I: all-Room Companion l Guide to Dancing. JOHN HART, PERTH, 0:nT. ■aw. WMWi. i ■*■'* P««^— ■'- »•«*-'• ■»^ ass --^. CANADIAN TEN CENT a- BALL-ROOM COMPANION ^ AND GUIDE TO DANCING, COMPRISING RULES OF ETIQUETTE, HINTS ON PRIVATE PARTIES, ■ .,1 "^^^ TOILETTES FOR THE BALL-ROOM, ETC. ' \ ALSO, A SYNOPSIS OF HOUND AND SQUAR.E DANCES^ DICTIONARY OF FRENCH TERM?, ETC. - > , » ' » ' , '», ..t- ' v.* . > 1. TORONTO: 'i*i < WM. WAKWICK, PUBLISICEE. ■, ^ " 1871. ' ''V V' 7^ -^''" ___ __.r _ _r":: i-fcl -.,:-:. __: / »_ j_Sti-._ ^ i-t: B fooi-^ '^ hlnu n .PIAG^RAM OF QUADRILLE. NOV 6 - mi Hi AD COUPLE — ^FIEST. * 3 ft Gent* M n » P< t3 Q O M S Lady* * Lady 03 I— I e o o G » O *Gcnt ^ £1 •:?:,--4>v^^-.^ * HEAD COUPLE SECOND. -m C0NT£:NTS. Etiquette : page Arrangements, , 5 Private parties, 6 The parlour or dancing apartment, - 6 Music, r 7 Refreshments, 7 Ladies' toilets, 8 Gentlemen's dress, 9 The guests, 10 Jasquerades 11 Promenade Concerts 11 Sociables 11 DiiDER OF Dancing , 12 Special Rules of Conduct , 14 3: The pleasure of your company is requested at a reunion of the above sociable to be held at '■ on evening, 187 — . Compliments As a guide, we append a copy of a prograynme du hal as suggesting the proper variety either for a public ball or private party. 12 THE DIME BALL-ROOM COMPANION. H O »— ic^e0"<*iocoir-ooa50i— I i— I J^ o B /flit; « O 03 > O •^ o 'o - '5 O - e3 c3 o 03 03 (D fa -iil o „ ■^ o O 00 u N :^ CD g CO 0*0 •J a 03 ?5 o Oi H k5 a c3 o o O C3 «5 03 S - c c "* (U o N i=! 03 03 Di .- T3 03 O - 03 "-IS ^ fl 0) ^ 03 -S ■'5 :^ J 'a 3 " I— ( 00 Hi: o r-- Ph ^o 7^ X e3 I— I lO a o w J) (M THE DIME BALL-ROOM COMPANION. 13 Formerly, at balls, a Master of Ceremonies was considered indispensable ; but this custom is going out, and his duties are performed by the ''Managers," who are often distin- guished by a tiny rosette, or arrangement of a single flower and a ribbon in the button-hole. These superintend the dances, and gentlemen desiring to dance with ladies apply to them for introductions. ..': -c j s r' - In private parties introductions are effected through the lady of the house, or other members of the family. W here there are daughters, they fitly exert themselves in arranging sets, giving introductions, and so forth — never dancing them selves until all the other ladies present have partners. No gentleman should ask a lady to dance with him until he has received an introduction to her. This may be obtained through members of the familj, or managers of the party. The usual form of asking a lady to dance is, " May I have the pleasure of dancing this quadrille with you?" Where there is great intimacy, " Will you dance?" m&y suffice. To accept is easy enough — ''Thank you," is sufficient 5 to d»» cline with delicacy, and without giving offense, is more diffi- cult — "Thank you, I am engaged," suffices when that ex- presses the fact — when it does not, and a lady would rather not dance with the gentleman applying to her, she must beg to be excused, as politely as possible, and it is in better taste for her not to dance at all in that set. , ;i The slightest excuse should suffice, as if is ungentlemanly to force or press a lady to dance. Ladies should take special care not to accept two partners for the same dance ; nor should a gentleman ask a lady to dance with him more than twice during thi same evening: if he is particularly intimate with a lady, he may dance with her three, or even four, times. Do not forget the daughters of the house : to overlook them is a great discourtesy. When a lady has accepted, the gentleman offers Ker his right arm, and, if it be for quadrilles, takes a position in the set. ^ A slight knowledge of the figure is sufficient to enable a gentleman to move through a quadrille, if he is easy and un- embarrassed, and his manners are courteous j but to ask a lady to join you in a polka, or other round dance, in which 14 THE DIME BALL-ROOM COMPANION. yon are not thoroughly proficient, is an unpardonable offense. It is not good taste for gentlemen who do not dance to ac- cept invitations to balls 3 but it is only the parvenu who, with a knowledge of dancing, hangs about the doors, and declines to join in the amusement. It is not necessary to bow to the lady at the end of a quadrille — in fact, any thing like formality is now discounte- nanced ; it is enousch that you again offer her your right arm, and walk half round the room with her. You should inquire if she will take refreshments, and if she replies in the affirmative, you will conduct her to the room devoted to that purpose — where it is good taste on the part of the lady not to detain ber cavalier too long, as he will be anxious to attend to his next engagement, and can not return to the ball-room until she is pleased to be escorted thither, that he may resign her to her friends, or to the partner who claims her promise for the next dance. A lady should not accept refreshments from a stranger who dances with her. " The gentleman who dances with a lady in the last dan ce before supper, conducts that ladv to the supper-room, attends on her while there, and escorts her back. At a private party, the lady of the house may ask a gentle- man, who is not dancing, to take a lady down to supper, and he is bound to comply, ani to treat her with the utmost deli- cacy and attentioa. In either case a gentleman will not sup with the ladies, but stand by and attend on them, permitting himself a cup of coffee with them ; but taking subsequent opportunity to secure his own refreshment. SPECIAL RULES OF CONDUCT. J ■ One or two hints on conduct may be here grouped together. It is not "veil to dance every dance, as the exercise is un- pleasantly heating and fatiguing. Never forget an engagement — it is an offense that does not admit of excuse, except when a lady commits it, and then a gentleman is bound to take her word without a murmur. Engaged persons should not dance together too often; it it in bad taste. ^ THE DIME BALL-ROOM COMPANION. 15 Gentlemen should endeavour to entertain the ladies who dance with them with a little conversation, more novel than the weather and the lieat of the room; and in round dances they should be particularly careful to guard them from col- lisions, and to see that their dresses are not torn. Assemblies of this kind should be left quietly. If the party is small, it is permissible to bow to the hostess ; but if the company is large, this is not necessary, unless indeed you meet her on your way from the room. Avoid making your departure felt as a suggestion for break- ing up the party 5 as you have no right to hint by your move- ments that you consider the entertainment has been kept up long enough. Finally, let no gentleman presume on a ball-ro@m introduc- tion. It is given with a view to one dance only, and will certainly not warrant a gentleman in going any further than asking a lady to dance the second time. Out of the hall-room such an introduction has no force whatever. If those who have danced together meet next day in the street, the gentle- man must not venture to bow, unless the lady chooses to favor him with some mark of her recognition : if he does bow, he must not expect any acknowledgment of his salutation nor take offense if it is withheld. After a private ball it is etiquette to call at the house within a week, but it is sufficeut to leave a card. « " -*: With these introductory instructions, we will now proceed to describe the dances now in vogue according to the best and most reliable authorities. " ;. ^ ; SQUAliE DANCES. , . The quadrille, though generally considered the slowest of dances, is, perhaps, about the pleasantest and most sociable ever contrived ; and despite the conterapt with which many violent advocates of the deux-tempts and galop are inclined to regard it, we still continue to look upon the plain quadrille as the g:reat institution of the ballroom. It is pleasant in many iWays, for it allows scope for those whose dancing capabilities are not of the highest, and affords a grateful rest for those who have just heated themselves with the rapid whirl of a round dance. It has also the advantage of being suitable for even \ 16 THE DIME BAL L-ROOM COMPANION. the oldest and most demure visitor in tlie room, as well as tlu. youngest and most lively, and from the intervals occnring during the figure, opportunity is given for agreeable conver - sation with your part ner. Three sets of quadrilles hold possession of the ball-room. I These are known as the Plain Quadrille, the Lancer??, and the Caledonians. They vary considerably, but the term quadrille is applicable to each. Before describing the figures of these dances, there are one or two rules which we should wish to mention — their observ- ance tending greatly toward the proper achievement of the quadrille. A general misunderstanding seems to exist as to the po silion of the first or principal couple In the quadrille, to which we have already referred. The best rule to observe is this . taking a room lengthwise, the first couple should always have the firt jjlace on their right, and the third couple are those on the right of the first couple of the set. If this sim- ple rule be rigidly adhered to, much confusion may bo avoided. f The quadrilles of ihe present day are so simple, and have raally so little absolute dancing in them, that no gentleman should think of asking a lady to dance them with him unless he his perfectly conversant with the figure, as if he is igno- rant on this point he not only spoils the pleasure of his part- ner, but frequently that of his vis-a-vis. If he has any mis- givings as to his proficiency, it would be better for him to take his position at the sides, so aa to i:ave the advantage of seeing the figure performed first by the head couples. As the quadrille is now generally '' walked " through in a manner almost verging on listlessness, and any attempt at "doing your steps" rigidly tabooed, it is of the utmost im- portance that a perfect knowledge of the figure should be ac- quired, and this, with- a correct ear for time and tune, will enable anybody to dance the quadrille with satisfaction. When the gentlemen has engaged his partner, he should at once try to secure a vis-a-vis. This should be done promptly, as the " sets" are frequently so soon made up that lie may find himself standing in an incomplete set, and hive the mortification of having to lead his partner back to iier I THE DIME BALL-ROOM COMPANION. l7 jeat again. A gentleman can not be too careful on this point, ince once having engaged a lady for a particular dance, he is )Ound in all honor and politeness to dance it with hor. Having secured his position in the set, he sliould at once ead the lady thither, placing her always on his right hand. Should the lady have her cloak, he should offer to assist her to remove it, and at once place it somewhere near at hand, in order that it may be recovered at the conclusion of the dance. It would be well to remember that the music for the qua- drille is divided into eight bai'S for each section of the figure — thus, two steps should be taken to each bar, and every move- ment consists of eight or of four steps. With these few preliminary observations, we will commence Dur description of the figures of the most frequently-danced quadrilles. PLAIN QUADRILLES. FIRST FIGURE. — LA PANTALON. The top and bottom couples cross to each other's places in ight steps (four bars), passing between each other, the genis pon the outside. After passing give left hand to partner, and step to left of her on opposite side, returning immediately to laces, in same manner, completing the movcjment of eight )ars. This is called the Chaine Anglaise (i. e., right and left), nd iu performing it, the gentleman should bear in mind always keep to the right of his lady in crossing. ^ Here follows "ladies' chain" (eight bars). Each gentle- nan takes his partner by the hand and crosses to opposite couple's place (four bars) : this is called, in ball-room parlance, ' half promenade." Couples then recross right and left to ,heir places without giving hands (another four bars), which :ompletes the figure. The latter eight bars of this figure are "requently now danced with the ^aZo/? step. . ■ , Side couples repeat as above. When there are more than two couples, either at the head r side, it is customary — observing our rule with regard to 'head couple " — to alternate the arrangement in order to give variety to the dance. Thus the lady who is at the head of the quadrille in her own set finds her vis-avis in the side set occupying that position. - -^ ' -■ - • - 18 the dime ball-room companion. [second figure. — l'ete. This figure is generally danced now in the manner known as Double L' Ete. First and second couples advance and re^ tire (four bars), then changing places with their visa vis (mak- ing eight bars) ; but omittmg to cross over as in the Chaint Anglaise. Again advance and retire ^^four bars), back to places, balance to partners, and turn, completing the figure. Side couples repeat. THIRD FIGURE.— LA TOULE. Head couples hands across, giving right hands ia passing, Recrossing, giving left hands, and right hands to partners, forming a circle in center. Balance, head couples changing places. Two ladies then forward and back, followed by two gentleman, ditto. Couples then foi'ward aud back, crossing. over to original places right and left. Side couples repeat. FOURTH figure. LA PASTORALE. Head couples advance and retii-e •, advance again, first gentleman leaving the lady with vis-a-vis jjentleman and retir- ing to his own place. Vis-a-vis gentleman now advances four Steps and retreats the s-ame, holding each lady by the hand : again advancing, ho leaves the two ladies with the first gentleman, who once more advances. They then all join hands in a circle, go half round, half promenade to opposite places, returning right aiid left to^heir ovv'n. , Second couple aud sides repeat. fifth figure — A LA FINALE. This figure is usually commenced with the chaiiie la grand. Head couples forward atid back. Ckassez across and return to places. Side couples repeat. . y To give variety to the prograimne da hal, and affording also much amusement, the following figu;es are frequently substi- tuted for' the fifth in the plain quadrille. No "Order of Dancing " is now considered complete without them. THE DIME BALL-ROOM COMPANION. 19 -.V "jig" figure opens with hands all round. Each lady then balances to, and luriis, each successive gentleman on her liirht. Upon reachinj^ her partner, all balance to partners and turn. Hands all round again, gentlemen to the right, same as above. "cheat" figure Commences with first couple balancing to the right, tul-n- ng opposite persons with l;>oth hands. l»alancc to next couple, than to I'ourtl), and then balance and turn partners. Third, second, and fourth couples follow in order as above. While balancing, and just before turning opposite person, any ther one has the privilege of stepping in between, thus cheating ou in turning. Or you may make a feint to turn one person, md suddently turn some other. " BASKET " figure. Head couples forward and balance. Ladies join hands in entre, gentlemen forming in circle outside. Stopping on eft-hand side of partners, gentlemen then pass their hands over heads of ladies, ladies stooping, thus forming a basket. Balance and turn partners. Sides repeat. THE "star" figure .... s pi-oduccd by ladles crossing right hands in center, giving eft hand to partner, facing ii> opposite direction, balance, and urn partners. Gentlemen than cross right hands, ladies facing Du the end of the line. This is a beautiful figure, and the affect most strikinsr. / DO UBLE QUADRILLl This is a vai-iation of the plain set, known as Coulon's ouble Quadrille, which is sometimes danced to secure an greeable variety during a ball. It requires the ordinary qua- irille music, but onhj half that usually played to each figure. 1. Le Pantalon. — The peculiarity is, that all the couples, sides .as well as top and bottom, start at once. Double Chainc Anglaise : sides outside first and second couples. All couples jalahce and turn. Ladies hands across, first right hand and :hen left, and back to places. Half promenade. First and second 20 THE DIME BALL-ROOM COMl^VNIOV. couples chainc Anylaise ; Ihird and fourth, grande chain round tliem to places. 2. L'Ete. — Common single TJ Efe, with this difrerence, tha first lady and lirst side lady commence at the same time t( perform the figure with their gentlemen vis-a-vis. Lady second couple and second side repeat with gentlemen oppo site. "^ o. La. Poui.e. — Similar arrangement to that in last figure the two couples setting in cross lines. 4. La Pastorale. — The top couple dance with the righ side couple 5 the bottom with the left. The sides repeat, will top and bottom couples in lilie marner. 5. Finale. — Galopade round, top and bottom ccuple con tinning it to center of figure and back, then sides advance t( center and back, and as they retreat, top and bottom couplei galopade into each other's places. Side couples do the same Then repeat figure until all have regained their own places Double cJtaine des dames, and galopade round. Figure re peated. sides commencing j the galop concluding. THE ''NINE PIN Has become quite fashionable of late, affording more amu: ment pr^^'ibly than any of the other dances. An extra gent! man takes a positiou inside of the circle and is known as ih '•Nine Pin." Opens with hands all round; Nine Pix. ".li^rj turns each lady in succession | ladies and gentlemen cir^ ^ •altCi/^ nately round Nine Pin ; back to places, and grand chain, x ' "^ Pin joining in. At the sound of the cornet, or stoppage 0^ music, whoever is unfortunate enough to be without a partnerjj (right hand to ladies in every instance,) is considered Nine Pin and must take his position inside ot the circle. ■ ". : THE LANCIERS Is undoubtedly one of the most popular and fashionable the quadrilles. It is more intricate and complica'ed than the plain quadrille, hence it is essential that those who essay to perform it b especially careful to be quite perfect in the figure — bearing ii mind that a single mistake will frequently spoil the enti: quadrille. But once having thoroughly mastered the figure THE DIJtE HALL-ROOM COMPANION. 21 thf dancers will never forget it, for we know of no tunes which 8 > completely suggest the figure as the oid-fashioned music of th'j Lancers. FIRST FIGURE. Head couples advance and retire ; advance again, gentlemen tiirfi opposite ladies and retires to places (first eight bars). Cioss over, first couple passing bet»veen second (four bars), jeturn to places, Fecond couple passing between first (four lars). All balance to corners, each gentleman turning his neighbor's partner on his left (eight bars). Second couple repeat the above, followed by the sides. SECOND FIGURE. Opposite couples take partners by left hands ; advance atid retire ; advance again, leaving her in the center of the quadrille, and retire to his place (lirst eight bars). Chassez croisez, and turn to places (second eight bars). Side couples join, top and bottom couple^ making a line of four on eacli fide ; advance and retire four steps, each gentleman turning partner to place. Sides repeat. THIRD FIGURE. Couples forward and back (four bars) ; forward a second t'.vie and salute, and return to places (four bars). Opposite % iples ri;^ht and left. „. ides re r eat. Srv FOUllTH FIGURE. Head couples visit couples on their right, t.) '.ii )m they ow. crossing over immediatelv to the left couple a:: I to the ame, returning to places. First and second c;>u »Ies then ightand le!t ; turn partners to places (second eight bars). Sides repeat. ,i FIFTH FIGURE. ' ^ • : ?-; This figure conimencos with the music, only one prepara- - ^ - ory chord being sounded, so each gentleman should stand /Xr'-^ *"/ vith his right hand in that of his partner, ready to start. It ^ )egins with the 5r/'rt«<:?e c/mme —that is, each gentleman gives* lis right hand to his partner, presenting his left to the next «!" 22 THE DIME BALL ROOM COMPANION. lady, and so on alternately ri.i^ht round till all have once? more reached their places, saluting his partner each time they mec-t (sixteen bars). First couple form as if for a galop, taking one turn round, returning to their places with their backs to their vis-a-vis. Ihird^ fourth and second couples step in behind them in the order indicated (third eight bars). x\ll cJiassez croisez, gentlemen passing behind ladies. First lady leading off to the right and gentleman to the left — each respectively followed by all the couples — till they reach the bottom of the quadrille, where they join hands and promenade back to places. They then fall back into a line on each side, four gentlemen and four ladies facing one an- other (fourth eight bars). Each line then advances and re- treats at the same time. Turn partners to places (fifth eight bars). Second couples and sides repeat. THE CALEDONIANS. This quadrille, though not popular with the lovers of Terpsichore in general, is growing into favor, and becoming quite fashionable. No ''Order of Dancing" is considered complete without it, and we append a description of the rather intricate figures. FIRST FIGURE. First couples and their visa-vis cross hands half round with left hands back again, balance to partners and turn. Ladies chain. All balance to corners, each gentleman turning his neighbor's partner on his left (eight bars). Side couples repeat. SECOND FIGURE. First gentleman advances and retires twice, second time bowing to opposite lady. Balance to corners and turn. Each lady then passes to her neighbor's place. All then promenade round with new partners. Repeat as above till each lady is brought back to her original partner in her own place. ^ THIRD FIGURE. This figure, with the exception of the latter part, corres- ponds with first figure of Lanciers. Head couple advance 1 THE BALL-ROOM COMPANION. 23 and retire , advance again j gentlemen turn opposite ladies, and retire to places. Cross over, first couple passing between second ; return, second couple between first. Balance to corners and turn. All join hands, advance and retire twice ; turn partners to places. Sides repeat. ■ ; -' .'>: ' FOURTH FIGURE. First lady and vis-a-vis gentleman advance four steps and stop I second lady and first gentleman do the same. Each gentleman turns partner to place. All the ladies then move to the right and the gentlemen to the left, to their neighbour's places — four steps. Another four steps and they meet cheir original ])artners. Promenade to places. , Sides repeat. FIFTH FIGURE. First couple promenade round on inside. Four ladies ad- vance to center, courtesy and retire. Gentlemen advance and retire in a similar manner. Balance and turn partners. Grand chain half round, promenade to places and turn partners. All chassez. Second couples and sides repeat. ^, ^ THE PRINCE IMPERIAL. This is a new form of quadrille, of Parisian origin. It is affected at dancing academies, but has failed to secuvo popular iavor in the ball-room. The figures are complicated, but not inelegant. As the dance is so rarely given, it would be super- fluous to describe it. THE VIRGINIA REEL. -.."■..-.-. - ■ ' • - OR, SIR ROGER DE COVERLEY. t It is customary to conclude the evening with some simple, jovial, spirit-stirring dance, in which all, young and old, slim and obese, may take a part. Any conira danse (country dance,) answers this purpose ; but the prime favorite is Sir Roger de Coverley (or Virginia Reel) which has held its own, in spite of the lapse of time and the mutations of fashion, at the very least since the beginning of the last century. .?- • 24 THE DIME BALL-ROOM COMPANION. Six 01 seven couples range themselves into two lines down the room, ladies on the right, gentlemen on the left ; partners facing each other. o The dance opens with the gentleman at the top of his line, and the lady at the bottom of hers, advancing to each othei half-Avay, courtesying and bowing, and back to places. Same couple advance to center of line again, and turn Avith right hand, then with left hand then with both hands ; advance fourth time and dos-a-dos. First gentleman then turns his partner, she turning each gentleman down the line with left hand, lii turning each lady 5 upon each successive turn, turn partner ; ar- riving at bottom of line, tii-t couple passes to head; separatin^^ lady passes outside of ladies' line, and gentleman outside oi gentlemen's line ; ladies and gentlemen follow their respective lines, meeting partners at bottom, and chassezing up the ceii ter ,• first couple then chasscz dov/n the middle, and take posi- tion at foot of line. The other couples follow as above, coin- pleting the figure with each line joining hands, turning pait- uers and chassezing. In some circles the Virginia Reel is danced in the followiuLT manner: The top couple advance to each other and bow, then the lady turns sharply off to the right and the gentleman to the left, and the respective lines follow them to the end of the room (much as in the 5th figure of the Lancers). On reachin-- bottom of figure, top couple join hands and raise their arms, forming an arch, under which all the rest of the couples pass back to their own places, except the top couple, who remain where they are at the bottom. Th^ second top couple (now become the top couple) now repeat iii.se movements from the very begining— lady at top of her line and gentleman at bottom of his advance, and so on, until the origiaal top couple have worked their way back to their places at the top of the line, when the dance is finished, or may be all done over again as often as is found asrreeable. o THE SPANISH DANCE. In spite of time and novelty, the S^oanish dance has main- tained its position as a favourite. It has outlived a score of younger rivals. It should not be danced more than twice dur- ing an evening. • ^ . THE DIME BALL-ROOM COMPANION. 25 Waltz music is adapted to this dance, thougli it should be played slower, and there arc one or two tunes which have flways been favorites as specially suited to it. The waltz step is also used. The couples are arranged in long parallel lines, as if they T.ei'e standing up for a country-dance. The lines may, if it is more convenient, take a circular form. But there is a pe- culiarity of arrangement which must be attended to at the (iiitset. The first gentleman stands on the ladies' side and the first lady on that of the gentlemen, and if every fourth lady and gentleman exchange places in like manner, the dance can commence simultaneously all down the line, instead of all the couples having to wait until the lirst couples have jione through their prescribed movements. It commences iu this way ; the first gentleman and second lady of each set of four halancez or set to each other in the vraltz step and change places ; the first lady and second gentle- man do the same and at the same time. First gentleman and his partner set and change places, ^rccond gentleman and partner do the same. First gentleman and second lady set and change as before, iirst lady and second gentleman ditto. Then first gentleman and second lady set to their respective partners, as before, and change, each resuming their original Dosition. All four join hands in the center, advance, retire, and change places as before — ladies passing to the left. This is -done, as^ ia the preceding figure, four times. Next, each gentleman takes his partner, and the two cauples waltz round each other two or three times, ending by I lie second lady and gentleman taking their places at the top I'l' the line, while the top couple go through the same figures with the third lady and gentleman, with the fourth, and so iu'oceed to the end of the line, where they remain ; and if the dance consists of from sixteen to twenty couples, they Aill not be sorry for the rest there accorded them. The couples should be told off in fours— say four, eight, sixteen, twenty, and so on; and there should be no odd couples — e.g., six, ten, fourteen, will not do — only causing • confusion. 2G THE DIME 13ALL-ROOM COMPANION. LA TEMPETE. La Terapete is amusinp: and very lively, but requires to be ■well dono to produce a pleasing effect. When this is to be danced, four gentlemen select partners, as for a set of quadrilles, A second, third, and fourth party of eight may also be made up ; the only limit being the size, and particularly the length, of the room. Take places as for a set of quadrilles, without sides — that is to say, the two couples stand side by side, and face the two opposite couples. Close to the set thus ranged at the top of the room, comes the second set, then the third, and so on, in lines, so that, though the dance extend down the entire room, it is only two couples in breadth, and the dancers in each sot, have their backs to those dancing in that next it. The dance is in two parts. 1. The couples join hands, and advance and retire twice, using the quadrille step. Top couples (in each set) cross, stiJI with joined hands, taking the places of bottom couples, who cross at the same time, but, separating, pass outside the others to the top, when they join hands, return to their own places, and back again; while the top couples, having separated, cross outside the second couples, then join hands again, and all return to places. Next lady and gentleman in middle of each line give hands to their vis-a-vis, and these four do half round to left, ditto right to places; at the same time, the out- side lady and gentleman in each line gives hand to the lady or gentleman opposite, and then half-left and back to places, forming two small circles, one on either side the central circle of four. Xcxt, all three circles hands across and round, change hands, round again, and back to places. 2. Ijines advance, retreat, again advance. Top couples pass through the line formed by their vis-a-vis, the bottom couple, and so get into the next line, "^vhen they repeat the movement of the lirst part A\ith fresh vis-a-vis, their former ones having meanwhile taken their places and turned round, waiting till they are faced, and can repeat the ( ire also. This will occur at the second movement, for which those at both ends of the figure will liave to wait. This goes on until all the top couples have passed to the bottom of the figure, while, ■ ifjf!'tmi.v.l\"j uuii-"" llf'-- THE DIME BALL ROOM COMPANION. 27 of course, tliose originally at that end jif^ve reached the top. The process is then reversed; all turn and go through the movements till all are *' home " again in their original positions. There are variations of this dance, but they are complicated, and seldom attempted out of a dancing academy; indeed, the dance itself is chiefly confined to establishments of that class. Music quick, in two-four time, steps as in quadrilles. ROUND DANCES Are an especial favorite with dancers generally. As a grace- ful carriage and elasticity of movement are most essential only those who have acquired these should take part in a round dance. a HE WALTZ A TROIS TEMPS. This is the '^ old waltz," as it is called, that which is alway implied when ^^ the waltz," is spoken of. In this waltz the time is three-quarter: In each bar there are three steps in three beat3 of the time. The gentlemen takes his partner round the waist, in the same manner as for the polka and all other round dunces. (First beat.) Pass your left foot backward in the direction of the left. (Second beat.) Pass your right foot past your left in the same direction, care being taken to keep the right foot in the rear of the left (third beat), and then bring the left up behind the right, completing one bau. — (First beat.) Pass right foot forward toward the right. (Second beat.) Pass left foot forward still toward the right (third beat), and brin^- right foot up to ri;i;ht, turning at the same time on both feet and completing the turn, two bars. — Always conclude with the right foot ia front, in order to be ready to commence with the left. > The above description is intended for the gentlemen, as they invariably commence on the left foot: if for a lady, ''right" is submitted far " left" in the foregoing, it will be found to be o.'|ually applicable. The usual progression of all waltzes ^"s from the gentleman's left to right ; but a good dancer should be ablo to waltz equally well in the reverse direction, as it affords an agreeable change for his partner, and gives a pleas- ing varietv to the dance. ' -- .- ■.-■ -^ rifffi 28 THE DIME BALL-ROOM COMPANION. WALTZ IN DOUBLE TBIE. This waltz has certainly held its position as the autocrat OF THE ball-room for many yeai'S past ; and there are few more graceful than this when it is really well danced. Un- fortunately, there are few dances which have among their pledged admirers such a vast assemblage of bad dancers as the Valse a Deux Temps. Its rapid temps (tinne) induces many to rush into it Avithout having sufficiently mastered its mysteries; and we have often seen rash youths dragging their partners round in a wild scramble, with a total disregard of time and step. Probablv this circumstance has contributed not a little to the decrease, in popularity, of this once all- powerful dance. It must be borne in mind that in this waltz there are but iioo steps in the bar of three notes. (First beat.) Slide in the direction of the left with the left foot. (Second and third beats.) Chassez to the left with the right foot, remembering not to turn — first bar. (First beat.) Pass right foot to the rear while turning half-round. (Second and third beats.) Pass left foot behind the right foot, chassezSoYwurd completing the turn — second bar. The gr'^at principle to be observed in all waltzes is to dance them smoothly and evenly with the sliding step, or glissade. All jumping or hopping should be at once discarded as eminently ungraceful. CELLAUIUS OR MAZOURKA WAi.TZ. This graceful dance is sometira"S, though rarely introduced as a feature ill the programme c7({, 6aZ; avo therefore give a description of the step, premising that it is not a dance to be learned from a book, and that what wo here set down is only intended to refresh the memory of those who have learned it, but v»'ho, from its being so seldom danced, are likely to forget some one or more of the movements of which it is composed. The time is that of the Valse a Trois Temps, but the more slowly the dance is played the more graceful is the result. The gentleman having halfencircled lady's waist with right hand, takes her right hand in his left, slides forward with left foot, and hops twice on it; thea slides with right foot and hops twice on that. Repeat this for sixteen bars, letting the movement be circular, ns in the waltz, and getting half TJIE DIME BALL-ROOM COMPANION. 29 round during the t'.vo bops on each loot, the four completing the circle. As formerly danced, there folIow«d a movement which may be described as sprin^^ing on each foot in succession, striking the heels togeiher, sliding, and so on — but this showy per- formance has gone out of date. At present, the dance concludes with a calse en glissade strongly marked. THE SCIIOTTISCHE. This is probably danced less than any of the other round dances in "best circles," being deemed "vulgar." With children and yomig persons it is, however, still a favorite ; and therefore we give a description of the manner in which it is danced. The Schottische is danced in two-four time, the first and third beat in each bar being slightly marked. The slower the time is played, in moderation, the more pleasing the effect. The genileraan takes the lady's waist and hand, as in the polka, and, starts off with the design of moving in circles; he slides forward the left foot, and, as it stops, brings the right up to it smartly; slides the left forward again, and gives a spring on it, while he rises the right foot, and points it ready to start off with that, and repeat these movements. They may be continued without variation, the dancers revolving as in a waltz, if it is agreeable to the lady; but she may prefer that it should bo continued as formerly danced. Then, when the first step has been performed eight times — that is, four starting with the left foot and four with the right, alternately — the second part of the figure commences. This consists of four double hops. Take two on the left foot, half lurnin"; at the same time, tlien two on the riirht, completing the round. Repeat this ; resume the first step for two bars;' and so on throughout. But the Valse a Deux Ihnps sicp is now generally substituted for the hops, and, indeed, when a Schottische is played, good dancers often use that step throughout it. THE POLKA ', Is one of the most popular of the round dances. Brief directions will convey the manner of dancing it as now practiced ; but no one should attempt it without pievioua 30 THE DIME B.'LL-ROOM COMPANION. instructions, as every thing depends on the grace with which it is executed. Those who have learned the dance will pardon cur point- intr out one or two vulgarisms which it is easy to fall into. A hopping or jumpin'^ movement is singularly ungraceful | so is the habit many have of kicking out their heels to the inconvenience of other dancers. The feet should scar<;ely be lifted from the ground — the dancers sliding rather than hop- ping — and the steps should be taken in the smallest "Compass, and in the very neatest manner. Again, the elbows should not be stuck out, nor the hands extended at arms' length, or jplacedupon the liip. After going throKgh several mutations, the polka has como to be danced with a circular movement only — in that respect resembling the waltz. This is the manner of it, supposing a S-entleman to be the dancer : You will clasp your partner lightly rouiid the waist with your right hand, and take her right hand in your left, holding it down by your side, v/ithout stiffness or restraint^ The lady places her left hand on your shoulder, so that yon may partially support her. Kemember that the polka is danced in thiee-four time, and that there are four beats ;o each bar. Three steps are per- formed on the first three beats ; the fourth is a rest. Observing this, proceed thus: First heat: Advance your leff foot, at tlie same time rising on the toe of the ri^^ht with a springing motion. Second beat : Bring right foot forward, so that thcf inner hollow of it touches the heel of the left foot, and, as it touches, raise left foot. Third hsat: Slide left foot forward and balance the body on it, while the right foot is -lightly raised, with the knee bent, ready to start wiih the right foot after next beat. Fourth heat : Rest on left foot. With the next bai', start off with the right foot, and repaat the step, then with the left, alternating the feet at each bar. Bear in mind all the while that you are to revolve in a circle, and to accomplish this it is necessary to half-turn in each bar, so that two bars, one commencing with the right foot and one with the left, v.ill carry you round. The lady reverses the order of the feet. Relief from the fatigue of perpetual spinning round mu t be THE DIME BALL-ROOM COMPANION. 31 \ sought, not in pi'oraenading or executing the steps in straight lines — these methods are exploded, and the correct thing is to reverse the directions in ichich you have been revolving. Thus if you start from right to left in the usual manner, change the step and revolve Irom left to right. This is difficult, but may be achieved with practice. THE GALOP. Among our notices of the round dances — not merely those which are fashionable, but even those that can by any possi- bility occur in any modern ball-room — we can not do better than describe the Galop. This is undoubtedly one of the fastest of dances, and from its life and spirit — also from the circumstance of its always being allied with the most dance compelling music — it as always been, and, we, venture to say, will long continue to be a great favorite. The tempo (time) of the Galop is two four, but the step resembles, as nearly as possible, that of the Valse a Deux Temps. The great rapidity of this dance requires the utmost care to prevent — as we remarked with regard to the deux-temps — its degenerating into a mere scramble. A good dancer should be able to introduce into the galop every variety of reverse-movement. REDOWA. This dance, though a very popular one, is somewhat difficult, and directions for 'dancing it can hnrdly be conveyed to the mind of the reader in print. Most of the Redowa music, however, is very suggestive, and to any one acquainted with the more simple dances, the Redovra step is soon acquired. The movement is as follows ; Gent takes one hop on left foot and lady upon right simul- taneously. Gent then takes one hop upon right foot, which has been passed behind, and to right of the left, which moye- nient will turn gent to right, turning lady, who makes the movement in two running hops. This is continued alternately, one hop in time of partner's two running hops, care being taken to keep in perfect time with the music. - POLKA REDOT\rA. This dance, from its simplicity and grace of movement, is. 32 THE DIME BALL-ROOM COMPANION. a very popular one, and as the time is much slower than iu any other, it is not quite so fatiguing, and is therefore more generally preferred. The movement is the same as in the Polka, so the same general rules and directions will apply, the only difference being in the time. *> ESMERELDA. This round dance hps become almost obselete in fashionable circles, so that a description is not essential. DANISH POLKA Is performed with four steps forward, followed by four hops, terning ) four steps then in opposite direction, with other foot. Hops same as schottische movement. THE VARSOVIANA. FIRST PART. Pass the left foot toward the left, followed by the right foot in the rear, twice (first bar). Repeat (second bar). During the turn execute one polka stop (third bar) and bring your right foot to the front, and wait one bar (fourth bar). Begin as above v.itli riglit foot, consequently reveising the order of feet throughout the step. SliCOND PART. Commence with left foot, one polka-step to the left turning partner (first bar). Right foot to the front, and wait a bar (second bar). Polka-step, right foot toward the right, and turn partner (third bar). Left foot to front, wait one bar (fourth bar). THIRD PART. Three polka-steps, commencing with left foot, toward the left (three bars). Right foot to the front and Avait one bar (four bars.) Repeat, beginning with dght foot (eight bars) — making in all, sixteen bars, into which the music for this dance is always divided. y^ /