition advanced before the right on which the Body refts, in like Manner 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 the right; and the Step here treated on is to be found in the Paffacaille Darmid for a Woman, compofed by Monfieur L'Abbee, in the fixth Meafure, beginning with the right Foot, as above explained (x). (s) See in fome Refpects the fecond Figure in Plate VI, only it muft be fuppofed to the right Side of the Room. (t) See the fecond Figure in Plate XI. and it alfo muft be facing as aforefaid. (u) See the firft Figure in Plate IV. (v) See the firft Figure in Plate XV. (w) See the firft Figure in Plate IX. (x) See the Table of this Step in the Plate of Tables marked I. CHAP. XXVI. Of the HOP of two Movements, from the fifth Pofition round in two half Turns. THIS Step is much ufed 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 Confideration is one; which is often found in Tunes of triple Time, and fometimes in thofe of common, confifting of two Movements, viz. a Hop and a Bound both made in turning, the firft commencing either from the fourth or fifth Pofition; from which laft we fhall 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 croffed, 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 accomplifhed 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 XI. Inftant, the Hop is made upon the firft Note of the Meafure; the fecond is in fetting down the faid right Foot in the fourth Pofition advanced before the left, on which the Weight refts, 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 aforefaid, in transferring the Weight from the left to the right, the very Moment before the Spring or Bound is made, by rifing from the Sink or Bending of the Knees, which was on the fetting down of the right Foot to the fecond Note, and bringing the 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 fame 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 other Foot in the Air fideways (a). To perform the fame Step with the other Foot, we are only to fet down the right Foot into the fifth Pofition before the left, on which the whole Weight refts, which begins, as aforefaid, by transferring the Weight (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 Meafure 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 &c. as in the firft Figure of Plate XV. (d) See the Tables of this Step in the Plate of Tables mark'd I. CHAP. XXVII. Of the CHACONNE or PASSACAILLE STEP. THE Chaconne or Paffacaille Step is compofed of three Movements, viz. firft a Bound, fecondly a Hop, and laftly a Bound, or Balone, and it is moft ufually taken from the third Pofition. I fhall, 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 aforefaid (e), begins the firft Movement by making a Bound, in the Manner already fhewn in treating of that Step, which, as I have there faid, is accomplifhed 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; at which Inftant the right, on which the Weight refted before the Change was made, follows or rather attends the left 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 perform the Movement that next fucceeds, facing to the lower End of the Room (f); from which Pofture the Hop or 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, turning half a Turn to the right Hand, from the Bottom to the 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. (g) See the fecond Figure in Plate XIV. or Balone, as the French call it, to the third Note of the Meafure, which is in bending both Knees; and, in fpringing from thence, the Weight is transferred from the left Foot, and lights upon the Inftep 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 fifth Meafure of the Paffacaille Diana aforefaid, and alfo in the fame Meafure of the Paffacaille de Scilla 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). CHAP. XXVIII. Of the HOP and two CHASSEES or DRIVES round in the fame Place. THE Hop and two Drives or Chaffees is likewife a Step compofed of three Movements, as the Title above fpecifies, 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. (j) 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 Step begins by transferring the Weight in the like Method as the prefent. Having explained the former, beginning with the right Foot, I fhall explain this with the contrary, and it is performed as follows, viz. the Weight being upon the left Foot, the right in the fourth Pofition advanced and at Liberty is prepared to receive the Body (l); which it does, the every Inftant 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 the following Spring or Hop, which is made upon the right Foot, in 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 Chaffee or Driving Step of three Movements, upon the fame Place, in Preparation for the Spring or Bound made in ftraightening 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 the right Side of the Room to the upper End, and concluding in the Air (n). 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) (l) See the fecond Figure in Plate IX. (m) See the firft Figure in Plate XIII, 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 IX. and, inftead of turning the half Turn to the left Hand, as before defcribed, it turns to the right, directly in the fame Manner as the aforefaid (p); Examples of both which are to be found in the Chaconne de Phaeton of Monfieur Pecours, in the eighty feventh Meafure beginning with the right Foot, and in the ninety firft of the fame Dance with the left, as above defcribed (q). CHAP. XXIX. Of the FALL, SPRING with both Feet at the fame Time, and COUPEE to a Meafure. THE foregoing Step, ending in the Air with the left Foot, naturally introduces us to the prefent, which is of three Movements, and taken from thence in falling, fpringing with both Feet at the fame Time, and a Coupee; all which Steps are to be performed to a Meafure, and confequently 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 the right Foot (r), the Step begins by falling much in the fame Manner, as explained in treating of this Step, when introduced by the Galliard fideways to the right Hand, only this is backwards in a flow and eafy Motion, the very fame as if you intended to fall quite to the Floor; but, as I faid before, it is prevented from that by the left Foot which is in the Air, with the Toe pointed 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 fecond Figure as aforefaid in Plate XIII, and the fecond Figure of Plate XV. (q) See the Table of this Step in the Plate of Tables marked I. and alfo the Lift or Explanation. (r) See the firft Figure in Plate XV, or firft Figure of Plate XIV. it flies fwift to its Relief, to fave it from falling, by receiving half the Weight in the fourth Pofition behind the right Foot (s), with the Knees bent upon the firft Note; from whence the Spring is immediately made with both Feet, acting at the fame Juncture upon the fecond Note, that is, by changing the right Foot backwards and the left forwards (t), the Knees being bent, as aforefaid, in Readinefs to make the fucceeding Coupee; which is done by taking up the left or foremoft Foot from the Floor and from the Bending aforefaid rifing upon the Toe or Inftep, making an open Step to the left Side of the Room to the third Note, neither directly fideways nor forwards, but between both. The fecond Step of the Coupee, which is with the right Foot, follows it, ftepping the fame Way in the like fwift Manner, as the Beginning of the Bouree with a Bound, into the fourth Pofition before the left (u), with the Knees bent as above. In order to make the Half Coupee, that ufually follows this Step, which is very flow in that, of itfelf, it anfwers to a Bar, like 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 aforefaid into the third Pofition behind the right (v), which then is releafed, 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 aforefaid; and the Half Coupee, concluding thus with the right Foot in the Air, is 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 Paffacaille 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 in Plate XV. (x) See the Table of this Step in the Plate of Tables marked I, and alfo the Lift or Explanation. CHAP XXX. Of the CLOSE beating before and falling behind in the third Pofition, upright Spring changing to the fame before, and COUPEE to a Meafure. THE Clofe beating before &c. which we are now about to explain, differs from the before defcribed Step of this Name, in its being done to the firft Note of the Meafure, and, inftead of refting the remaining two Notes, as in the aforefaid to the fecond, there are the upright Spring and Coupee to the third; and, inftead of the Clofe's 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 the Rife or Spring from the above named Sink; but, inftead of the Clofe's lighting in the firft or third Pofition, as in the foregoing, the beginning Leg beats before againft that on which the Body refted at firft (z), and comes down in the third Pofition, as at commencing, only the Weight is equally upon both Feet (a), and the Knees are bent, marking the firft Note. The fecond, as I 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 faid Figures in Plate IV. is in coming down after the Rife or upright Spring from thence 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 Meafure, whether of a Saraband or Paffacaille, &c. by rifing in the Step the firft Foot makes forwards, opening either to the right or left Hand and receiving the Weight (c); after which the hind Foot and fecond Step of the Coupee move fwift, the fame Way, into the Fourth Pofition before (d) it, with the Knees bent, concluding in Readinefs for the Coupee that ufually attends thefe Steps; which is, as I have 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 releafed 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 is 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 have already obferved of fome others in the Beginning of this Difcourfe, and are to the laft Meafure excepting two and a half of the Spanifh Entree for two Men, compofed by Monfieur Pecour, belonging to the Opera de l' Europ Galante; and alfo in the Entree Efpagnole for a Man and a Woman, in the aforefaid Opera, compofed by the fame Mafter (g). The above defcribed Step is fometimes performed, turning a whole Turn round, that is to fay, half a Turn upon the Clofe beating before and coming down behind in the third Pofition, the (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. (d) See the right or advanced Foot in the fecond Figure of Plate IX, and the left or advanced Foot of the firft Figure in the 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 Tables marked I, and the Lift or Explanation of the faid Table. other half being in the upright Spring; and inftead of the Beat's being made againft the Foot on which the Weight refted, when facing 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 taken, in rifing or fpringing from the Floor, as aforefaid, only, inftead of the Feet being changed facing the Bottom of the Room, the remaining half Turn is made to the fame Hand up it: For Example, 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 inclofed Foot; and, if with the left Foot, it begins in the fame Manner, by making a Spring or Clofe, &c. turning to the right, as above (k). CHAP. XXXI. Of the PIROUETTE. THE Pirouette is a Step that altogether confifts of Motion and Turning. There are two different Ways of performing it; either from a whole Pofition, the Weight refting on both Feet; or a half Pofition, when the Weight only refts upon one Foot, the other being in the Air, from whence it begins, as will appear: For (h) See the firft Figure in Plate V. (i) See the firft Figure in Plate IV. and for the Beat before fee the fecond Figure in the fame Plate, 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 mark'd E and the Lift or Explanation of the faid Table. inftead of performing it from the fifth Pofition, directly as we ftand, as in the former, in the latter it is made by adding a Step with the Foot in the Air backwards into the abovementioned Pofition behind, from whence they turn equally alike to either Hand upon the fame Place, the Weight of the Body refting moftly upon that Foot which at firft fupported the Weight, the Difference being only in the ftepping of the Foot which may as well be made forwards as backwards. I fhall now proceed to explain the Method of performing this 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 I have before fhewn in the Hop of two Movements, round in two half Turns from the Pofition now treated on, and about the Length of half a Foot more crofs'd before the hindmoft Foot; fo 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 (l). Having fhewn the Pofition or Pofture of ftanding, 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 Bending of the Knees in the above explain'd Pofition, the Rife whereof is made upon both Infteps to the firft Note, in binding or preffing them ftrong to the Floor and raifing the Body into the Air, during the Turning or Meafure to which it is made: For Inftance, if to the right, the left Foot is foremoft (m), if to the left the right (n) From the laft of thefe we fhall 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 (l) 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. 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 obferved, 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 fhewn 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 rifing from the Sink or Preparative for the whole Turn, upon the Heel of one Foot and Toe of the other: For Inftance, 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 the Floor, continuing the Turn, 'till you arrive to the upper End of the Room or Place of fetting out, and finifh in a Readinefs to perform the fame to the other Hand if Occafion requires, by Reafon of the Feet being changed, as I have faid, in 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 Galiard, compofed by the late Mr. Ifaac, and written by Mr. De la Gard, the fecond Time of its playing; the foregoing three quarter Turn, in the fhort Saraband for a Man, compofed by Mr. Pecour, in his Collection of Dances publifhed at Paris, in the Year 1704, by (o) See the contrary Figures in Plate XI. that is to fay, for the firft fee the fecond, and for the fecond fee the firft Figure. Mr. Feuillet, 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 Dances (p). I fhall now proceed to defcribe the fecond 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 is 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 forwards, only it does not touch the Floor, as in that, by Reafon of its being the commencing Foot; from whence it begins, by making 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 directly in the fame Manner, as the foregoing or whole Pofition, by dividing the Weight, at the End of the ftepping backwards of the Foot that was in the Air, which, upon fetting it to the Ground, receives fo much of the Weight as only ferves to direct and affift the Body in turning, as well as marking the Time, as aforefaid, in rifing from the Sink made for that Purpofe, on the ftepping of the 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 Foot, 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 Tables mark'd I. and alfo the Lift or Explanation 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 fame Plate. fourth Pofition behind the left (t), and preparing for the Rife marks the firft Note, which is made on fetting 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 gentle Turn to the right Side of the Room, and bearing or preffing the Toes to the Floor, as we have already fhewn 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 faid, 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 fideways, 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 finifhes 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, beginning 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 mentioned, receives one half of the Weight, the other remaining upon the Heel of the left on which the Body refted 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) See the firft Figure in Plate IX. (u) See the firft Figure in Plate XII. (v) See the fecond Figure in Plate XI. Heel, as the right did upon the Toe, about which Time the Feet are changed, as we have obferved; that is, the right, which was ftepp'd or caft into the fifth Pofition behind, is now firft, and the left laft, concluding with both Feet flat on the Floor, the Prefence of the Body being to the upper End of the Room, as at commencing (w). As to the Agreement of this Step with the Notes of common or triple Time, it is the fame as already explained in the Pirouette beginning from the whole Pofition; the only Difference is, that the Weight in that, being equally on both Feet, begins directly by making a Sink and Rife, the Rife of which beats Time to the firft Note of the Tune, which is the fame in this Step, except that the Body, being fupported by a half Pofition, before it can begin as in the whole Pofition, the other Foot which is in the Air muft be caft or fet down in the fourth or fifth Pofition; from whence this Step is ufually taken, in ftepping either forwards or backwards, as the Step is to be made. The remaining fecond and third Notes of the Meafure, if to triple Time, are counted, during the faid Turning, a whole Round; or, if to common Time, the fourth is included, as has been obferved. This Step, in its Performance forwards, is in all Refpects the fame as the laft defcribed backwards, as to its Agreement with the Notes, or its Rifing, Turning on the Toes, &c. only whereas, in the two foregoing Pirouettes, the Manner of performing the whole Turn is not the fame as the quarter, half, or three quarter Turn, in this the whole Turn is done in the fame Method as the reft, except that the Step is made forwards into the fourth or fifth Pofition, inftead of backwards as in the laft explained; and, as I have already obferved in the foregoing Steps, if the Turn be only a quarter or half Turn, it commences from the fourth Pofition (x), but if a three (w) See the firft Figure in Plate XI. And, if beginning with the left Foot, fee the firft Figure in Plate XV, and the firft and fecond Figures in Plate XI. (x) See the fecond Figure in Plate IX, beginning from the fecond Figure in Plate XV. And, if with the contrary, fee the firft Figure in Plate XV, and the firft Figure in Plate IX. 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 defcribed, it will be eafily underftood, in that it is the fame, except in not beginning directly, 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 obferved 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 by a COUPEE. THIS Step is taken from a half Pofition, as well as the two laft defcribed 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 fhall take fome Notice of the Coupee that introduces it, which is compofed 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 XI, commencing from the fecond Figure in Plate XV; and, if with the other Foot, fee the firft Figure in the aforefaid Plate XV, and it concludes 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 faid Table, and alfo the Steps contained in Plate XV. Foot, by finking and making a Half Coupee or Step forwards, marking Time to the firft Note, in rifing from thence. 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 fideways, as in the Point for a March (b), only more round continuing on forwards, about that Diftance 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, the Toe pointed and Knee ftiff into the third Pofition, fo as to touch the Ancle of the right Foot (c); and then it paffes on directly fideways to the left Hand making a Point, about the like Diftance from the Foot you ftand 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 Rife or Straightening of them, which refembles a Spring, only it is not from the Ground; for, in the Rife or Spring from the Sink aforefaid 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, finifhing to the upper 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 aforefaid Plate XV. from whence it may be continued as the Half Coupee, or Bouree, &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 diftinct Steps (f). There are various other Ways of performing this Step, befides the defcribed, as twice round, three Times round, round in an upright Spring beating before and behind during the Turning, and many more; which, as they are foreign to my prefent Purpofe, I fhall omit, and fay fomething of the Bouree before and behind, turning, &c. CHAP. XXXIII. Of the BOUREE before and behind, and behind and before, advancing in a whole Turn. THIS Step is compofed of two Bourees; but, tho' in Dancing it may be performed to all Parts of the Room, or upon a Circle, an Explanation of it, commencing with the right Foot advancing to the Prefence or upper Part of the Room, fhall fuffice, in that the reft will be comprehended thereby, fince the Difference is only inftead of facing, as aforefaid. The Prefence or Body, for Example, muft be directed to the Part or Side of the Room, to which the Step is made; whether to the right or left Hand, lower 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 Plate of Tables marked I, and the Lift or Explanation of the faid Table. commencing either with the right or left Foot, as it fhall fall out, from any of the aforefaid Parts of the Room. This will appear from the following, which, as I have above obferved, 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 difengaged 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 up the Room (h), in ftepping croffways before the left, on which the Body turns a quarter Turn to the right Side of the Room, the Rife 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 making a Step circularly before the right, in a quarter Turn more, now facing full 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 preffing or fliding 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 alfo 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 Rife 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, the Rife 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 fetting 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, directly up the (g) See the firft Figure in Plate I. (h) See in fome Meafure the fecond Figure in Plate IX, only it is to turn as directed. (i) See in fome Refpects the firft Figure in Plate VIII, only the right Toe muft be, as directed, upon the Point. (j) See the fecond Figure in Plate XII, except that the left Toe muft be pointed as directed. Room; and upon its receiving the Weight the fecond Bouree is ended, concluding in the firft Pofition, as at commencing. The foregoing Step, as above defcribed, confifts of two plain Bourees or Fleurets of one Movement only, whereas it frequently is performed with two; and if fo, 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 Bouree, a Coupee is found commencing with either Foot, as it fhall happen; but here it is with the left croffing 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 (l), or, inftead of the Coupee aforefaid, as in the feventh and eighth Meafures of the firft Couplet of a Dance of my own Compofition, named the Submiffion, that is to fay, on the Woman's Side. The left Foot not coupeeing before the right, as above, inftead thereof, in turning a half Turn, receives the Weight, in rifing 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 of 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's, the fame Method of Performance is to be obferved to the left Side of the Room, as in the foregoing to the right (p). I (k) See the fecond Figure in Plate XII. (l) See the fecond Figure in Plate X. (m) See the fecond Figure in Plate IV. (n) See the fecond Figure in Plate XV. (o) See the firft Figure in Plate IV. (p) See the fecond Figure in Plate I. See in fome Meafure the firft Figure in Plate IX, only turning to the left. See in fome Refpects 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 in the Plate of Tables mark'd I, and alfo the Lift or Explanation of the Characters of this Step. have been the more particular in defcribing thefe Steps, becaufe they are of more than ordinary Grace and Variety to Dancing; but I fhall now proceed to the Minuet, the Subject of the fecond Book of this Work. The End of the FIRST BOOK. THESE are to certify, that the foregoing Book, intitled the ART OF DANCING EXPLAIN'D, was defigned and compofed long before the Book, intitled the DANCING MASTER, appeared, as we believe; and that we have carefully examined the faid Book, and found it compofed and written, in the fame Manner it now is, on the twenty feventh Day of January, 1727-8. Witnefs our Hands, ALEX. JACKSON, JOSEPH JACKSON, Dancing-Mafters. THE ART of DANCING EXPLAIN'D. BOOK the SECOND. CHAP. I. Of the MINUET STEP. THE Minuet Step is compofed of four plain ftraight Steps or Walks, and may be performed forwards, backward, fideways, &c. four different Ways, to which there are the like Number of Names annexed, to diftinguifh them from one another, arifing, not improperly fpeaking, from the Placing of the Marks upon them: For Example, a Movement or Sink and Rife, being added to the firft Step of the three belonging to the Minuet Step, produces a Bouree; and the like to the fourth and laft a Half Coupee, which together compofe what is commonly called the Englifh Minuet Step. The fecond Method of its Performance is with a Bound; that is to fay, inftead of the Half Coupee or Movement to the laft Step made upon the Floor, as in the aforefaid, you bound inftead thereof, which is the only Variation from the foregoing. The third Method is quite the Reverfe, becaufe, inftead of the Bouree, the Half Coupee is made firft and afterwards the Bouree, or as the French term it, One and a Fleuret, 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 Fleuret, or the fourth of the Minuet Step; and it will then be notwithftanding the fame Step, only of three Movements. As to the two firft foregoing Steps, I fhall fay little concerning them, for the following Reafons: In the firft Place, becaufe they are now rarely, if ever, practifed amongft Perfons of the firft Rank, and feem to be, for the prefent, intirely laid afide; not as being ungraceful, or that the Dancer could not give Pleafure to the Beholders, or raife to himfelf a Reputation, in their Performance, but merely through Alteration of Fafhion, which varies in this Refpect, as in Dreffing, &c. Secondly, becaufe they have been, in fome Meafure, already explained 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 Fleuret, or a Half Coupee and Bouree, ufually called the New Minuet Step, and the fame that is now danced in all polite Affemblies (q). As it is become the favourite Step, my being fomewhat more particular in its Defcription, (q) See the Characters of this Step in the Plate marked O, Number I. Table the fecond. 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 Maftery of, through the Plainnefs of the Step and the Air and Addrefs of the Body that are requifite to its Embellifhment, as will farther appear from the Sequel. But to return to the Subject in Hand; having, I fay, already obferved, that the Minuet Step is compofed of four plain Steps, without fhewing the Method of their Performance, or their Agreement with the Notes of the Tune, I fhall 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 Pofition the right, which is at Liberty (r), begins the Minuet Step, by making the Half Coupee or firft of the four Steps belonging to the Minuet, in a Movement or Sink and Stepping of the right Foot forwards (s), the gentle or eafy Rifing of which, either upon the 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 Bouree following, in which is counted the third and laft Note of the Meafure aforefaid; and the faid Bouree or fecond Part 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 faid before, that one Minuet 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 Minuet Step, for fo I fhall for the future call it, being made, there only remains to rife from the Sink aforefaid in the ftepping forwards of the left Foot (u) to the (r) See the firft Figure in 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 I. firft Note of the fecond Meafure, and firft of the Fleuret or three laft Steps of the four that compofe the Minuet Step; the fecond Step of the faid Bouree or Fleuret is made, fwift forwards with the right Foot (v), to the fame Note; and the third and laft Step of the Bouree, or fecond Part of the Minuet Step with the left Foot (w), is to the third and laft Note 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 fafter or flower, according to the Tune that is played, which the Dancer is obliged to follow. Having defcribed the foregoing Step forwards, I fhall now proceed 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 directly fideways facing the upper End of the Room and, as faid above, 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 underftood by a fuppofed Line acrofs the Room, for the right Shoulder confequently 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; which will likewife 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 Minuet Dance upon which it falls +; but of that more hereafter. (v) See the fecond Figure in Plate IX, Book I. (w) See the firft Figure in the fame Plate. (x) See the firft Figure in Plate I, Book I. + See the Gentleman and Lady in Plate VI. Having defcribed the Action or Pofture of the Body in which this Step muft be performed, if to Advantage, I fhall proceed in explaining the Motion or Stepping of the Feet upon the aforefaid Tract or Line; which is fideways to the right Hand, inftead of forwards, as in the foregoing, which is the principal Difference (y). However, as it may not in all Probability be fo fully comprehended by what has been faid in the foregoing Step, it 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 Liberty (z), commences by making a Sink and Step, open off from the left Foot, on which the Body refts, fideways to the right (a). The Rife of the Sink marks Time to the firft of the three Notes; and the reft are the fame, as when done forwards, the Half Coupee or firft Part of the Minuet Step being made to the firft Meafure of the Tune, as aforefaid, ending in the fame Pofition upon the right Foot, with the left difengaged (b) to perform the Bouree or fecond Part of the faid Step fideways, in like Manner as in the foregoing forwards; which it does in making a Sink and Step to the right Hand fideways croffing behind the right on which the Body refts (c), the Rife of which is to the firft Note of the fecond Meafure. The right Foot then makes a plain open Step fideways to the fame Hand (d), upon the fecond Note, leaving the left upon the Point, in the very Place the Body refted before, in Readinefs to make the fecond Step, and is about the Diftance of a Point in the March (e); upon which the third and laft 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), (y) See the Characters of this Step in the fecond Table of the Plate marked O, Number II. (z) See the firft Figure in Plate I, Book I. For the Action or Pofture of the 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. Action as at beginning. (c) See the firft Figure in Plate XI, Book I. Action the fame. (d) See the fecond Figure in Plate VI. Book I. (e) See the firft Figure in the fame Plate. (f) See the firft Figure in Plate XI, Book I. receiving the Body, and concludes in the firft Pofition, as at firft (g); and it may be continued, as long as the Dancer pleafes. The third and laft 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 fideways croffing the Room directly to the left Hand, facing, not as in the aforefaid, but inftead thereof full either up or down the Room, as it fhall happen +. This Step, in Performance, differs from the laft defcribed in this, that the right or beginning Foot, which before made the Half Coupee off to the right, now inftead thereof makes a Sink and Step fideways to the left Hand, croffing 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 making a Sink and open Step, off fideways 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 Meafure, and the right Foot makes the fecond Step of the Bouree to the fecond Note, in drawing it pointed (l) croffing behind the left (m), from the Place where it fupported the Weight, before the 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 commencing 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. + 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 aforefaid. (i) See the firft Figure in Plate IV, Book I. (k) See in fome Degree the firft Figure in Plate VI, Book I. (l) See the fecond Figure in Plate VI, Book aforefaid. (m) See the fecond Figure in Plate XI, Book I. (n) See in fome Meafure the firft Figure in Plate VI, the fame Book. (o) See the firft Figure in Plate I, Book I. which Step may be continued either diametrically or circularly, as Occafion offers. We are now arrived at the fourth and laft of the before mentioned Steps, namely, that of three Movements or Bendings and Rifings; which is alfo commonly called the New Step, from its being ufed now as much, or very little lefs than the laft explained of two Movements only, and more efpecially when performed to the left Hand fideways before and behind, in that it compofes a Part of the Minuet Dance, as now practifed, of which I fhall have Occafion to fpeak more particularly hereafter. In the Interim I fhall proceed in defcribing the prefent Minuet Step of three Movements, which, as I have already faid, is only the Addition of a Movement or a Sink and Rife more to the laft Step of the Bouree or fecond 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 Divifions through the Half Coupee, in that it, together with the Sink which prepares for the fucceeding Bouree, anfwers to the firft Meafure of the Tune, and the Fleuret or fecond Part of the Minuet Step to the fecond, and confequently is of equal Value, tho' no more than a fingle Step, with the other three remaining, it 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 notwithftanding is but one Minuet 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 fo intirely of a Piece that a Divifion 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 fhall be forwards (p); and it is to be performed in this Manner. (p) See the Characters of this Step in the fecond Table of the Plate marked O, Number I. A Sink and Rife muft be fuppofed. For Example, the Weight of the Body being upon the left Foot in the firft Pofition, the right difengaged and free (q) begins, as aforefaid, in making a Sink and Step forwards directly up the Room (r). The Rifing or Receiving the Weight upon the Toe or Inftep marks the Time to the firft Note of the three belonging to the firft Meafure; the fecond is in the Fall of the Heel (s) and Sink which prepares 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 ftepping a plain ftraight Step forwards (u) upon the Toe to the firft Note of the three in the fecond Meafure; the fecond is in the coming 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 the 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 lefs, 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 diametrically 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 croffing 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 needlefs at prefent to fay any more than to fhew its Difference in counting to the Notes, from the former, which from what I have faid (q) See the firft Figure in Plate I. (r) See the fecond Figure in Plate IX. in fome Meafure. (s) See the fecond Figure in Plate I. (t) See the firft Figure in Plate IX. (u) See the fecond Figure in Plate 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 the Characters of this Step in the fecond Table of the Plate marked O, Number IV. above appears to be very different from the Step now treated on, as I fhall endeavour to demonftrate by the following Particulars. In the firft Place, we are to fuppofe a Movement added to the laft Step of the Bouree, or fecond Part of the Minuet Step, and the firft Step with the right Foot (z) to be made upon the 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 Rifing 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 pointed, as it croffes behind the left (d), 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 and 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 foregoing, in that, inftead of the right or beginning Foot's making the firft Step behind, as in the laft, it is here made before (g), from whence it is called before and behind; and this croffing or ftepping of the Foot before renders the Step much more agreeable and fuller of Variety than the aforefaid, arifing by Reafon of the Twifts and Turns the Body naturally gives and receives in the Performance thereof. But fince this Step is much more ufed, in the Dancing of a Minuet, than the aforefaid, I fhall endeavour to give as plain a Defcription of it as poffible; in order to which I fhall not only repeat the Stepping or Motion of the Feet, but alfo fuppofe, inftead of two Bars or Meafures to a Step in the Minuet, as in the aforefaid, (z) See in fome Meafure the fecond Figure in Plate XI. (a) See the firft Figure in Plate VI. (b) See in fome Meafure the firft Figure of Plate VI. (c) See the fecond Figure in Plate IV. (d) See the fecond Figure in Plate XI. (e) See in fome Degree the firft Figure in Plate VI. (f) See the firft Figure in Plate I. (g) See the Characters of this Step in the fecond Table of the Plate marked O, Number V. 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 laft 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 fome of what, perhaps, they were ignorant of before. But to proceed in the Defcription of the 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 before 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 the Toe, marking Time to the firft of the above-mentioned Notes. The fecond is in the coming down of the right Heel, in the third Pofition before the left (k) and Sink for the fucceeding Step, which is made by ftepping the left Foot, open off fideways from the right on which the Body is, to the left Side of the Room (l); the Rifing 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 rather, more properly fpeaking, makes a becoming Feint in the Air not much unlike that made in the Minuet Step of One, and a Fleuret 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 compofe the Minuet Step; but here it is upon the (h) See the firft Figure in Plate I, Book I. (i) See the firft Figure in Plate XI, Book I. (j) See in fome Meafure the Twift or Turn of the Body in the faid Figure. (k) See the fecond Figure in Plate V, Book I. (l) See the firft Figure in Plate VI, Book the fame. (m) See the fecond Figure in Plate VI, Book I. (n) See in fome Meafure the Sway or Twift of the Body in the firft Figure of Plate XI, Book I. fecond to the left, and the Look or Turn of the Head, which in the former was to the left, is in this to the right (o): The Toe, I fay, being left pointed, as aforefaid, makes the third Step in the Minuet, by being drawn pointed croffing behind the left Foot, and receives the Body in a Twift upon the fourth Note or half 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 left Foot to the third Note, in rifing and ftepping open off fideways (q) from the Sink aforefaid upon the left Toe to the fixth and laft Note, except that the right Toe is not left pointed as in the former, but ends in the firft Pofition as at Beginning (r); and the laft Method of counting the Notes or Time to the Step will bear, as well throughout all the Minuet Steps before defcribed as the prefent. Having explain'd the Minuet Steps which form the Circle of this Dance, I fhall 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 fame Place, Balance, &c. CHAP. II. Of the HOP in the MINUET. THE Hop in the Minuet needs little farther Explanation, fince it has been already defcribed in the Rigadoon Hop of two Springs; I fhall therefore refer to that, becaufe it is the very fame as the Hop under Confideration, 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 Meafure the firft Figure in Plate VI, Book aforefaid. (r) See the firft Figure in Plate I, Book I. a Minuet, there muft be a Bound added and a different Method in counting of the Notes; for, inftead of performing the firft and fecond Springs to one Bar or Meafure, as in the aforefaid, they are divided, that is to fay, the firft Spring or Hop is to the firft Bar of the Minuet Tune, and the next Spring and the Bound which is added are to the fecond. They are all here to be reckoned but as one Step +, which is in its Performance thus: For Example, the Weight and Pofition being as aforefaid (s), the Spring is made in like Manner 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 Progrefs 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 fhewn 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 fpringing off from the right on which the Weight refted before the faid Spring was made, concluding as at firft (v). This Hop in the Minuet may be performed backwards, in the fame Manner as defcribed forwards, except that, inftead of commencing with the right Foot from the third Pofition behind, it muft be from the fame Pofition before (w); but the reft being intirely the fame there needs nothing more to be faid of it here, fince it has been fully explained in the Rigadoon Step of two Springs forwards, by which it may be eafily underftood how it is performed backwards (x). + See the Characters of this Step in the third Table of the Plate marked O, Number I. (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 I. (w) See the fecond Figure in Plate IV, Book I. (x) See the Characters of this Step in the third Table of the Plate marked O, Number II. 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 the other, beginning with either the right or left Foot, as Occafion offers. But it is not fo in the Minuet, for the firft Bouree or Fleuret muft commence with the right Foot, as an Equivalent to the Half Coupee; 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 +, 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 rifing fteps directly open off fideways, either more or lefs according to the Tune: For Example, if to the abovefaid flow Time, it may then be the Length of a Step in walking, or of a Point in the March (z); but not fo now, by Reafon of the 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 + See the Characters of this Step in the third Table of the Plate marked O, Number III. (y) See the fecond Figure in Plate IV, Book I. (z) See the fecond Figure in Plate VI, Book aforefaid. Weight was remains in the fame Place, only the Toe is pointed (a); the fecond Note is in the Raifing of the faid left Toe and fetting 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 fwift into the third Pofition behind the left (c), at the fame Time preffing to the Toe ftrong to the Floor, the receiving of the Weight upon which is to the third Note, concluding the firft Bouree and Meafure 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 rifing from the Sink by ftepping of the left Foot off fideways to the fame Hand (d), receiving 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 Raifing the 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 (f); from 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 Meafure of the Tune in the fame Step of the Dance, in the Pofition as at commencing. It muft be obferved, that if this Step is performed twice over, as in that under Confideration, the Sink falls upon 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 I add thereto the faid Bouree running or flying along the Room (h), it being often ufed in (a) See the firft Figure in Plate VI, Book I. (b) See the fecond Figure in Plate the aforefaid. (c) See the firft Figure in Plate IV, Book I. (d) See in fome Refpects the firft Figure in Plate VI, Book I. (e) See the fecond Figure in the fame Plate. (f) See the firft Figure in the fame Plate. (g) See the fecond Figure in Plate IV, Book I. (h) See the Characters of this Step in the third Table of the Plate marked O, Number IV. Dancing of a Minuet by thofe who have attained to fuch a Perfection in this Art, as to render them capable of judging the moft proper Places of making ufe of it; and it only differs from the former by advancing, inftead of being upon the fame Spot of Ground. The running Bouree may be performed either from the Pofition treated on in the foregoing Step, or from the firft as Occafion offers; but I fhall at prefent only explain it from the latter, that is to fay, the firft Pofition: The Weight being upon the left Foot, as in the aforefaid (i), it begins by making a Sink and Step with the right Foot forwards (j). The Rife or Receiving of the Body upon the Toe marks the Time or firft Note; the fecond Step, made with the left Foot (k) plain upon the Toe, marks the fame Note; and the third Step, with the right Foot (l) plain in the like Manner upon the Toe, marks the third and laft Note, concluding the firft Bouree in the fame Pofition upon the right Foot (m), in a Readinefs 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 the fifth in the like Manner, and the third Step plain with the left Foot (p) the fixth; and it concludes in the firft Pofition as at firft (q), from whence it may be continued. (i) See the firft Figure in Plate I, Book I. (j) See in fome Meafure the fecond Figure in Plate IX, Book I. (k) See the firft Figure in the fame Plate. (l) See the fecond Figure in the fame Plate. (m) See the fecond Figure in Plate I, Book I. (n) See in fome Meafure the firft Figure in Plate IX, Book I. (o) See the fecond Figure in the fame Plate. (p) See the firft Figure in Plate IX, as aforefaid (q) See the firft Figure in Plate I, Book I. CHAP. IV. Of the BALANCE. THE Balance is compos'd of two plain Steps, to which are added two Movements or Sinkings and Rifings commencing from two different Pofitions, namely, the firft and fecond Pofition or Point, as in the Beginning of a March; and the faid 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 directly opening off fideways (t), facing either to the upper or lower Part of the Room, as it fhall happen. The Rifing or Receiving of the Weight upon the Toe or Heel marks Time to the firft Note; and, if upon the Toe, the fecond is in the Coming down of the Heel (u); 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 I, Book I. (t) See in fome Degree the fecond Figure in Plate VI, Book I. (u) See the firft Figure in the fame Plate. (v) 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 VI, Book I. of the Body, either upon the Toe or Heel to the fourth Note, in the fame 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; if not, in the tight Holding of the Knee, as aforefaid, ending in the firft Pofition, as at Beginning (z). The fixth Note is in the Sink or Preparation for the fucceeding Step, whether it be the fame or any other; and, when this Step is performed with a quarter or half Turn, as it frequently is, it muft always be turning to the left Hand, if commencing with the right Foot, as it does in the prefent. CHAP. V. Of the two COULEES or MARCHES. TO perform two Marches, inftead of a Minuet Step, in a fuitable and proper Place in Dancing of a Minuet, I take to be an agreeable Variation or Change; but, as the Manner of performing a March has been already fhewn, I fhall refer to what has been before obferved upon that Step, and only take Notice, that it muft begin with the right Foot to the firft Meafure, and with the left to the fecond. The firft of thefe is to be made upon One, Two, and Three; and the fecond upon Four, Five, and fix, 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) See the Characters of this Step in the third Table of the Plate marked O, Number VI. CHAP. VI. Of the SLIP behind and HALF COUPEE forwards to the right and left Hands, each to a MINUET STEP. THIS Step is compofed of three plain Steps, as the Bouree, which are generally done to a Meafure, as that, in other Dances; but otherwife 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 of the Minuet it fhall fall out, but ufually to our Partner, and may be taken from the third or firft Pofition: For Inftance, the Weight being upon the left Foot, with the right at Liberty refting upon the Heel of the faid left Foot, as in the March (c); or, if from the firft, inftead of behind, as we have obferved, it is equal to the Foot on which the Body is, facing to the upper End of the Room, which fhall here fuffice as an Example (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), rifing upon the Toe or Heel to the firft Note, and leaving the left Foot on which the Weight was (f) upon the Point in the fame Place (g). It refts there, during the counting the fecond Note; and the third is in the fwift Drawing of the faid left Foot pointed crofs behind the right (h), concluding 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, Number VII. (c) See the 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 VI, Book I. (h) See the firft Figure in Plate XI, Book I. the Body in an agreeable Twift or Turn (i) with both Knees bent; that is to fay, in the croffing, as aforefaid, the left Shoulder, in bringing forward before the right, is more raifed by the lowering or falling of the other. The firft Movement being thus ended, with the Knees bent upon 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 rifing from the Sink aforefaid and ftepping of the right Foot forwards (j), the Rifing 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 faid Heel to the Floor, if the Rife was upon the Inftep in the firft (k) or third Pofition (l), 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 fomewhat 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 rifing from the Sink aforefaid, ftepping open off fideways to the left Hand (m); and the rifing 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 Paufe or Reft whilft the fecond Note is counted. The third Note is in the drawing or croffing 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 Contraft or Sway in the firft Figure of Plate XI, Book I. (j) See in fome Meafure the fecond Figure in Plate IX, Book I. (k) See the fecond Figure in Plate I, Book aforefaid. (l) See the fecond Figure in Plate V, Book I. (m) See in fome Meafure the firft Figure in Plate VI, Book I. (n) See the fecond Figure in the fame Plate. (o) See the fecond Figure in Plate XI, Book I. (p) See the Sway or Twift in the fecond Figure of Plate XI, aforefaid. raifed in advancing, as in the foregoing, to the right Hand the left Shoulder (q) was on concluding one half of the Step to the firft Meafure 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 the 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 faid Pofitions (t). Having now fhewn the Method of performing this Step in Dancing of a Minuet, both to the right and left Hands (as indeed it cannot be done to one without the other by Reafon they both change the Feet but as one Minuet Step, two Bourees, or two Marches) fince this Step is much ufed in Tunes of common and triple Time, as Rigadoons, Bourees, Sarabands, and Paffacailles, &c. and alfo, inftead of being performed to two Meafures, as in this Dance, is often found to one Bar only (u) and of Confequence varies in the Method of counting from the aforefaid, it will not be improper to fay fomething of it here, efpecially as it has hitherto been omitted: For Example, in Bourees and Rigadoons the Rife of the firft Movement marks Time to the firft Note, as in the foregoing; but the fecond differs in this that, inftead of the Toe's being pointed during the counting of the fecond Note, it is drawn fwift behind the Foot on which the Weight is full upon the faid 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 Meafures here, as in the Minuet, then, inftead of counting only upon the Point, 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 I. (s) See the firft Figure in Plate 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 VIII. (v) See the firft and fecond Figures in Plate XI, Book I. reckoned, immediately upon which the Slip is made, as in the foregoing, to the fourth and laft Note. The Rife to the Half Coupee marks Time to the firft Note of the fecond Meafure; the 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 fucceeding 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 folemn 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 Beginning 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 aforefaid 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 Expiring 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 is often found fingle. CHAP. VI. Of DANCING the MINUET in general. HAving explained the different Ways in which the Steps of a Minuet are to be perform'd, I fhall now fay fomething of that Dance in general and proceed to fhew, 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 S reverfed or an Z (w), upon which faid S or Z 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 dance, and afterwards to our Partner (y), the Dance begins directly. Inftead of ftepping back again into your Place, as the Cuftom was formerly, and alfo inftead of ftanding to wait the Clofe or Ending of a Strain of the Tune, begin upon the firft Time that offers, in that it is much more genteel and fhews the Dancer's Capacity and Ear in diftinguifhing 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 Performance; 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 being much more remarkable than the middle Part; for, if they fhould happen to begin out of Time, it is a thoufand to one if they (w) See the fecond and fifth Divifions of the Plate marked U. (x) See the Gentleman and Lady in Plate II. (y) See the Gentleman and Lady in Plate IV. recover it throughout the Dance. 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 Applaufe; for many dance the Minuet Step in true and regular Time, tho' out of Time to the Mufic, which is occafioned by not hitting with it right at firft; and not being able to recover it afterwards, they dance the whole Minuet out of Time. Their dancing on this Account lofes its Effect upon the Beholders; 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 Pleafure to thofe they defign to entertain. But to the Step and Figure, as aforefaid, the Honour or Courtefy being made as above, the Lady faces the Gentleman, who, juft before the Dance commences, prefents his right Hand, or makes a Motion as tho'he would if he was not at too far a Diftance, and begins 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 Lady or right Side of the Room, who performs the fame to the 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 (2) to which both advance in One and a Fleuret (3). About this Time the Gentleman prefents his right Hand to the Lady (z) and performs four more of the faid Steps (4); the firft whereof is either advancing, as the foregoing, or fideways 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 (1) See the Characters or Steps marked I in Plate IV, or firft Divifion of this Dance in the Plate diftinguifhed by the Letter U, Book II. (2) See in Plate IV, or firft Divifion of the Plate diftinguifhed by the Letter U, the Steps or Characters marked 2, and 3. (3) See the Characters or Steps marked 4 in Plate IV. or firft Divifion of the Plate marked U. (z) See the Gentleman and Lady in Plate V. (4) See the Characters or Steps marked with the Figures 5, 6, 7, 8, in Plate V, or in the firft Divifion of the Plate marked U on the Man's Side. (a) See the Gentleman or firft Figure in Plate VI. moft agreeable Manner he poffibly can, by leading or conducting her in the Circle round him in her Performance of the like Number of Steps (5), that is to fay, of One and a Fleuret forwards; and, about the End of the fecond or third Step after giving Hands, he breaks off or lets go the (9) Lady who continues on a Step more to the lower right Corner of the Room, and then makes a Half Coupee and Bouree to the fame Hand fideways 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 (9), the Half Coupee and Bouree or fourth of the Steps aforefaid is made directly facing the upper Part of the Room (10), as I have faid (b), concluding the firft Divifion or Part of the Minuet Dance 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 Diftinction one from another, each confifting of eight Minuet Steps, which to a Minuet Tune of the like Numbers of Bars will anfwer the firft Strain played twice over +. CHAP. VII. Of the Figure of S reverfed or fecond Divifion. HAving explained the Introduction or firft Part of this Dance, I fhall now proceed to the fecond; which in Figure is (5) See the Steps upon the Lady's Tract marked 5, 6, 7, 8, in Plate V, or in the firft Divifion of the Characters or Steps contained in the Plate marked U. (6) See the Characters 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 Lady's Tract 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. + See the Mufic contain'd in the fourth and fifth Plates or firft Divifion in the Plate marked U. circular or, as I have faid, in the Form of an S reverfed, or Z, upon which fall the Steps that adorn this Part of the Dance, and are performed as follows: For Inftance, the Gentleman at the upper left Corner of the Room faces the Lady who is at the lower right in the third Pofition, where the foregoing ended with the right Foot difengaged and inclofed before the left (d), and they commence in performing about four of the Minuet Steps of three Movements before and behind fideways croffing 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 (1), who by turning a fmall Matter gradually upon the third and fourth of the faid Steps meet in the Middle of the Room facing one another (e), and pafs obliquely upon the right Hand of each other; that is, the Lady to the uppermoft right Corner, and the Gentleman to the lower left +, continuing on the remaining half Circle or Figure in four Minuet Steps of One and a Fleuret forwards (2). The Lady, as I have faid, paffes on round by the right upper Corner 'till fhe arrives at the left, looking full to the Bottom of the Room (f). The laft of the forefaid Steps (3) may alfo be made open off fideways 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 Gentleman 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 forwards, after paffing each other, and then not continuing the remaining Circle on forwards, or to the laft One and a Fleuret open off to the right Hand fideways, as before; but inftead thereof three (d) See the Gentleman and Lady in Plate VI. (1) See the Characters or Steps marked 1, 2, 3, 4, in Plate VI. (e) See the Gentleman and Lady in Plate VII. + See the Tract or Figure in Plate VII, or fecond Divifion in Plate U. (2) See the Characters or Steps marked 5, 6, 7, 8, in Plate VII, or fecond Divifion of the Plate marked U. (f) See the Lady in Plate VIII. (3) See the Character or Step in Plate XIII, marked 8. (g) See the Lady and Gentleman in Plate XIII. (h) See the Gentleman in Plates VII and XIII. of the faid Minuet Steps are made directly opening off fideways to the right Hand, by making half a Turn upon the Half Coupee, or Beginning of the firft of them, from the upper End of the Room, the reft continuing on to the upper left Side facing the lower End. The Gentleman performs the fame Way except that, after the half Turn from the Bottom, he makes the faid three Steps to the lower right Side of the Room facing the Lady, or up it, anfwering the playing of the fecond Strain of the Tune twice over, +, which now has been played once through, and concludes the fecond Divifion of the Dance; and it is likewife to be obferved that, in the Performance of thefe eight Minuet Steps, the Gentleman and Lady only alternately change Places (k). CHAP. VIII. Upon PRESENTING the right Arm or third Part. THE fecond foregoing Step being explained we enter upon the third, which confifts in the Ceremony of prefenting or giving the right Hand; and in it there is no fmall Beauty and Air, as to the graceful and eafy raifing of it, in Order to take Hands, and alfo the gentle and natural Fall on Letting them go. As for the Tract or Figure it varies from the former, in its being circular but particularly towards the latter End, upon which Tract 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 (l), begin the firft + See the Mufic contained in Plates VI and VII, or fecond Divifion in the Plate marked U. (k) See the Gentleman and Lady in Plate VIII. (l) See the Plate aforefaid. Step either obliquely open off fideways to the right Hand, or elfe inftead thereof make four Minuet Steps of three Movements before and behind croffing the Room to the left Hand; that is to fay, the Gentleman to the left Side of the Room and the Lady 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). Inftead of paffing 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, and the Lady to the lower (n), to which each advance purfuing their refpective Tracts in taking as large a Circumference, as the joining of Hands will admit. In performing the four remaining Minuet Steps forwards (7), which are of One and a Fleuret, the right Arm is to be raifed 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 prefenting 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 fideways to the right Hand (o) and lower right Corner of the Room, the Gentleman's Head being a little turn'd looking upon the Lady who does the like to the upper left Corner, concluding in the third Pofition 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 fhewn in the Explanation of this Step; (6) See the Characters or Steps marked 1, 2, 3, 4, in Plate VIII, or third Divifion of Plate U. (m) See the Gentleman and Lady in Plate XI. (n) See the Gentleman and Lady in Plate IX. (7) See the Characters or Steps in the faid Plate IX marked 5, 6, 7, 8, or third Divifion of Plate U. (8) See the laft Step in Plate VIII, marked 4, and firft of Plate IX. (o) See the Gentleman and Lady in Plate VIII. which Part or Divifion of the Dance, as here treated on, falls upon the firft Strain of the Tune, the fecond Time of playing, and anfwers to the Strain twice over (+). As for the Taking off or Keeping on the Hat I fhall not take upon me to determine, leaving it to every one's Choice to act as they fhall think moft agreeable, fince it intirely depends upon Fafhion and Fancy; but, as I have a Right as well as others humbly to offer my Thoughts on this Point, I fhall declare in Favour of the former, in that it has the Appearance of much more Complaifance and Air than Keeping the Hat upon the Head, which in my humble Opinion feems more flat and difrefpectful; and the Taking off and Putting on of the Hat with a good Air likewife gives a fingular Grace to the Dance, which is all loft by its remaining upon the Head. But if it fhould be objected, that it is inconvenient and troublefome 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 is eafy 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 Fleuret open off to the right Hand. The faid 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 falling naturally and flow down to the Side, and holding the Hat at Arms Length during the Time of changing, as was above obferved. + See the Mufic to the Steps in Plates VIII and IX. CHAP. IX. Of the FOURTH DIVISION or PRESENTING of the left ARM. AS the laft explained treated of the prefenting or giving the right Hand, the prefent or fourth Divifion is upon prefenting of the left, which in its Performance is thus: For Inftance, being upon the left of each other, the Hat in the right Hand, the Pofition and Prefence of the Body the fame as at the Beginning of the third Part, only, as I have faid on the Conclufion thereof, fomething 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 fhe 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 Tract that conducted them hither, 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 the aforefaid. But, 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 the 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. that is to fay, whilft the Gentleman faces to the upper right Corner of the Room and the Lady the lower left (10); upon which Hands are broke off or let go, and, extended as they are, gently fall to their proper Places. The Hat is put on again with the right Hand, upon the Ceremony of the Arms being ended; and the three remaining Minuet Steps are performed obliquely open off to the right Hand fideways (11), as upon the laft Step of the preceding Divifion (r), or directly acrofs the Room to the right and left Sides, concluding in the Pofition 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 performed, it would fall very naturally here and be no fmall Embellifhment to this Part of the Dance, or any other Steps to fill up the Time (12). I mean when performed by fuch as have arrived at a Capacity of doing it perfectly, otherwife it is better omitted; but nothing can be more graceful than the former, as appears from what has been faid in the Explanation of that Step; and it affords a farther 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 fecond Strain both Times over (t). (10) See the Steps marked 3, 4, 5, on the different Tracts in Plate X, or in the fourth Divifion of Plate U. (11) See the Characters or Steps marked 6, 7, 8, in Plate X, or fourth Divifion of Plate U. (r) See the Action of the Gentleman and Lady in Plate VIII. (12) See the Characters of this Step in the third Table of the Plate marked O, Number 3. (s) See the Mufic to the firft, fecond, third, and fourth Divifions in Plate U. (t) See the Mufic to the Part of the Dance contained in Plate X. CHAP. X. Of the fifth DIVISION or fecond S. AS this Part of the Dance has been already explained by the fecond Divifion, which in Figure and Step is altogether the fame, except that, inftead of the Gentleman's being at the upper End of the Room as in the foregoing Part, the Lady is now there and the Gentleman at the lower (u), from whence both commence as in the aforefaid, I might here refer to what I formerly faid, in that a farther Explanation feems entirely needlefs, fince it will eafily be comprehended from the former as fome may imagine, it being no more than to perform the faid Steps in the Method above defcribed; yet, for the better underftanding thereof, if I accompany the Dancer or Reader through this Part of the Dance a fecond Time, it will not I hope be thought a tedious or unneceffary Repetition. The Gentleman and Lady, fituated as was already obferved, both commence in performing the faid four Minuet Steps of three Movements before and behind fideways croffing the Room to the left Hand; but the Gentleman now, inftead of moving to the right Side of the Room, as in the fecond Divifion, moves to the left, the Lady doing the fame to the right (1); and as I have faid, by turning a fmall Matter gradually upon the third and fourth of the faid Minuet Steps, they meet in the Middle of the Room, as in the aforefaid, facing one another (v) and pafs obliquely upon the right Hand of each other, viz. the Gentleman to the upper right Corner and the Lady to the lower left, continuing on the remaining half Circle or Figure in four Minuet Steps of One and a Fleuret as (u) See Plate VIII. (1) See the Characters or Steps mark'd 1, 2, 3, 4, in the faid Plate VIII, or fifth Divifion in Plate U. (v) See the Gentleman and Lady in Plate XI. aforefaid forwards (2), the Gentleman, as I have faid, paffing on round by the right upper Corner until arrived at the left facing down the Room (w). The laft of the faid four Steps may alfo be made open off fideways to the right Hand, turning a quarter of a Turn the fame Way as the Gentleman from facing the left Side of the Room (+) down it, and finifhing in the third Pofition (#); and the Lady the like, paffing 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 open off to the right Hand fideways, as before (5), but inftead thereof three of the faid Minuet Steps are performed directly opening off fideways 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, 7, and 8, in Plate XI, or the fifth Divifion of Plate U. (w) See Plate VI. + See the Action in Plate XIV, and alfo the Character or Step marked 8. (#) See in fome Meafure Plate VI. (*+) See the aforefaid Plates IV, and XIV. (4) See the Character or Step in Plate XIV, marked 5. (5) See the Steps or Characters in Plates XIII or XIV, mark'd 6, 7, and 8. (*#) 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. XI. Of the fixth DIVISION or PRESENTING of both ARMS and Conclufion. THE fixth and concluding Part of the Minuet Dance principally confifts in the Ceremony of prefenting or giving both Hands, as the third and fourth Parts did in giving the fingle 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 Finifhing of the faid three Minuet Steps, both turn off to the fame Hand to which they were performed +, 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) as the other was for One, only making the fourth Minuet Step which is of One and a Fleuret forwards to that Part of the Room to which the Prefence 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 eafy Gracefulnefs obferved in the fingle Arm, as the Sign or Warning of giving both Hands, (z) which is done upon the commencing of the fifth or fucceeding Step. (x) See the Gentleman and Lady in Plate VI purfuing their different Tracts or Figures to the Steps marked 1, 2, 3, and 4. + See the Character or Step in the fixth Divifion of Plate U marked 3. (1) See more particularly the Steps marked 1, 2, 3, and 4, in the fixth Divifion of Plate U. (y) See the Gentleman and Lady in Plate XII. (z) See the Action in the Figures of Plate XII. In this Part of the Dance there may be a Minuet Hop, inftead of One and a Fleuret, continuing on round upon the right Side of each other, until the Gentleman faces the upper Part of the Room and the Lady the lower (a), which will be about the Conclufion of the fixth Minuet Step; during which the Arms are raifed near the Height of the Shoulder, and the Elbows a little elevated or raifed forming a Circle or whole Round. In this Pofture the feventh and eighth Minuet Steps are alfo performed, the Gentleman making One and a Fleuret backwards, or rather a fmall Matter to the right, whilft the Lady performs the fame Steps forwards (2), upon which 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 the third and fourth Minuet Step. At the fame Inftant the Lady coupees 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 + 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 played three Times over (*+). As to the Hat I fhould rather approve of its not being taken off here 'till the breaking off or letting go of both Hands; however this is likewife fubmitted to the Dancer's Choice, as well as the Prefenting of the fingle Arm, whether he takes it off, or keeps it on, throughout the whole Dance. (a) See in fome Meafure the Gentleman and Lady in Plate IX. (2) See the Steps marked 5, 6, 7, and 8, in Plate XII, or Steps with the fame Figures in the fixth Divifion of Plate U. (+) See the fecond Figure in Plate VI, Book I. (#) 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 laft Divifion of Plate U. CHAP. XII. Of the MISTAKES in DANCING of a MINUET, with their OCCASIONS and RULES to prevent them. IN the foregoing Chapters I have fhewn 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 Shortnefs, 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 firft Note or commencing thereof. It is the very fame with Refpect to its ending, for it matters not whether it breaks off upon the End of the firft Strain of the Tune, the fecond, or in the Middle of either of them, provided it be in Time to the Mufic; but neverthelefs there are frequently Miftakes, in the Performance of this Dance, arifing from Want of a juft Notion of the Figure and fome certain Rule in performing the Steps upon the faid Figure, and more particularly thofe Steps which are defigned by Way of Ornament or farther Grace, which inftead of that often prove its Difgrace. Nothing is more common than to fee the Gentleman or Lady detained 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 croffing is made, Time enough (c), inftead of performing One and a Fleuret open off fideways to the right Hand (d), (c) See the Gentleman and Lady in Plates VII, and XI. (d) See the Gentleman and Lady in Plates VI, and VIII. 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 Minuet Step of three Movements all behind facing the right or left Side, as it fhall fall out, by which Time the former will be arrived at the Place of croffing which will then be in its due Time; whereas the running in either before or behind our Partner, as before, would have caufed a Confufion. This Diforder alfo frequently happens in performing the common Minuet Step, as when one of the Dancers does not fill out the Room and Figure in the Performance of an equal Number of Steps to the other; for, if this be not obferved, it will produce the like Effect as the former; or if, as I have obferved,in prefenting the right Hand or giving of both, a fufficient Warning is not had by raifing of the Hand or Hands, as aforefaid, one Minuet Step before the Hands are given (+), the Dancers are often nonplus'd and put out of the Figure, while on the contrary a Prefence of Mind with the Obfervation of thefe Rules will prevent all fuch Blunders and Confufions. There is yet one Obfervation more, with which I fhall 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 Minuet 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 round to the right you certainly come to the fame Place (e), whether it be facing to the upper or lower Part of the Room, ending the Divifion in the Minuet 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 round to the left, in which the faid Hand is given (f). + See the Divifions or Chapters which treat of giving the Hands. (e) See For Example the Gentleman and Lady in Plate VIII. (f) See the Beginning in the Gentleman and Lady in Plate X, concluding in Plate VIII. As the foregoing are the principal Places, in which young Dancers ufually miftake, I thought the making fome Obfervations on the Occafion, and the Rules or Methods to be obferved in preventing them, might not be unacceptable; for, admitting that Mafters may have frequently taught their Scholars the fame Leffon, yet according to the old Saying, Words foon pafs into Oblivion, but what is put down in Print remains more ftrongly fix'd upon the Mind. There is much more that might be faid upon this Subject; but, as the aforefaid is fufficient, to avoid being tedious I fhall only proceed to the making a few farther Obfervations, in Regard to the foregoing defcribed Steps, which as yet have not been introduced into the Dance above explained nor any Place affigned them therein: For Inftance, the March, Balance, Slip behind and Step forwards being to the right Hand, and the fame to the left and a Double Bouree forwards, every one of which Steps, as was already obferved, depend upon Fancy, as there are fome Parts 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 faid 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 Minuet. For Example, fhould the faid Dance be perform'd in one Affembly or Company twice or thrice over, its Steps ought to be varied as much as poffible, that is, provided the Dancer is capable thereof; otherwife, as I have already obferved, it is much better performed plain; but to what I was faying the two Marches will be agreeably made advancing upon the feventh Minuet Step of the fecond Divifion, the firft of the three Ways there defcribed, that is, of One and a Fleuret continuing all round forwards. The eighth Minuet Step may be of One and a Fleuret open off fideways to the right Hand, as aforefaid, facing either to the upper 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 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 fame Place or eighth Minuet Step, either fideways facing each other, or advancing 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 Divifions, 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 contrary 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 Minuet Step in One and a Fleuret to the right Hand, as aforefaid, or inftead of the fifth Minuet Step, after which theremaining are as defcribed in the fecond Divifion or S. The third Way of this Step's Performance is by a half Turn upon the Half Coupee or Beginning of the fixth Minuet Step of One and a Fleuret, opening off fideways to the right, or in the fixth Divifion after the Hop inftead of the Minuet Step. The foregoing Graces or Steps being now united and brought into 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's Pleafure. In Order to this inftead of performing the fecond Divifion 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 performed 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 fhorteft Way is once, as defcribed in the foregoing Dance. The faid Dance and its Steps, as I have already obferved, altogether 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 confeffed that the Steps well performed in a Minuet are great Ornaments to that Dance, in filling it with Variety; yet at the fame Time it muft be owned the performing the plain Minuet Steps alone is extremely graceful, if well accomplifhed, and in Effect the moft Gentleman-like, or at leaft the fafer of the two. CHAP. XIII. Of TIME or fome Account of what TIME is, with Rules to be obferved in Keeping it. 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, &c. which Divifions or Parts move or travel round in a continual but juft and regular Motion or Pace, fucceeding each other without ceafing 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 clofely to the Point or Subject in Hand, I fhall endeavour to illuftrate it by one Day or Meafure of the foregoing Space or Time, in fuppofing every Hour therein to be Bars or Meafures of a Dance or Tune; and that they are as fhort in Length or Time, as Meafure in common or triple Time. I fhall likewife fhew, that by one Hour may be comprehended the Scale both of common and triple Time: For Inftance, the former thus. COMMON TIME. 1 Semibreve. -- 1 Hour. 2 Minims. -- 2 Half Hours. 4 Crotchets -- 4 Quarters of the Hour. 8 Quavers -- 8 Half Quarters of the Hour. 16 Semi-quavers. -- 16 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 find in Pieces of Mufic the fixteen Semi-quavers doubled two and thirty Demi-femi-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 Reafon it only confifts of three in a Bar or Meafure: The Example is as follows. TRIPLE TIME. 1 Prick'd Minim. -- 1 Hour in three Thirds. 3 Crotchets. -- 3 Thirds or Parts of the Hour. 6 Quavers. -- 6 Half Thirds or Parts of the Hour. 12 Semi-quavers. -- 12 Half half Thirds or Parts of the Hour. This is the Proportion of Triple Time or three in a Meafure, as ufually put down; yet fometimes it amounts to twenty four Demi-femi-quavers Having now fhewn that the Hours of the Day may be efteem'd as fo many Meafures of a Tune or Dance, it muft confequently be underftood that a Day of twelve Hours contains the like Number of Meafures; and, admitting that the Tune or Dance confifted of feventy two Bars, fix Divifions or Days would compleat it. This Comparifon may poffibly be thought by fome foreign to the Purpofe, tho' it is indeed very juft and fuitable; and I queftion not but upon farther Confideration it will appear fo to the judicious Reader, for fince the Subject in Hand is Time and there is Nothing more certain than the Day and its Hours, the latter will of Courfe 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 ftarting from or dragging behind it, which is often done by fuch whofe Ears are pretty good, as well as by thofe 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 impoffible 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 of Time is of no fmall Confequence in order to dance well, and that too much cannot be faid upon this Head; which is, I think, a fufficient Motive for me to proceed in a few farther Obfervations upon it, which if duly confider'd, I am confident, will be found of remarkable Service. In the firft Place then, you are to take Notice, that of the foregoing Proportions of Time one is common and the other triple, from whence arife all the Times and Movements made ufe of in Dancing. 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 Slownefs or admitting of a fuppos'd Bar in the Middle of the faid Meafure; but the reft as Allemaignes, Gavots, Galliards, Bourees, Rigadoons, &c. are only of one Time, as not allowing of more than one Step to a Meafure by Reafon they are much lighter Movements than the aforefaid Quadruple, of which they are efteem'd but as half a Meafure. The latter confifts of Louvres, or flow Jigs, Courants, Sarabands, Paffacailles, Chaconnes, Minuets, Paffepieds, &c. the firft of which namely Louvres or flow Jigs are of two Times or Steps to a Meafure and agreeable with Quadruple, fo that in Effect 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 Time and only beat as fuch, except that fome are flower and others quicker, which is the Subject I am now about to explain. Common Time, for, Inftance, is of four Notes to the Bar or Meafure, as has already been obferved in the Explanation of the Steps upon that Time; and the Rife or Beginning of the Step, in Dancing, 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 beating Time to the fucceeding Step, which no fooner is perform'd 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 Time, from a Sink upon the firft Note which in all Meafures is out of Time, and alfo performing the Steps of a Dance fometimes fafter 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 of Time. 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 meafuring out the Hours or Divifions of a Day in certain and equal Spaces, during the Time it goes: So the Springs and Steps of a Dance ought to be continued after it is put in Motion by Mufic, 'till the Whole is ended, which may eafily be accomplifh'd. But the Difficulty arifes here; for Example, fuppofing a Perfon, would fet his Watch a going at Twelve at Noon, having no Rule nor any Thing to direct him in it but beholding of the Sun, is it not a Thoufand to One but he wou'd be either before or after the Time? The Cafe is the very fame in Dancing, as to thofe who have not a Genius or Ear to Mufic; 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 Comparifon of the Sun, it is a Point of a very 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 Watch fhewn the true and exact Time in which the Steps of a Dance ought to be perform'd, and the Difficulty of fuiting the Movement of the Dance to that of the Tune, I fhall 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 Confideration; and I fhall begin with the Gavot, upon which Movement the Time is fometimes beat directly upon the firft of the four Notes belonging to the Meafure, but moft ufually after letting pafs or flip half a Meafure, that is to fay, the third and fourth Notes. For the better Underftanding of this I fhall name two or three Dances of the latter Sort, viz. the Princefs Royal compos'd by Mr. L'Abbee, the Princefs Ann by Mr. Siris, and the Gavot to the Dance, named the Prince Eugene, of my own Compofition, and they all begin with odd Notes to which in the Dance a plain Step or Walk is made, whilft the Perfon 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 Meafure; 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 equal Motion up and down neither fafter nor flower, and counting the faid firft, fecond, third, and fourth Notes fucceffively over and over during the fame; fo that the Heel or Toe rifes upon the third Note, remains in the Air the fourth, comes down to the firft, and refts the fecond, &c. as before. The Galliard Movement is intirely the fame, as to the beating Part, but not as to the odd Notes, for inftead of two, as in the foregoing, there is only one here; an Inftance whereof we have in Mr. Ifaac's Galliard, upon which the Heel or Toe is raifed to beat the Time upon the firft Note, as aforefaid. Thefe two Movements are rather more folemn and grave than the following, namely, Allemaignes, Bourees, Rigadoons, &c. but with Regard to the Method of beating Time the very fame, for they ufually begin with an odd Note; and if not, 'tis only borrowing the laft Note of the foregoing Meafure for raifing the Heel or Toe, as aforefaid. It is here to be noted, that it can never be reckoned out of Time, whether the faid four Notes of the Meafure be counted fafter or flower, provided they are continued through the Dance, as begun at firft; for tho' the Fancy of Mafters often differs upon this Point, yet every Movement has its proper Time. From what has been faid it fully appears, that the firft Note or Beginning of a Bar is the Time or Mark the Dancer muft hit; and in Order thereto, as the Performer in Mufic, 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 introducing 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 Time in Dancing, as the Fall of the Heel does in Mufic. Before I proceed to triple Time, it will be neceffary to fay fomething farther of quadruple, which from its Gravenefs is reckoned as two Times, as was already obferved; and I know no more proper or fuitable Method of explaining it, fince in Time and Value it is equivalent to two Meafures of common Time, than the Counting every Note double as One One, Two Two, Three Three, Four Four, and fuppofing them, what in Effect they really are, four Minims, for in this Sort of Time the Crotchets are of equal Length to the Minims, and wou'd be as before obferved, if the Time was beat in the Middle of the Meafure. For Inftance, on the commencing of the third Minim it is no longer quadruple but common Time; from whence it follows, that the Minims muft be beat in their Timing, as one Meafure, the fame as the Crotchets, tho' in Length and Value double to them. Tunes of quadruple Time rarely, if ever, begin with odd Notes, as the foregoing Tunes of common; and, for an Example, I fhall name a Tune or two of this Kind, as the Entree d' Apolon. But as that Dance may not probably be known to fuch as this Book is principally defign'd for, I fhall name a fecond of the fame Sort, namely the Godolphin, compos'd by the late Mr. Ifaac, upon which may be practifed the Time of this Movement; to which End the Heel is 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 rifing, in Order to mark the enfuing Meafure: For Inftance, the firft Rife is made ftrong and brifk upon 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 whereof the Toe or Heel comes down marking the Time to the next Bar, 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 Mufic, 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 Time or of three in a Meafure, I have little to fay, having already in the foregoing Proportions of Time defcribed the Manner of beating or marking Time; for it is altogether fuperfluous and unneceffary to enlarge, fince it is entirely in the fame Method, except to make a few Obfervations touching the 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 of prick'd Crotches and Quavers, mix'd or blended promifcuoufly together, according to the Compofer's Fancy, producing 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 of 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 perform'd fucceffively on, in like Manner, keeping juft and regular Time, &c. as was fhewn before; but, for an Example, I fhall name the La Burgogne by Mr. Pecour and Brawl of Audenarde by Mr. Siris. The next grave Movements are Sarabands, Paffacailles, and Chaconnes, each of three Crotchets to a Meafure, and every one a Degree lighter than the other: Neverthelefs the Method of beating Time is the fame as defcribed above in the Courante Movement, only inftead of Minims to Crotchets and of the Time's commencing after an odd Note, it is mark'd directly as in quadruple; that is to fay, excepting Chaconnes, which always begin with odd Notes. Examples of the two former Sorts are the Princefs Ann, the Follie D'Efpaigne, and Paffacaille D'armid, all which Dances were compos'd by Mr. L'Abbee; and alfo of the latter the Princefs Ann's Chaconne by the fame Author is an Inftance, where a whole Meafure is let flip before the Time commences. The next Minuets and Paffepieds are ftill 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 fecond never. The Time of thefe Movements, in Dancing, ought never to be beat after every Bar but every other Meafure, by Reafon, as has been faid, one Minuet Step takes two Meafures of thefe Movements; and it is to be noted that, as in quadruple, the Time is to be mark'd the firft Meafure down, and fecond up, inftead of twice down. It muft be farther obferved that if the Strains of the Minuet 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 fafter nor flower, than at firft fetting out, during the Performance of the whole Dance; and if the Minuet or Paffepied 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 latter the Royal George, that is, the Conclufion and Beginning of the Bretagne; the firft by Mr. L'Abbee, the fecond by Mr. Pecour, to which I fhall add one more of my own Compofition, namely, the Paffepied Round. As to Tunes of triple Time agreeing with quadruple, viz. Louvres or flow Jigs, they are of two Meafures, or of fix Crotchets in 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, the Entree Efpagnol and Paftoral Dance, the latter by the late Mr. Ifaac; 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 Figs are agreeable to quadruple Time, I fhall next proceed to obferve, that Figs and airy light Tunes of the like Number of Notes to the Meafures, as the aforefaid, agree with Rigadoons in common Time, and beat as fuch in marking the firft three down, and the remaining up; as for Example, in Figs or Forlanes, the Princefs Amelia compos'd by Mr. L'Abbee, and the Dance of that Movement by Mr. Pecour; and the Shepherdefs compos'd by my felf is likewife an Example of this Sort. There is yet another Movement that occurs to my Memory, namely, the Canary, which is of a very brifk Nature, confifting only of three or fix Quavers in a Meafure, but ufually the latter, flipping before the Time 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 Galliard by the late Mr. Ifaac is an Example of this Kind. There is ftill a Movement unobferved, of the like Quantity of Notes to a Meafure, viz. the Hornpipe, which is of three Minims or fix Crotchets in the Bar, and, in marking or beating Time, agrees with a Tune of triple Time 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 fecond Parts of the Union and Richmond are both Dances of a Hornpipe Movement, and of the late Mr Ifaac's Compofition. 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 Affembly or private Room, or in their Dancing, to hearken to the Tune, that they may know the Time in which the Dance is to be perform'd; which they may more eafily do by Reafon 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, we fhould 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 faid before, the moft fure Method I take to be, liftening to the Mufic and Time beat thereto, tho 'that itfelf is uncertain, nothing being more common than the hearing of a Tune begun in one Time, and, before it is ended, to be near as faft again; which renders it impoffible for the beft Dancers whatfoever to dance as they ought, for inftead of their finding the Note upon which they fhould 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 carelefs Air fo agreeable in Dancing, notwithftanding they keep up with the Tune, as being never certain of its Time. Indeed, it muft be own'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 Tune as at firft. By this Means the Dancers, fure of the Time they dance to, perform not only with Pleafure and Eafe to themfelves, but alfo give a double Satisfaction to the Spectators in beholding the Dancers; for altho' the latter are at a confiderable 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 feen in one will be at the fame Inftant obferved in the other, in fuch an exact Symmetry and Harmony of the Parts agreeing with the Notes of the Mufic, as to caufe the moft agreeable Surprize in the Beholders of the two Dancers; or admitting a Dozen or more in Number, by obferving them all to move as only one Perfon. This is the natural Effect of good Dancing adorn'd with all its Beauties, in that the Mufic feems to infpire the Dancing, and the latter the former; and the Concurrence of both is fo requifite to charm thofe who behold them, that each of them in fome Meafure fuffers by a Separation. For Example the Eye can receive no Pleafure in the Mufic any more than the Ear in Dancing; but in Conjunction there is at once an Attack upon both thefe Senfes. Tho' this is only an imperfect Draught of fine Dancing, yet it may ferve to fhew how frequently this Art fuffers by the Unfkilfulnefs 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 defcribed and taken in Pieces. I have alfo fhewn how the Step sof each Meafure are made to common or triple Time; and in the Minuet I have given an Explanation of all the Steps of that Dance; and fhewn, tho' in Effect 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 practifed or beaten; and in the Rules for the fame I have fully made appear, how the Steps of the foregoing Difcourfe, altho' in Pieces, are there united and fet together again, moving in juft Time to the Sound of Mufic, as the Watch is put in Motion by its Springs. Upon taking fome farther Notice of the Elevation, Movement, and graceful Fall of the Arms, together with fome Obfervations concerning Country Dancing, I fhall 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 accomplifhing whereof will be a fufficient Recompence for the great Pains, Trouble, and Expence I have been at in compleating the fame; and, as there never hitherto appeared in the World, at leaft in our Language, a Piece of this Nature, I flatter my felf it will meet with the more Acceptance. CHAP. XIV. Of the Movement of the ARMS in DANCING. HAVING fhewn the Method in which the different Steps are to be taken and perform'd, I fhall now proceed to fhew how the Movements of the Arms ought to accompany the faid Steps in Dancing; left this Work fhould be compared to the Legs and Body of a Man without Arms. However as on the one Hand, I fhall make it my Study to omit Nothing that can contribute to compleat this Work, I fhall at the fame Time, on the other, only obferve what I apprehend to be material, without tiring the Reader's Patience on a Subject which cannot be compleated without the very beft Mafters. The Correfpondence of the Legs and Arms in Dancing is a Point of fo nice a Nature that any Awkwardnefs or improper Movements therein would deftroy the Beauty of the whole, fince that Dancing cannot be good which is decrepid or lame in any of its Parts, any more than a Gentleman or Lady can be juftly efteem'd compleatly genteel who are naturally and eafily difpofed in fome Parts and difagreeable in others; 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 whatfoever Pofition we ftand before the Elevation or Raifing of the Arms, the Palms or Infides of the Hands are to our Side in a genteel eafy Shape or Fafhion, the whole Arms hanging from under the Shoulders without Force downwards, or too much Relaxation upwards, but natural and eafy in a Readinefs for the Elevation +. The next Obfervation relates to the Pofition of the Hands after their Elevation or being raifed; and we fhould 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 the Arms above correfponds with the Sink or Bending of the Knees below #. This is done by moving or raifing the whole Arms; and, in the Fall of the faid Arms to their firft Situation after their Elevation, the Palms of the Hands, inftead of right forwards as before, are now to the Floor; which is effected by a flow and eafy Turning of the faid Wrifts during the Motion of the faid 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 + See the Figures in Plate I, B. I. # See Plates II and XV in B. I. 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 refembling the Fall of a Feather or the Coming down of a Bird, their Fall is fo fmooth and eafy; and it is a wonderful Grace to Dancing when well performed. To avoid being tedious or overloading this Subject with too many Obfervations I fhall reduce the various Movements of the Arms to three or four, viz. firft, the Movement of the Wrifts from the Elbows round upwards (a). Secondly, the Movement of the Arms inwards in their Motion upwards (b). Thirdly, the compleating the faid Movement of the Arms inwards by the Movement of the Wrifts round upwards mentioned before (a). And fourthly, the irregular or contrary Movement (c). Now, as to the Method of Performance and Timing of the Movement of the Wrifts round upwards, it is by a flow and even Motion or Movement of the Knuckles or Forefingers and Thumbs upwards round from a fmall Bend of the Wrifts and Elbows correfponding therewith (b). The Commencing is upon one, the Movement round backwards (b) finifhing in a Flirt or carelefs Motion of the Wrifts and Arms in their Return to their former Situation, as in the Pofition of the Arms after their Elevation; upon two (a) and three if to triple Time, in the Motion or Preparative for the Movement of the Arms next enfuing, as it will conclude in like Manner upon four, if to common Time. The next Movement is made by the eafy Fall of the Elbows at the fame Time or Inftant; and the Knuckles or Forefingers and Thumbs lead the Way in a fmooth and eafy Motion from below upwards forming a quarter or half Circle or Bow + The Hands in a handfome Fafhion may be fuppofed the Ends or Points of the faid half Circle or Bow; and it is to be noted that this Movement is * See the Plates XV, and II, B. I. # See the Figures in Plate I, B. I. (a) See Plate XV, B. I. (b) See Plate X, B. I. (c) See Plates IV, V, VI, IX, XII, XIII, XIV. B. I. + See the Figures in Plates X, and XI, B. I. only about the one Half of the aforefaid. But as that begun by forming the Circle round upwards above the Pofition of the Arms, the Elbows during the Movement of the Wrifts remaining elevated until the Flirt or Finifhing is made, on the other Hand in this Movement of the Arms the half Circle, or Motion the Wrifts 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, whilft the Forefingers and Thumbs, as aforefaid, at the fame Time move upwards in the like flow and deliberate Manner, finifhing together with the Hands above and the Elbows below in Order to the throwing the Arms open off again, as in fHops, Chaffees, and the like, for which thefe are the proper Arms. The bringing them in on the Conclufion of the foregoing Step, as juft defcribed ||, is in Order to the faid throwing them out on the Time or Beginning of the next Step + for which this is the Preparative, tho' the Movement of the Arms to the Palms of the Hands downwards muft always be firft made by Way of farther Preparation, concluding open and extended, 'till the Meafure is expired; and from hence it appears, that thefe two Movements ufually anfwer each feparately to a Meafure or Step, forming together much about a whole Circle. The former Half, as I have faid, moves under the Pofition of the Arms, and the latter Half above in the Movement of the Arms round upwards in the Form and Manner above defcribed; and thefe are the fecond and third Movements I propofed to explain. The irregular or fourth and laft Movement is produced from the two former, viz, by the Fall of the Elbow of one Hand as the Knuckle moves upwards, whilft the other at the fame Time performs the Motion of the Arm round upwards; which compofe a fine Contraft, concluding both at the fame Time (d) with one Hand bended and the other extended (d). This beautiful contrafted Movement changes, every Step alternately, firft one Hand and then the other, and is the proper Movement of the Arms in Half || See the Figures in Plates X and XI, B. I. + See Plate XV, B. I. (d) See Plates IV, V, VI, IX, XII, XIII, XIV, B. I. Coupees, Marches, Bourees, and the like; only it muft be obferved that the bended Arm is the contrary Arm to the beginning Foot in any of the Steps (e) aforefaid, excepting backwards or fideways, becaufe then the Oppofition or Contraft is between the fame Hand and Foot, as was already fhewn in treating of Walking (f). The Movement of the Arms round upwards + is made ufe of in Pirouttes, Bourees with a Bound, and all fuch like Steps. Altho' there are various other Methods or Manners of moving the Arms in Dancing, yet as thefe, 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 Defign) to enlarge, efpecially on a Subject which, as I have already faid, cannot be fufficiently defcribed by Words but muft be compleated by the very beft Mafters; and therefore to avoid Trifling, as I have defcribed and given fome Hints of the Method or Manner of moving the Arms which will agree with all the Steps made Ufe of in genteel Dancing, I fhall refer the reft to the perfonal Inftructions of a Mafter properly qualified, who muft compleat what is here wanting, not only in Relation to the Movements of the Arms but alfo thofe of the Feet between which there is, as I have already obferved, a perfect Connexion and Harmony. The Fingers and Toes, Wrifts and Ancles, Elbows 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 DANCING. THO' 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 Plates IV, VI, IX, XII, XIV, B. I. (f) See Plate XIII, B. I. + See Plate XV, B. I. indeed I think it may very properly be efteem'd as a luxuriant or carelefs Branch growing out from the other) and is become as it were the Darling or favourite Diverfion of 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 Character) is very much eclipfed and deftroyed by certain Faults, or Omiffions, in the Performers not hitherto, if I remember right, taken Notice of in any Books; I fhall, at the Requeft of fome Perfons of Figure my Subfcribers, endeavour to point out thofe Neglects which render this Diverfion, to fine Dancers, either altogether difagreeable, or much lefs pleafant, becaufe one or two Couples either through Carelefnefs, or Want of better Inftructions, will put the whole Set in Diforder. This will always be occafioned by the Couples below thofe who lead up the Dance, when they omit moving up into the firft Couple's Places, on their cafting 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 Couples move downwards, the Couples coming up to lead the Dance fhould move upwards and, when they move up again, the Couples who do not lead the Dance ought to move down again, attending the Motion of the Dancers going down with the Dance, who in Return will attend them in like Manner, when they arrive at the upper End to dance in their Turns. The nice Obfervation of this prefents to the Beholders an agreeable Profpect 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 Converfation 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 forget that they are immediately to begin again with the next above them, and fo for Want of Attention breed Confufion and at the fame Time expofe themfelves to the Spectators. Indeed good Breeding, in Regard to thofe with whom we dance, requires our not being carelefs; and yet my fair Readers and others I hope will excufe me, if I tell them I fear this is too often the Cafe, fince with due Circumfpection and Care it is impoffible not to follow almoft any Country Dance, tho' I muft own when I was a Youth I 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, firft with one Couple and then with another, it is impoffible, I fay, but we muft be 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 being only to obferve and diftinguifh one from another the Things of of which the different Parts of all Dances whatfoever are compofed whether Cafting off or up, Figuring in, Hands acrofs or round, Right Hand and Left, Flying, Purfuing, Clapping of Hands, Heys, Leading up or down, Back to Back, Changing of Places, Falling back, Meeting again, or whatever it be, by dividing one Part of the above Catalogue from the other. And with a little Practice you will foon be able not only to follow Country Dances but alfo lead them up, tho' you never danced them before: For Inftance, if a Gentleman or Lady at the upper End propofe a Dance to their Partner unknown to one of them, you need only afk how it begins, and they will acquaint you, and whether it be Falling Back, Meeting again, Croffing 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, 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 practife in Public, and thereby not only render this Diverfion more agreeable to themfelves, but alfo more pleafing to thofe who accompany them in this Exercife. Befides as I have before hinted, inftead of giving a confufed Idea to the Beholders it will afford an agreeable Landfcape or Profpect of fo many Pairs of fine Gentlemen and Ladies gracefully in Motion to the Sound of Mufic, and compleating each Part of the Dance in Time to the Meafure, or Strains of the Tune, as it were of one Accord: As of even Rows longwife when falling back and meeting again; half Circles, when cafting 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 purfues; round Circles, when Hands are joined; crofs Figures, when the right or left Hands are joined moving round; Beating Time in Contraft, as when Hands are clapped firft in Time with their own, and next croffwife with their right Hand againft their Partner's, or others again clap their own Hands, and afterwards ftrike the left in Contraft; Leading croffwife in Rows, in Order of marching up the Room and the like down, with various other beautiful Circles and Figures. If a fine Picture, beautiful Fields, cryftal Streams, green Trees, and imbroider'd Meadows in Landfcape or Nature itfelf will afford fuch delightful Profpects, how much more muft fo many well fhap'd Gentlemen and Ladies, richly drefs'd, in the exact Performance of this Exercife, pleafe the Beholders, who entertain them with fuch a Variety of living Profpects. Having in the above Sketch or Draught attempted to raife fome noble Ideas of Country Dancing, when performed in a proper Manner, and in the foregoing Inftructions pointed out and removed all the moft material Faults and Omiffions in the Performance of this Branch of our Art, which either obftruct the Pleafure of the Dancers, or Beholders, I think I have finifhed what I defigned, viz. the Improvement and Pleafure of others. I fhall therefore conclude this Work, not in the leaft queftioning but my good Intentions will meet with a favourable Reception from the Public, efpecially from thofe who receive Benefit or Profit thereby. FINIS. THESE are to certify, that the foregoing or Second Part of the Work entitled, the ART OF DANCING EXPLAIN'D, was defigned and compofed long before the Treatife entitled, the DANCING MASTER, appeared as we believe and that, having carefully perufed and examined the fame, we found that, on the twenty feventh Day of January, 1727-8, it was written in its prefent Form. Witnefs our Hands, ALEX. JACKSON, JOSEPH JACKSON, Dancing-Mafters. BOOK I. The following CUTS reprefent the Figures of Gentlemen ftanding in the different Attitudes or Poftures, from whence the Steps of Dancing are to be taken & performed; and the Steps are alfo defcribed in Characters as going to be made by the faid Figures, or as having been already performed by them. The CUTS were originally defigned not only for the better Explanation & Underftanding of my Printed Book, intitled The ART of DANCING explained by READING and FIGURES, but likewife to be proper Furniture for a Room or Clofet, being of themfelves an intire and independant Work, for if put in Frames with Glafses, they will not only show the various Pofitions or Poftures at one View, but be very agreeable & inftructive Furniture. The PLATE marked A. contains the Plan of Rooms in different Pofitions, fhewing the upper & lower Ends, and the proper Place in which the Dancers ought to begin. The PLATES E.I. contain Tables of the Steps which the faid Figures are fuppofed to perform in their regular Order, as treated in ye firft Book which bears the Title aforefaid. The Price of the CUTS belonging to the firft and fecond Books without ye Printed Part is Two Guineas: and thofe who are willing alfo to purchafe the latter, viz. the Printed Part, may have it of the AUTHOR at the Red and Gold Flower-Pot next Door to Widow EDWARDS's Coffee Houfe, over againft the Bull and Gate in Holbourne, for Half a Guinea, purfuant to my Printed Propofals wherein I afsured the Public, that the whole Work, except to Subfcribers, fhould not be fold under Two Guineas and a Half. June 26. 1735. A {Plate A} The upper End. The Art of Dancing The left Side. The right Side. The half Coupee tho' a very agreeable Step in Dancing as well as one of the kt. The Coupee on the other hand is a Compound Step that is to say two Steps joined kt. M. S. W. The lower End. B.I. P.I. Saraband. {Plate I.} NB Each Plate reprefents three things, viz. The Music, the Dance and the Dancers. For the rest see Plates V. & VII. B.I. P.II. Triple Time Common Time {Plate II.} To my ever refpected Scholar George Heneage of HAINTON in the County of LINCOLN Esqr This PLATE is Gratefully inscribed by His very much obliged Servt Kellom Tomlinson. B.I. P.III. {Plate III.} To my much Honoured Scholar the Rt Honble the Lord Howard, Son to the Earl of Stafford; This PLATE is humbly dedicated by his Lordfhips most obliged Servant Kellom Tomlinson. B.I. P.IV Saraband {Plate IV.} To my Honoured Scholars, the Honble THOMAS ASTON and the Honble JAMES ASTON, Sons to the LORD ASTON. This Plate is with all gratitude inscrib'd. By their most devoted Servt Kellom Tomlinson. B.I. P.V. Cannary movement {Plate V.} Thofe who understand Music and ye Characters of Dancing will hear the former by the Sight of the Notes & see ye various Turnings and windings of ye latter in ye Characters below, & in ye Figures ye graceful Attitudes of ye Dancers, forming together not only a compleat entertainment of Music & Dancing but also a fine picture. B.I. P.VI Saraband. {Plate VI.} To my ever respected Scholars Nathaniel Curzon and Afshton Curzon Esqrs Sons to Sir Nathaniel Curzon of Kedlefton in the County of DERBY, Bart. This PLATE is most humbly inscrib'd by their very much obliged Servant. Kellom Tomlinson. B.I. P.VII. Common Time. The Galliard movement. Triple Time. {Plate VII.} The figures to ye Mufic above & to ye Characters or Steps of Dancing below show how they are connected or egree together, & ye Figures to ye Characters, which are fome of them upright & others ye wrong End upwards, fideways &c shows to which part of ye Room ye Beginning of ye Steps in performed & ye Steps or Characters are placed upon ye Floor in a perspective Manner intirely new. BI P.VIII. {Plate VIII.} To the Honourable Charles Talbot and the Horourable John Talbot. Sons to the late Earl of Shrewsbury, this PLATE is humbly inscribed by their Honours Most obliged Servt K. Tomlinson. B1 P.IX. Common Time. Triple Time. Common Time. Triple Time. {Plate IX.} To my much respected Scholar Henry Hunloke Esqr Son and Heir to Sir Windfor Hunloke of Wingerworth in the Counry of Derby bart and to master Windfor his Brother this Plate is most gratefully infcribed by their ever obliged Servant Kellom Tomlinson. B.I. P.X. Triple Time Common Time {Plate X.} To my once Honoured Scholars the Marquifs de Seyfsel, and the Count de Chattillion Sons of his Excellency the Marquifs d'Aix Envoy Extraordinary from ye KING of SARDINIA, to the Court of GREAT-BRITAIN in the years 1706, 1707, & 1708. This PLATE is most humbly Inscrib'd by, Their most obliged Servant Kellom Tomlinson. B.I. P.XI. Triple Time Slow. {Plate XI.} To Edward Blount of Soddington in the County of Worcester Esq: Son & Heir to Sr Edward Blount Bart & to Master Walter his Brother. This PLATE is most humbly Inscribed by their most obliged Servant. Kellom Tomlinson. B.I. P.XII. Pafsacaille or Chaconne. {Plate XII.} To Peter Giffard Esqr Son and Heir to Peter Giffard of Chillington in the County of STAFFORD Esqr and to Master Thomas his Brother this PLATE is most humbly inscribed by their much obliged Servant. Kellom Tomlinson. B.I. P.XIII The 1st Movemt of the Chaconne {music} or Pafsacaille Step ended {Plate XIII.} To my ever respected Scholar Thomas Greafley Esq, Son and Heir to Sir Thomas Greafley of Dracklow in the County of DERBY Bart and to his Brother, this PLATE is most humbly inscribed by their much obliged Servant Kellom Tomlinson. B.I. P.XIV. The 2d Movemt of ye Pafsacaille {music} Step or 1st of the Balonne {Plate XIV.} To my much respected Scholar James Mytton of Garth and Pontiscouerit in MONTGOMERYSHIRE Esqr and Master Richard his Brother. This PLATE is most humbly Inscribed by their ever obliged Servant Kellom Tomlinson. B.I. P.XV. Triple Time. Pafsacaille. {Plate XV.} To Corbet Owen of Yuyfmaingynne MERIONETHSHIRE, and Riwfaifon MONTGOMERYSHIRE Esqr & my most respected Scholar Master Richard his Brother. This PLATE is moft humbly Inscribed by their most Oblig'd Sert Kellom Tomlinson. B.I. P XVI. A Single Dance for a young Lady. {Plate XVI.} To my once Honoured Scholar Mademoiselle de Seyfsel, Daughter to his Excellency the Marquifs D'Aix, Envoy extraordinary from the KING of SARDINIA to the Court of GREAT BRITAIN, in the years 1726, 1727 & 1728. This PLATE is humbly inscrib'd by Her most obliged Servant Kellom Tomlinson. E. Table ye 1st The Half Coupee. Table ye 2d The Coupee. Table ye 3d The Bouree. Table ye 4th The Point & March. Table ye 5th The Bound. Table ye 6th The Cloze. Table ye 7th The Leap or Jump Table ye 8th The Rigadoon Step of one Spring open in the same Place. Table ye 9th The Rigadoon Step of two Springs. Table the 10th The Galliard and Falling Step. The Explanation of the Letters in the above Tables F.Forwards. B.Backwards. S.Sideways. T.B.Twice Behind. M.March. P.Point. U.Upright. R.Round. I. Table ye 11th of the Slip before & Slip behind. Table the 12th of the Hop or Contretemp. Table ye 13th of the Chafsee or Driving Step. Table ye 14th of the Beaten Coupee or Hop & Driving Step of two Movements Table ye 15th of the Chafsee or Driving Step in ye fame Place Table ye 16th of ye Flying Chafsé or Driving Step backwards Close and Coupee to a Meafure Table ye 17th of the Hop of two Movements from ye 5th Pofition &c. Table ye 18th Pafsacaille Step. Table ye 19th Table ye 20th Fall & Spring with both Feet at the same time &c. Table ye 21st Close beating before. falling backward &c. Table ye 22d Close beating before, falling behind in a whole Turn &c. Table ye 23d Balonne Table ye 24th Turn upon a whole Pofition a Quart Half 3 Quart or whole Turn to either Hand. Table the 25th Pirouett. Table ye 26th Table the 27th Boree before and behind Table y 28th Whilst Tuneful Mufic gives the Ear Delight, And Graceful Dancing charms ye ravifh'd Sight, They give a double Force to Cupid's Dart; Which through ye Eye makes Paffage to ye Heart. BOOK II. The following CUTS reprefent the Figures of Gentlemen and Ladies, one of each in a Plate, as Dancing a Minuet, beginning from ye Reverence or Bow and proceeding regularly on 'till the whole is finifhed; fhewing the beautiful Attitudes and graceful Deportments of the Performers in the different Figures and Circles of that celebrated Dance, they being of themfelves an intire and independant Work. Thefe Prints are alfo defigne'd as proper Furniture for a Room, as well as for the better Explanation of the fecond Book entitled, The ART of DANCING Explain'd by READING and FIGURES; and when hung up in their regular Order in Frames with Glafses, they will be a beautiful and inftructive Reprefentation of the whole Dance at one View. The PLATE marked O is a Specimen or Explanation of the Characters of Dancing; and that marked U contains the whole Form of the Minuet written in Characters in the Order defcribed in the fecond Book under the Title aforefaid. NB. Both Sets of Cutts were invented and caufed to be delineated from the Life by KELLOM TOMLINSON Dancing-Mafter. B.II. P.I. {Plate I.} To my once honoured Scholar the Right Honourable the Lady Elizabeth Heathcote, Daughter to the late Earl of Macclesfield, and Thomas Heathcote Esqr her Ladyships Eldest Son, this Plate is most humbly inscrib'd by her Ladyship's ever obliged Servant Kellom Tomlinson. B.II. P.II. The Music or Flourish to the Ceremony or first Honour {Plate II.} To my ever respected Scholars Mr Simon Every of Edgington in the County of DERBY. Son to the Reverend Sir Simon Every Bart and Mifs Ann Every his Sister. This PLATE is gratefully inscrib'd by their much oblig'd Servant. Kellom Tomlinson. B.II. P.III. The Music or Flourish to the Ceremony between the 1st and 2d Honours. {Plate III.} To my very much respected Scholar Legh Mafter Junior, of Newhall in Lancafhire Esqr and to Mifs Elizabeth Mafter his Sister. This PLATE is most gratefully inscribed; by their ever obliged Servant Kellom Tomlinson. B.II. P.IV. The Musick Ceremony concluded. The Dance begins. Minuet. {Plate IV.} To my Ever Honoured Scholars the Honble Edward Afton Son and Heir to the Lord Afton, and the Honble Mifs Afteon his Sifter. This PLATE is most gratefully Inscribed by their Honour's most Obliged Servant. Kellom Tomlinson. B.II. P.V. The Introduction or regular Order of the Minuet continued. {Plate V.} To Mr Cotton, Son to Rowland Cotton of Etwall in the County of DERBY Esqr and to my much respected Scholar Mifs Catherine Cotton. his Sister. this PLATE is humbly inscribed by their most obliged Servt K. Tomlinson. B.II. P.VI. The regular Order of the Minuet continued. The under written Music is to the Steps contained in this Plate on their Repetition a Second Time between the Plates XI and XII. {Plate VI.} To the Rt Honble Brownlow Lord Burleigh Son to the Earl of Exeter, and the Rt Honble the Lady Margaret Sophia Cecil his Sister this Plate is most humbly Inscribed by their Honrs most oblig'd Kellom Tomlinson. B.II. P.VII. The regular Order of the Minuet continued. {Plate VII.} To the Most Noble & Puifsant Lord George Tablot, Earl of Shrewfbury & Baron Talbot in ENGLAND, & Earl of Waterford & Wexford in IRELAND; & to my much Honoured Scholar ye Lady Mary Talbot, his Lordships Sister, This PLATE is most humbly Inscribed by their obliged Servt Kellom Tomlinson. B.II. P.VIII. The regular Order of the Minuet continued. The under written Music is to the Repetition of the Steps contain'd in this Plate a 2d Time between Plates X and XI concluding in Plate XI. {Plate VIII.} To Corbet Owen of Ynyfmaingynne MERIONETHSHIRE and Riwfaifon MONTGOMERYSHIRE Esqr and my ever respected Scholar Mifs Elizabeth Owen his Sister, this PLATE is gratefully inscribed by their most obliged Servant Kellom Tomlinson B.II. P.IX The regular Order of the Minuet continued or Presenting of the Right Hand. {Plate IX.} To my much honoured Scholar the most Noble and Puifsant Lord William Stafford Howard, Earl, Vifcount and Baron of Stafford, and to the Right Honourable the Lady Mary Stafford his Lordship's Sister, this PLATE is most humbly inscribed by their very much obliged Sert Kellom Tomlinson B.II. P.X The regular Order of the Minuet continued. Continues in Plate VIII a time {Plate X.} To my once Honoured Scholars the Marquifs de Seyfsel & Mademoifelle de Seyfsel, Son & Daughter to his Excellency the Marquifs d'Aix late Envoy Extraordinary from ye KING of SARDINIA to ye Court of GREAT BRITAIN, & now Governour of MILAN. This PLATE is most humbly Inscrib'd by their most oblig'd Servt Kellom Tomlinson. B.II. P.XI The regular Order of the Minuet continued. Continues in Plate VI a Second Time. {Plate XI.} To the Honourable Mr Belafyfe, and the Honourable Mifs Belafyfe, Daughter to Thomas Vifcount Fauconberg, and my once honoured Scholar Catherine Vifcountefs Fauconberg this PLATE is most humbly inscribed by their Honours very much obliged Servt Kellom Tomlinson. B.II. P.XII. The Conclusion or Presenting of Both Arms. {Plate XII.} To the Honble Mr de Courcy and the Hpnble Mifs Mary Elizabeth de Courcy Daughter to the Lord Kingsale this Plate is, with great Respect, inscribed by their very much obliged Servant Kellom Tomlinson. B.II. P.XIII. The regular Order of the Minuet Continued. {Plate XIII.} To my ever respected scholars Henry Every of Egington in the County of Darby Esqr Son and Heir to the Reverend Sr Simon Every Bart and Miss Mary Every his Sister, this Plate is most humbly inscrib'd, by their very much obliged Servant Kellom Tomlinson. B.II. P.XIV. The regular Order of the Minuet Continued. {Plate XIV.} To James Stanley Esqr Son and Heir to Sr Edward Stanley Bart & to my much respected Schola Mifs Elizabeth Stanley his Sister. This PLATE is humbly inscribed by Their most obliged Servt Kellom Tomlinson. O The Marks or Characters which distinguifh one Step from another. The Presence of ye Body up ye Room The Beginning of a Step. A Sink. Rife. Bound. Hop. Caper. Fall. Slide. Foot up. Point ye Toe Place ye Heel Quarter Turn. Half Turn. 3 Quarr Turn Whole Turn The above Marks fix'd upon the Steps in their proper Places. A half Coupee. Bound. Hop. Caper. Fall. Slide. Foot up & then down. Point ye Toe & then place the Heel. Place the Heel & afterwd point ye Toe. Quartr Turn. Half Turn. 3 Quarr Turn Whole Turn The five Positions 1st 2d 3d 4th 5th The upper End The left Side The Dancing Room. The right Side The lower End The different Lines or Tracts on which the Steps of Dancing are placed fhewing Likewife the Figure of the Dance. A right Line for a Man A Diametrical Line A Circular Line The Oblique Line. A Circular Line for a Woman The Bars whch divide ye Meafures of a Dance. The Line or Hair which tyes two or more Steps together. one Degree faster ftill faster A half Mea a Meafure Marks for letting flip certain notes & Meafures of a Dance. A quar. Ti. A half Tim. A Time. To give ye Left Hand. lett go ye Left Hand to give the Right Hand Lett go ye Rigt Hand. Lett go both Hands give both Hands. Table the 2d The different Steps of which the Minuet Dance is Compos'd. Table the 3d Some Steps mafe ufe of in the Minuet by way of Grace. The NOBILITY and GENTRY, who are defirous their Children fhould learn the Characters of DANCING, of which the above is a Specimen, and willing to honour the Author in learning of him. fhall pay no more than ye ufual Prices for Dancing only. viz. at their own Houfes one Guinea and an half 12 Leffons: and in Proportion if they are pleafed to come to him, for in his humble Opinion teaching to play by Ear and to Dance without Book are equally wrong & ought to be difcontinued. Young Dancing Mafters alfo may be inftructed in the Art of Dancing & Writing by Characters. U The Introduction 1st Division. The S reversed or common form of the Minuet. 2d Division. The Presenting of the right Arm. 3d Division. The Presenting of the Left Arm. 4th Division. The S reversed or common form of the Minuet. 5th Division. The Presenting of both Arms and Conclusion. 6th Division. The above is the whole Form and regular Order of the Minuet written in Characters & Figures, as describ'd in Book II.