Paper 5

The Life of Thomas Wilson, Dancing Master (1774-1854)

Contributed by Paul Cooper, Research Editor

[Published - 12th May 2014, Last Changed - 9th April 2023]

If you've spent any time reading the pages here at RegencyDances.org you'll have noticed that we regularly quote from the works of Thomas Wilson. Wilson is incredibly important to anyone who researches Regency era dancing, he wrote most of the books that we rely upon but very little is known about the man himself. I'm hoping to address that deficiency in this article.

Figure 1. Waltzing - vide Wilson's Rooms, 1817. ©Trustees of the British Museum.

A complete (or as complete as is possible) list of Wilsonian publications is available here.

Wilson wasn't particularly famous in his own day but he was successful in his chosen profession. It's surprisingly difficult to find any biographical details about his early life beyond those hinted at within his own books. We know that he was associated with the King's Theatre Opera House (also known as London's Italian Opera House), we know that he hosted Balls, taught dancing and wrote a prodigious number of books. But what else is known?

Several portraits of Wilson have existed but so far they've eluded my attempts at discovery. Wilson mentioned in his 1811 Supplement to the Treasures of Terpsichore that the first edition of his 1809 Treasures of Terpsichore included a Portrait of the Author¹. I've checked a copy of the 1809 first edition but not found a portrait there. There was also a picture of Dancing-Master Wilson published later in life (probably the 1840s), it's referenced in a catalogue from 1859. In the absence of those pictures Figure 1 will have to do instead²; it's an 1817 caricature of a Waltz, I like to imagine that it depicts Mr and Mrs Wilson enjoying a dance together. The subtitle appears to reference Wilson's dancing academy and the image could be a caricature of Wilson himself; the turn-out of the feet suggests that the man is indeed a dancing teacher. The description of the image at the British Museum describes this man as plump, plainly dressed, and very ugly. A further image (also lost) of Wilson and a pupil dancing a Minuet-Waltz was included in an 1817 work named Le Moulinet, &c., the Figure 1 caricature may perhaps be adapted from that image.

Wilson in Liverpool?

In the 1885 reprint of an 1852 book named Liverpool, a Few Years Since by An Old Stager there's a curious passage recounting a local character who lived in Liverpool fifty years since. It reports:

Close to St. Anne’s Church was the house of a celebrated character amongst us, both then and long afterwards. We speak of Mr. Thomas Wilson, profanely called Tommy Wilson, the dancing-master, by his wicked pupils. A good fellow was Tommy, although a strict disciplinarian in “teaching the young idea,” not “how to shoot,” but how to turn out its toes and go through the positions. But, unfortunately, Mr. Wilson grew too ambitious, and, instead of contenting himself with fiddling for boys and girls to dance to, would preside over orchestras and concerts, and cater for the amusement of the public, by which we fear he did not grow too rich. He was a worthy, warm-hearted man in his way, and somewhat of an original, and withal possessing the good opinion of all who knew him.³

Could this ambitious dancing master have been our Thomas Wilson? Perhaps Tommy became weary of not growing too rich, and moved to London shortly after the turn of the Century. It's speculation of course, but a tempting theory. Perhaps he grew up in Liverpool, perhaps he had family there. There certainly were a family of Wilsons active in the dancing profession in the Liverpool and Manchester area.

A similar retrospective named Recollections of Old Liverpool by J.F. Hughes in 1863 recorded that a Mr. Wilson, the dancing master managed concerts at the Music Hall in Bold-Street, in 1824⁴. Could the 1824 Mr. Wilson have been a relative of our Thomas Wilson? If so he's reported to have had a niece who was married to John Braham, il primo tenore d'Europa. Our Wilson was publishing books in London in 1824, he's unlikely to have been hosting concerts in Liverpool (though it's not entirely impossible). Braham's mother-in-law was an Elizabeth Bolton (nee Wilson) from Lancashire, I can't confirm a link between her and our Thomas Wilson but they may have been related. If Wilson was distantly related to Braham's wife then Braham may have provided Wilson with his initial opportunity at the Italian Opera House in London.

Figure 2. Price list at Wilson's Dance Academy, 1808

Whatever Wilson's origins were he wrote in his 1824 Danciad that he:

was bred to a mechanical business, which, before the expiration of his apprenticeship, he was compelled (with others) to relinquish, (that being entirely ruined through certain financial speculations of Mr. Pitt). Having some taste for dancing, as an amusement, he determined to endeavour to qualify himself so as to follow it, as a profession, and which was only effected after long and unremitting exertions, such as few individuals would encounter.

Wilson included a passing reference to Liverpool in his Danciad. He wrote that a fancy dress ball was held in Liverpool some years ago...of the most magnificent description, at which all the families of rank within the surrounding distance of many miles were present. For variety of character and original costume, this splendid Ball has never been surpassed.. It may be a reference to a Ball that he (or perhaps a close family member) facilitated - he rarely praised Balls hosted by anyone else!

In one of his later publications, the 1821 The Address, Wilson revealed that he had been a professional teacher of Dancing for more than twenty years. This suggests that he commenced offering tuition around the start of the 19th Century.

Wilson in Dunstable

Wilson was born in the town of Dunstable in Bedfordshire on the 25th February 1774. At least, that's what he asserted in an 1851 declaration to The Royal Literary Fund (which we'll return to later). An 1845 article in The Gentleman's Magazine by J.D. Parry provides some further biographical information; in an article about Dunstable we're informed:

there is now in London another respectable and kind-hearted septuagenarian "artist" in his way, and of copious historical and antiquarian lore to boot, who has celebrated his native place in one or two of his poetical "placards" which everybody has seen, whom the writer knew, with his most beautiful and innocent assistant, Miss Margaret M___, 15 years ago, being no less renowned a personage than "Dancing Master Wilson."⁵

This brief passage reveals quite a lot. We learn that Wilson lived into his 70s, he considered Dunstable to be his native place and that his placards (whatever they are) were widely known in the 1840s. Could Wilson have grown up in Dunstable, moved to Liverpool, then to London? It seems unlikely but not impossible. Wilson died in 1854 (Morning Advertiser, 15th March 1854) at the age of 80 (the obituary claims he was 86 but that seems to have been an error), he remained active throughout the 1840s. There can be little doubt that Parry's Dancing Master Wilson and our Thomas Wilson were the same person.

Wilson's placards are discussed further in a London Journal article from 1834. This article makes many references to Wilson, amongst other things it records that Wilson always sends us, with his invitations, a placard of equal wit and dimensions, in which he takes patriotic occasion to set forth the virtues of his art. And further: I see it, in imagination, painted in the beautiful red letters of your placard⁶. The 1854 obituary adds a further detail: To every grand ball (for such he designated it), large and full bills were printed, and one or more elegantly executed engravings, accompanied them.. I've not discovered any further information about Wilson's placards or his connection with Dunstable; the placards appear to have been an advertising mechanism to promote his professional services. Wilson himself warned against placard teachers who bring even the art itself into disrepute in the prologue to the 1824 edition of his Danciad⁷, perhaps he resorted to placards himself later in life.

Wilson's Family Life

I'm indebted to Philippa Robertson for contacting me with much of the following information regarding Wilson's private family life. Philippa had been investigating the life of her great aunt Sophia Wilson using private documents from her family archive. Sophia was found to have been married to a dancing master named Thomas Wilson who was born in Dunstable, he is indeed our Thomas Wilson. We've therefore relied on her information in the following section.

Wilson was married to the 23 year old Sophia Bromley at St Margaret's Church in Westminster in 1807. She is known to have assisted at Wilson's academy from at least as early as 1808 when he advertised that Such Ladies as wish private instructions, may receive them from Mrs Wilson, either at home or abroad, in any of the before-mentioned departments of Dancing⁸. Wilson continued to advertise his wife's tuition until late 1814 (The Times, 19th December 1814) but he ceased to reference her shortly thereafter. The advertisement for his 67th Public Ball in 1815 (Morning Post, 14th February 1815) noted that The Ball will be opened at Nine o'Clock by Mrs Wilson and a Gentleman, her Pupil, that's his last clear reference to his wife that I know of. A passing reference may exist from 1819 (Morning Chronicle, 7th April 1819) but that appears to be a misprint intended to refer to Mr Wilson rather than Mrs Wilson.

It transpires that Sophia and Wilson were separated. The explanation for this separation is unknown but at some date she moved in with her sister Mary Randal. She went on to advertise dance tuition under the name Mrs Wilson in the 1830s; in one such advertisement (Morning Post, 24th November 1836) she described herself as nine years Pupil and Assistant to Madame Angiolini adding that she had been many years established as a Private Teacher. Wilson had previously worked at the King's Theatre alongside Madame Angiolini, presumably he met Sophia there.

The mystery of why they separated remains unsolved. It's perhaps notable that the balls Wilson advertised after 1815 usually commenced with a couple dance involving both himself and a favoured pupil, Wilson and Sophia may have been estranged from around that 1815 date.

Wilson's Dance Academy

Figure 3. Advertisement for Wilson's 73rd Public Ball, 1817

At some point Wilson opened a London Dance Academy at No. 13, Holborn (opposite Middle Row). He also gave instruction from around the corner at his lodgings No. 9, Bedford Street, Bedford Row⁸.

In January 1811 Wilson wrote: I must here beg pardon for my intruding vanity of noticing, what constitutes my greatest pride, -- the honour of having taught, in so short a period of my career as five years, upwards of Fifteen Hundred Ladies and Gentleman, besides Children;⁹. I infer from this that he opened his Holborn Academy in or around 1805 (when he was approximately 35) and taught an average of 300 adults a year. We also know that in 1808 he was present at Holborn every afternoon from 5 till 10⁸ and at Bedford Row every day from 10 till 11 in the Morning, and from 4 till 6 in the Afternoon¹⁰. It's a neat trick to be present at two different locations between 5 and 6, every day! He clearly devoted a lot of his time to teaching the public.

Figure 2 shows the price list at Wilson's Academy in 1808¹⁰. A similar price list exists for 1811¹¹. Most of the prices were unchanged over those 3 years but a few increased; they are the Scotch Minuet, the Allemande, the Ground Hornpipe, the Louvre & the Corsair Hornpipe. Wilson taught many different types of dance; there are social dances, stage dances, courtly dances and international dances within his repertoire. He intended the public to believe that he was a master of his trade.

At some point Wilson's Academy moved to 2 Greville Street, Hatton Garden¹², then to Old Bailey, near Ludgate¹³. An 1818 advert in The National Register (25th January) shows Wilson's address to be at Old Bailey, and adds: Three Young Ladies of good Character have an opportunity of being instructed in Stage and Ball Room Dancing, to be articled for Three Years. He moved later still to 18, Kirby Street, Hatton Garden¹⁴. He published a change of address for this final move in 1823 and requested Two Young Ladies as Apprentices wanted. The Academy was still operating at this address in 1829¹⁵, and even in 1832¹⁶.

An 1822 advert in the New Times newspaper (6th March, 1822, with thanks to Alan Taylor for the discovery) indicates that Wilson was running four separate academies at that date. His Central Academy was at 18 Kirby Street, his Western Academy was at the Great Marlborough-Street Assembly Rooms, his Northern Academy was at 103 Goswell Street, and his Residence and City Academy remained at the Old Bailey. He also advertised several new Quadrilles including his new Arcular Quadrilles composed with a variety of new and Fancy Ball-room Dances. A month later he repeated a similar advert in The Observer of the Times (7th April, 1822), on this occasion he mentioned his new Circular Quadrilles.

Wilson published a review of his impressive successes to date in 1822 (Bell's Life in London and Sporting Chronicle 24th March 1822):

Mr Wilson, Teacher of Dancing, though so well known to the Public, still feels the necessity of an Advertisement, in hopes of increasing his Pupils, and improving his finances; for although he has had Eighty-six Public BALLS, danced at Twenty-four different Theatres (including Five years at the Opera House) taught almost innumerable Ladies and Gentlemen and Children, having qualified upwards of Thirty persons to become Professors, besides occasionally giving instructions to nearly One Hundred more, having Ten Professional Apprentices, and written more than Ten works on Dancing, besides several Dramatic pieces; having also invented Six new species of Dancing, having now open Four Academies for Dancing, at different parts of the town, which he superintends personally, and where he continues occasionally to teach in Twenty-five different departments of the Art; he has yet his fortune to make; but as he still hopes of keeping his carriage (so requisite to professional eminence) he is determined, in order to facilitate so desirable an object, to be always at home, to give lessons privately (if required) at any time, at his residence Old Bailey; or at his Western, Central or Northern Academies; he considers it only candid towards other Professional persons in general, to say that he cannot engage, like some Teachers, completely to qualify any one for the Ball Room in only a few Lessons; nor can he boast of the lowest prices.

Wilson increasingly turned to poetry in order to advertise his services in the 1820s. An example from 1828 (Morning Chronicle, 8th September 1828) follows: As Virgo's retiring, and Libya's advancing; And Bartholomew-tide is the season for Dancing; Get your pumps and cash ready, and likewise remember; I commenced a New Season the First of September; At my well-known old quarters, Eighteen, Kirby-street; Where I'll teach by the lesson - engage to complete; Either Adults or Children, no matter the age; In the various Ball Dances - Instruct for the Stage; Then I've lots of New Figures, composed with some skill; For the Reel, Country Dance, for the Waltz and Quadrille; And can furnish new steps for the toes or the heels; From the Walk to the Caper - From Minuets to Reels; Only bring me the Needful, and give me the chance; And you'll find that T. Wilson will soon make you dance.

Figure 4. Dates of Wilson's Balls

A later 1832 advert mentioned a new repertoire of dances including the Waltz Cotillion and Mazurka, Sedrilles, Gallopades, Omnibus, with every other department of Modern Dancing. A further advert was published in 1833¹⁷; it added Spanish Dances, Waltzing, Ecossaise, with every other department of Fashionable Dancing, and once again advertised for new apprentices. This advert also mentions a Juvenile Academy, teaching of stage dances, and a Waltz and Quadrille Party every Saturday Evening. The academy remained fully active throughout the 1830s. The Academy was continuously advertised for at least 27 years; that's over 8000 adults, at 300 per year. Printed advertisements are less easy to find in the 1830s and 1840s, though I've evidence of the academy still existing in 1851. One of the later advertisements was humorously aimed at the political establishment of 1835 (Morning Chronicle, 2nd February 1835):

Whigs, Tories, and Radicals. - The forthcoming meeting of Parliament, the present political state of the British empire, and the great excitement amongst the various parties, make it self-evident that new steps must be instantly taken to guide the vessel of State. Consequently, DANCING MASTER WILSON, of 18 Kirby-street, Hatton-garden, a well-known Inventor of New Steps, takes this opportunity of informing his Majesty's Ministers, the Bishops, Knights of St. Stephen's, and others, that he has a large assortment of New Steps and Figures, adapted to Whig, Tory, and Radical interest. Amongst others, he has some Cheering Capers for the Radicals, Consoling Steps for the Whigs, and some thorough-paced Movements for the Tories, that require no pledges, together with a new version of the well-known dance called Ratting, in which the performers may change sides with eclat.

And for those careless souls, who now don't care a pin
For Whig or for Tory, - who's out or who's in,

he has also some rare novelties adapted to their capabilities. With a variety of New Mazurkas, Quadrilles, Gallopades, Sedrilles, Waltzes and Country Dances, adapted to persons of every age and grade in society. But,

If these treasures you want, mark this, and don't fail-
Bring your cash in your hand - put it down on the nail.

Wilson's Public Balls

Wilson claimed to have hosted at least 89 Public Balls by 1822, I've found datable evidence for seven of them. His 56th was in 1810¹⁸, the 64th in 1814¹⁹, 71st in 1816²⁰, 73rd in 1817¹³ (see figure 3), 75th also in 1817²¹, 81st in 1820²², and 89th in 1822⁷. I've plotted them on a graph in Figure 4; if we extend that graph backwards, then it's likely that he started hosting Balls around 1790, when he was approximately 20. If my assumptions about the date of his Holborn Academy are correct, then this is before the Academy opened. It's possible that Wilson was being disingenuous and that he didn't start counting at zero. He himself warns us in his 1824 Danciad that some dance masters began numbering their Balls from 20!²³

Addenda: I've dated some more of Wilson's Balls using newspaper references: his 61st and 62nd Balls were held in 1813, his 63rd and 65th Balls were in 1814, his 66th, 67th and 70th in 1815, his 74th in 1817, his 76th, 77th and 78th in 1818, his 79th in 1819, his 82nd in 1821, and both his 86th and 87th were held in 1822.

Wilson was careful to feature fashionable dances at his Balls. His 1814 Ball introduced the increasingly popular Waltz and the 1817 Balls featured the Quadrille in their titles (see Figure 3); they weren't advertised for his 1816 or earlier Balls.

Figure 5. The Great Room at the Crown and Anchor Tavern, 1848

The 1814 Ball was hosted at the Crown and Anchor Tavern. This venue may sound a little basic but its Grand Ballroom as depicted in Figure 5 suggests otherwise²⁴. The Crown and Anchor Tavern was one of the larger venues in London that was available for hire, Wilson routinely used the venue for his Public Balls throughout the 1810s. We've written more about Wilson's balls held at the Crown & Anchor Tavern in another paper.

It's worth reflecting on who attended Wilson's Public Balls. I've only found one brief first-hand account from an attendee who wrote in 1822 (Bell's Life in London and Sporting Chronicle, 21st April 1822):

Last week on the same evening, after looking in at Almack's, we joined a party, by appointment, at Wilson's Fancy Dance Ball; both were crowded by the gay and affluent votaries of fashion; and Quadrilles were predominant. At the latter place we particularly noticed some interesting new Quadrilles and fancy dances, which detained us there till we were obliged to retire.

We know that Wilson advertised in newspapers and magazines, I therefore suspect that his clients were often from the wealthy middle classes. Perhaps the daughters of prosperous tradesmen. The 1817 advertisement in Figure 3 is especially interesting; we learn that Wilson's Ball featured the most fashionable dance styles known from Almacks and elsewhere, also that stewards would keep out any improper company. One fascinating detail is that it was to open with a Minuet Waltz display dance involving Wilson and a young pupil (caricatured in Figure 1 perhaps?). The Minuet had largely fallen from favour by the mid 1810s; Wilson promoted himself as an elite dancer (of the King's Theatre), an elegant and modernised Minuet would be an effective way to introduce the evening and himself as the master of ceremonies.

Some of Wilson's Balls had special themes. The Morning Post for January 5th 1809 contains an advert for Wilson's Grand Naval and Military Ball²⁵ (see Figure 6) in honour of the Spanish Patriots, from which should any profits arise, they will be added to the Patriotic Fund, he goes on to say No Gentleman can be admitted out of uniform. The newspapers in the preceding days had carried stories of military success in the Peninsula Wars; presumably Wilson shared in the national pride. Lieutenant-General Sir John Moore, the British commander in the Peninsula, would be killed in battle just a few days later. A flier advertising a later 1809 Ball can be found here.

The same newspaper for December 29th 1815 contains an advert declaring Wilson's First Winter Ball in 1816²⁶. It also reports that he had closed his season at Brighton, presumably he'd taken a break from his London academies to teach dancing at the fashionable resort of Brighton. The 12th February 1816 issue carried an advert for a Valentines Ball²⁷, it would include a Valentine Waltz in which the several letters forming the word 'Valentine' will be successively displayed by the group of Ladies performing it.

An advert in The Morning Chronicle (11th January, 1821) described Wilson's 82nd Ball as a Christmas Ball, and Twelfth Night Entertainment. It promised to feature: the most favourite new Quadrilles danced in Paris and at Almack's, with some composed by Mr. Wilson, with every other department of modern dancing. The Ball will be opened at eight o'clock, with the Quadrille Minuet composed by Mr. Wilson. It is intended to conduct part of the Evening's Entertainment in conformity with the good old customs of our ancestors at this season, that some idea may be formed of ancient festivities compared with modern Christmas amusements. The Twelfth Night Characters will be drawn at eleven o'clock; in addition to the usual cake, Mr. Wilson will have the honour to regale his guests with a social cup from the great Wassal Bowl, according to ancient custom; and some ancient English Dances will be introduced. As several Ladies and Gentlemen have determined to support their characters to the best of their ability, Mr. Wilson flatters himself their efforts will be supported by the rest of the company. The prologue written by Mr. Wilson, and to be spoken by Mr. Gibbs. Single Tickets, 10s6d. Double, 12s.

Further Wilsonian Balls were held throughout the 1830s. An advert in The Morning Post for 8th April 1835 reports Mr. Wilson, Teacher of Dancing, from the King's Theatre, Opera House...acquaints his Pupils and the Public that his GRAND BALL will take place... THIS EVENING, April 8. The Ball will be opened at Nine o'Clock by Mr. Wilson and Miss French, one of his pupils, with the Waltz Minuet, composed by Mr. Wilson. In the course of the evening will be introduced Mr. Wilson's new dance, entitled "The Rival Beauties" by thirty-four young Ladies. He ends reporting Sixteen Gentlemen Ushers will be in attendance to prevent the intrusion of improper persons.. A similar advert from The Morning Post for 13th February 1836 reports on Wilson's 26th Annual Valentine Ball, it continues The Ball will be opened at nine o'clock with an Introductory Address, written by Mr. Wilson, and spoken by Mr. Roderick in the character of St. Valentine, and introduce the Valentine Dance (composed by Mr. Wilson).

In 1844 Wilson advertised his 45th Easter, 50th Juvenile, and 310th Public Ball (Lloyd's Weekly Newspaper 31st March 1844). He wrote (the text in the copy I've read is barely legible so there may be errors in my transcription) that the Ball for the Adults will be opened at ten o'cloc, by Mr Wilson and one of his pupils, with the Minuet and Gavotte of Vestris; and in the course of the Evening will be introduced Mr Wilson's New Quadrille, the Victoria and Royal Scotch, with original Figures, Steps, and Music; also Mr. Wilson's new Reels, together with his new Mythological Dance, entitled Love, performed by twelve young Ladies.. He added a poem: Pray don't be a ninny, But bring me a guinea, And I will supply you with partners; With which you may caper, Ay, pog, I won't vapour, Into my terpsichorean good graces; If partner or wife, or husband for life, You should want come instanter to me; And then to your mind, A partner you'll find, But remember bring with you my fee..

Figure 6. Advert for Wilson's 1809 Grand Naval and Military Ball.
Image © THE BRITISH LIBRARY BOARD. ALL RIGHTS RESERVED. Image reproduced with kind permission of The British Newspaper Archive (www.britishnewspaperarchive.co.uk)

Wilson's Publications

There is evidence for around fifty Wilsonian publications issued in the years between 1808 and 1830, most related to dancing, several running to multiple editions. We've written another paper on Wilson's books so we'll not investigate them in detail here.

His first major publication was the 1808 An Analysis of Country Dancing²⁸. This work was dedicated to Madame Deshayes, a principal dancer at the King's Theatre Opera House (see Figure 7). It sought to catalogue and explain all of the figures used in English Country Dancing at that date. It was published through the financial assistance of a list of subscribers and sold out within 3 years. A second edition was published in 1811²⁹, this also appears to have sold out immediately. A third edition was also published in 1811³⁰ (see Figure 7); it had a print run of 2000 copies and had sold out by 1814³¹. Wilson's influence and fame must have been growing during this time. A curiosity in the third edition is that the dedication changes to Madame Angiolini, another principal dancer at the King's Theatre Opera House; perhaps this was under the influence of his wife Sophia who had studied under Angiolini. He also changed publishers between the first and third editions moving from W. Calvert to James Gillet. He worked with at least 6 different publishers throughout his career.

The list of subscribers for three of Wilson's works are known: the 1808 Analysis of Country Dancing³², the 1811 Supplement to the Treasures of Terpsichore³³, and the 1816 Description of the Correct Method of Waltzing³⁴. There are a few subscribers that appear in more than one of these lists, most notably a Mr. Thomas who prepaid for 6 copies of 'Analysis', and 6 of 'Terpsichore'. A valuable customer (and perhaps the owner of a book or music shop).

Wilson was kept busy in the second half of the 1810s. He published approximately 15 new titles between 1815 and 1820, not including subsequent editions of earlier works. He had been working on a major update of the Analysis of Country Dancing since at least 1816³¹ but publication was regularly delayed by more urgent projects (he announced it multiple times in 1816³⁵ and again in 1819³⁶ with double the number of engravings). He eventually released this Magnus Opus in a completed form as The Complete System of English Country Dancing in 1820³⁷. It could be argued that this work came to market too late, interest in Country Dancing having significantly fallen across the industry by 1820; his works on Waltzing and Quadrilles were more timely.

It's not clear how much Wilson made from his publishing, he reported in a footnote to the 1816 Companion to the Ball Room that there would be no fear of the Author of this work being envied as a publisher, either by the public or professional persons, if they knew how little he has hitherto got by publishing his several works on Dancing³⁸ (see Figure 8). He added a similar statement in the introduction to his 1824 epic poem, the Danciad. In a self deprecating lampoon, he wrote:

Figure 7. Title pages to the First and Third editions of An Analysis of Country Dancing

The author has, on dancing, published more
Than any teacher ever did before.
His works, though praised by teachers of renown,
And bought by half the masters in the town,
Have never yet enabled him to dine
On sumptuous viands, nor with Tokay wine.³⁹

Wilson published many other works the last of which appears to have been the 1852 The Art of Dancing. He also produced dramatic or poetic works in verse from the year 1820, and even (according to an advert in the Morning Chronicle, November 16th 1820) produced his own ballet. One of his minor poetic works was the 1824 Aquatic Excursion; it perhaps inspired Wilson to organise a Thames boat trip in 1825, he advertised (The Examiner, 26th June 1825): Aquatic Excursion to the Nore, in the Venus Steam-Yacht, Monday 4th July. We from the Tower start at Eight; Be punctual, for we cannot wait; The whole will be managed by WILSON this time; The Hop-Merchant Dancer, who scribbles in rhyme; Who'll endeavour to make it a novel excursion; And amply has cater'd to find you diversion; To make it select, we must be rather nice; And to do so, shall make 7s6d the price; For the purchase of tickets our friends we intreat; To call upon Wilson, 18, Kirby-street; At his Dancing Academy, painted with green; Where he to appointment may always be seen. His poetic activities will have added to his increasingly eccentric reputation.

Wilson and the King's Theatre

The one widely known biographic detail of Wilson's life is that he was a Dancing Master from the King's Theatre Opera House (see Figure 9 for an image of the Theatre⁴⁰). He proudly announced this on the cover of many of his books and it's repeated in the contemporary reviews of his work. I've not found any corroborating evidence to describe his involvement there, I suspect his role was quite minor. The King's Theatre was also referred to as The Italian Opera House in many sources, the two names refer to the same institution.

Wilson declared his association with the King's Theatre in 'Analysis' in 1808, and continued to do so through to the 'Danciad' in 1824. Yet throughout he used the phrase Dancing Master from the King's Theatre rather than Dancing Master at the King's Theatre (see, for example, Figures 7, 6 and 3); this suggests that his involvement with the Theatre had ended before he began publishing. If he was at the Theatre in 1811 then it can't have been for many hours a day; as discussed above, he was available to the public at Holborn between 10 and 11 every morning, and 4 and 10 every evening; by 1822 he was running four separate dancing academies, which presumably occupied most of his time. He admitted in an 1822 advert (Bell's Life in London and Sporting Chronicle, 24th March 1822, see above) that he'd only worked at the King's Theatre for five years, also commenting that he'd danced at 24 different theatres. It's likely that his time at the King's Theatre was spent as a dancer and not as an instructor.

Could he have been invited to London from Liverpool to train as a dancer at the Opera House c.1800, perhaps under the influence of John Braham? I can't say, but it makes for a good story. The timeline suggests that he left c.1806 to start his own Academy. The only independent reference to a Mr Wilson of the King's Theatre I know of dates from 1806; there's no certainty that our Thomas Wilson is described but the Morning Post newspaper for the 25th December 1806 reported Mr Wilson, of the Opera House, will dance his celebrated Rifle Hornpipe at the Lyceum Theatre. The previous year the Public Ledger (5th October 1805) had mentioned A Hornpipe by Mr. Wilson, (his first appearence on any stage) would be performed at the Amphitheatre, Westminster Bridge. Wilson did go on to advertise tuition in the Rifle Hornpipe (see Figure 2) in 1808, perhaps it was his signature performance dance which he performed on the stage. If both references are to our Wilson then it's likely that he was only loosely affiliated with the King's Theatre, he was made available to other theatres for much of the time that he worked there.

A peculiar apology printed in the Morning Advertiser for the 13th January 1809 confirms that Wilson had left the King's Theatre by that date; the apology reads: Whereas I, Richard Bishop, Stage-Door Keeper to the Royal Circus, having, on the 7th of October last, grossly and without the least cause assulted Mr. Thos. Wilson, of Bedford-street, Bedford-row, Dancing Master (late of the Opera-house). I therefore do hereby most humbly beg pardon of him, and solicit his forgiveness; and acknowledge that he has acted towards me with great lenity in that respect. Signed Richard Bishop, Witness Robert Lumley. There was clearly more of a story to that fracas but the details are lost.

Whatever his role at the Theatre had been he retained some access to the dancers. He dedicated several of his books to them and listed them as subscribers. There was another Dancing Master known to have worked at the King's Theatre in the late 1810s, a certain G.M.S. Chivers. Wilson is particularly scathing about Chivers in the 'Danciad', suggesting a personal animosity⁴¹. Could Chivers have replaced Wilson at some point? Another teacher, Mr. Cunningham, advertised his dancing services in 1818, also with the phrase late of the King's Theatre; a Monsieur Leon described himself as Ballet Master at the King's Theatre on the cover of his c.1819 Opera Quadrilles. A Mr. Le Gross described himself as from the Opera House when opening his Dancing Academy in 1812 (advertised in The Morning Chronicle, 5th December, 1812). A Mr. Nathan advertised himself as Dancing Master, from the King's Theatre, Opera House in 1820 (The Morning Post, 1st February), James Platts made a similar statement on the cover of his 1820 Quadrilles. Other significant masters from the King's Theatre include Mr Bemetzrieder, inventor of the Circassian Circle dance form c.1820; James Harvey D'Egville, a choreographer and dancer who left c.1809; George Weippert c.1823 and Mr J. Bertram in 1824. Wilson certainly wasn't the only Dancing Master from the King's Theatre during this era; indeed, almost all of the significant London based dancing masters of the early 19th century claimed an association with the King's Theatre! It's likely that most of them had served as dancers and subsequently retired from the stage to teach social dancing.

Figure 8. Ah, poor Wilson; a footnote from 1816.

Wilson's Later Life

In later life Wilson became colloquially known as Dancing Master Wilson, an eccentric character of some renown. He continued to host Balls and complained of hardship, it seems he was somewhat successful however. A peculiar reference to Wilson was published in a newspaper called The Odd Fellow in 1841 (1st May 1841) in a column that satirised the profession of dancing masters; the column described a generic grubbing dancing master who struggled to make a living, and then referenced how this (presumably fictional) caricature felt about Wilson: And for Dancing Master Wilson he entertains an antipathy which nothing on earth can surmount. He would, if the law of the land allowed him, kill this individual by any means in his power. He often, in pursuance of his professional engagements, walks the streets of London, wherein he sees the mountebank announcements of this FUNNY fellow. He of whom we speak, nurses within him some ideas of the elegancies of the art he follows. This we know. Therefore, must the conviction of the two situations, his and the mountebank's, fall more heavily upon him. He, however, grubs on, earning a pound here and there, and continuing, by his labours to keep a roof over his head. A mountebank is of course a cheater or swindler. Poor Wilson. Wilson hardly deserved to be praised by the rest of his industry, he ridiculed them at every opportunity. Another curious reference to Wilson can be found in the report of an 1844 boxing match (The Era, 9th June 1844) in which one of the boxers was described as hopping about like dancing-master Wilson, he was clearly a celebrity of sorts, a distinctive character known to many Londoners.

Wilson continued to teach dancing, host balls, write poetry, and entertain his friends throughout the 1840s and into the 1850s. He was particularly associated with a London club named The Ancient and Honourable Lumber Troop, he'd acted as Master of Ceremonies for their gatherings from at least the late 1820s; an 1830 reference to the club described him as Comrade Wilson (Morning Advertiser, 8th July 1830) who has for years volunteered his services as Master of the Ceremonies at the ball. He was still referred to by this name in an 1843 reference to the troop (Morning Advertiser, 19th July 1843): Happiness was concluded with a sprightly ball, under the able direction of Comrade Wilson (Dancing-master Wilson).. A report of their annual gathering in 1841 also referred to Wilson (Morning Advertiser 16th July 1841): The ball was conducted by Comrade Wilson, who seems to baffle off Old Time with wonderful effect. A sale catalogue of troop memorabilia in 1859 included a Portrait of Dancing-Master Wilson, Poet Laureate of the troop. He was clearly a favourite amongst them.

Tragedy struck Wilson in or around the year 1851. He contracted cholera, the illness ended his teaching career. He submitted a request for support to the Royal Literary Fund in 1851 (the letter is preserved at the British Library). He wrote: Sir, I beg leave to present to the committee of the literary fund my case, with the accompanying works, & shall be grateful if they will humanly assist me, as I am 78 years of age, in very distressed circumstances and in ill health. His proposal included copies of 12 of his works, most of which were poetic works of the 1820s, as proof of his status as an author. A supporting letter written by Mr Walter C.C. (of Shoe-lane) added that he is now 79 years of age & much dishefull owing to an attack of cholera which drove away his pupils. His request for aid was declined on the basis of No Authorship; presumably his technical and poetic works were considered of insufficient literary value to the society.

It was in or around the year 1852 that Wilson's (presumably) final work was published, his The Art of Dancing. It seems probable that Wilson turned once again to publishing in the last months of his life; it's not his best work but it demonstrates that Wilson's insight remained relevant into the 1840s and beyond.

His passing was announced in the Morning Advertiser newspaper for 15th March 1854; he was presumably 80 years old, though the obituary states he was 86. It reported:

On Wednesday, the 8th instant, Mr. Wilson, of dancing notoriety, died in the Union Workhouse, West-street, Smithfield, (which he had entered but a fortnight before his death,) at the advanced age of 86. Seldom has it fallen to our lot to record the death of one, whose career was so chequered, whose eccentricities were so remarkable, and whose ruling passion for the light fantastic toe and the muses, was indescribable within a short period of his mortality. Many will, doubtless remember that Mr. Wilson conducted his dancing avocation in the most sumptuous style. To every grand ball (for such he designated it), large and full bills were printed, and one or more elegantly-executed engravings, accompanied them. Indeed, the number of such, and of his poetic effusions, would (if not known) be deemed incredible. Of his productions in prose, are six volumes on dancing; and in verse, nearly 100, all of which must have kept him poor indeed. Among other places, he figured at the Italian Opera, and the Crown and Anchor Tavern, Strand. For many years Kirby-street, Hatton-garden, was the scene of his labours, which were greatly ramified. The burthen of his life was constantly relieved by the benevolence of Mr. Walter, of Shoe-lane, Licensed Victualler and Common Councilman; and Mr. Thomas Chapman, which latter gentleman in 1815, at the Drury lane Theatre, took a prominent part in a play, composed by our hero, who, with grace, also fretted his hour on the stage, and it may be predicted, that we shall never look upon his like again.

Figure 9. Interior of the King's Theatre, 1843.

A few years later Wilson was remembered in an essay by Henry William Bride on the history and antiquity of dancing (Galway Mercury, and Connaught Weekly Advertiser, 17th January 1857). Bride wrote:

... I remember a gentleman well known for his Terpsichorean abilities, which he often exhibited when publicly acting as Master of the Ceremonies at Vauxhall Gardens, near London, gratuitously, for some of the numerous charities of our far-famed Modern Babylon, whose large broadside sheets, redolent with rhymes (poetry!) in favour of what he denominated The Glorious Art of Dancing, often attracted the attention of the street passenger, and frequently excited his smiles on perusing the poetical endeavours of Dancing Master Wilson (such was the cognomen by which he was known, and by which he advertised himself,) to lure the public to become his pupils at his celebrated academy, near Temple Bar. I met him a few times at the private parties of some mutual friends, and a more amiable companion and a more pious and inoffensive character I do not believe ever was to be met with among those individuals who are compelled to procure their subsistence amid the gay and thoughtless votaries of worldly pleasures. He is, however, gone, I hope, to a happier and a better world; and there many individuals yet living in all parts of the British Empire who will not soon forget Dancing Master Wilson, of London notoriety.

Wilson's Legacy

Wilson is of great importance to modern dance historians, he documented the dancing styles of his day to a greater extent than any other contemporary writer. However, as a modern researcher it's possible to put too much emphasis on his work. He often complained in his books that other dancing masters got things wrong and that his style of dancing was the only correct system; this implies that other contemporary dancing masters were likely to have disagreed with some of Wilson's teaching.

He included an advert in his 1821 The Address that listed the various dance forms that he claimed to have personally invented and shared with the world:

The Quadrille Country Dancing, first introduced at his Waltz and Quadrille (being his 79th) Public Ball.
The English Waltzing, first introduced at his 68th public Ball, at the Crown and Anchor Tavern, and danced by 48 of his Pupils.
The Waltz Country Dancing, was first introduced at his 69th public Ball, at the New London Tavern.
The Eccossaise, first introduced and generally danced at his 76th public Ball.
The New Reels, for 3, 4, 5, and 6 Persons, first published in the Analysis of Country Dancing.
The New Circular System of English Country Dancing, first introduced at his Waltz and Quadrille (being his 77th public) Ball, at the Crown and Anchor.
also
A Variety of other Dances, composed by Mr. Wilson, as New Quadrilles, New Cotillions, New Spanish Contra Dances, &c.

He was proud of his achievements.

It's difficult to find any independent contemporary accounts that recognise Wilson as a dancing master of genuine influence, rather than a mere eccentric, but one 1817 review in La Belle Assemblée stands out. They wrote: We may almost venture to affirm that no one has brought the Waltz to such perfection in this country as Mr. Wilson⁴². If it's true that his personal influence helped to popularise and perfect the Waltz in England, then that may be an even grander legacy than that of his books!

Anyway, that's it for now. The information we've located about Wilson is fragmentary; if anyone out there can fill in some of the gaps, do please get in touch, we'd love to know more.