Paper 64

The Etiquette of The Ball-Room, 1823, by A Gentleman

Contributed by Paul Cooper, Research Editor

A fascinating little book was published anonymously in 1823 named The Etiquette of The Ball-Room, and Delineation of the Art of Dancing Quadrilles, &c. (see Figure 1). It was printed in Edinburgh, the author described themselves as A Gentleman who has travelled through France, Italy, Portugal, &c. and Frequented the most Fashionable Assemblies in England. This curious little work, across its 33 pages, offers a fascinating insight into the Quadrille dancing industry of England of the early 1820s.

Figure 1. Cover of The Etiquette of The Ball-Room, 1823.

In this paper we offer an introduction to the book, some background information and observations on the contents, and a full transcript of the text itself. We also identify the author as most likely having been a minor dancing master named Alexander Murray. I'm not aware of the book having been published on the internet in any form to date, it's an important text however and deserves to be read more widely. The transcript should be of value to modern researchers of dance history.

Who was the Author? Perhaps a Mr Alexander Murray...

The book was published anonymously under the pseudonym of A Gentleman. We can't know for certain who the author actually was, there are however some clues within the text of the book. Some of the clues are more significant than others. It's reasonable to assume at the outset that the author was male (as the name A Gentleman clearly implies), we will make use of male pronouns hereafter based on that assumption.

On page 12 we're informed that he had been an assistant master at the Italian Opera House in London. The Italian Opera House, also known as the King's Theatre, was the most celebrated venue for stage dancing in London. Numerous successful dancing masters would trade upon their own associations with the theatre; most, like the celebrated Thomas Wilson (1774-1854), were likely to have been dancers who, upon retiring from professional dancing, went on to teach social dancing to the public. Our author reveals that he had a reasonably significant role at the Theatre. Nonetheless, he seems to have followed the same career trajectory as so many others, he taught dancing to the public after leaving the stage behind him.

Our author reveals a personal familiarity with the Festino events held at the Hanover Rooms in London, notably at page 11. No dates are mentioned but these events were at the height of their success in the late 1780s. It's likely that the author's experience of the Festinos dated to this decade. He may have been a young man in London in the 1780s, by the 1823 date of publication he was a veteran with many years of dance experience.

The author claimed (on page 13) to have two sons whom he had taught to dance, they had been complimented on their dancing in both France and England. The implication is that they were young adults by the date of publication. The author further claimed (on the cover) to have travelled through France, Italy, Portugal, &c. and frequented the most Fashionable Assemblies in England. It seems that he was well travelled and experienced. He shared anecdotes within the text that suggest a personal familiarity with the Quadrille dancing conventions of London, Brighton, Bath, Liverpool and York; these references were of a more recent nature at the date of publication, they suggest that he had travelled in the course of his business, or at least that he had spoken to others who had done so. None of this is especially revealing however, dancing masters frequently travelled to maintain a fresh awareness of the prevailing fashions.

Our best clue to his identity lies elsewhere on the cover of the book (see Figure 1). He shared his personal address (from which copies of the book could be purchased) as 21, Castle Street. And who lived at this Edinburgh address in 1823? A newspaper advertisement was published in The Scotsman newspaper for the 5th of November 1823 on behalf of a dancing master named Mr A. Murray (see Figure 2). The entire text reads: Mr A. Murray begs to intimate that he will open a Select Class for DANCING, at his Rooms, No 21 South Castle Street, on Monday the 10th inst, at seven o'clock evening, in order to accommodate those Gentlemen whose attendance on the Classes and other duties may render it inconvenient to attend during the day. Mr M's Classes for Young Ladies continue open on Monday, Wednesday, and Friday, from ten till four o'clock, and for Young Gentlemen attending the Grammar School, from four till five o'clock. Schools and Private Families attended as usual. N.B. Terms moderate. 21 Castle Street, Nov. 3. 1823. In all probability our author was Mr A. Murray himself; if not he then someone closely connected to him, perhaps a brother or an assistant. Further references to Mr A. Murray appeared in the Edinburgh press over the next few years. In March of 1824 he was expected to hold his first Benefit Concert at Mr Smart's Rooms on Thistle Street (The Scotsman, 3rd of March 1824) under the patronage of several Ladies of distinction. A brief advertisement in October 1824 (The Scotsman, 20th October 1824, see Figure 3) revealed his name to be MR ALEXn MURRAY and that his dancing classes would reopen on Friday the 22nd. On the first of January 1825 he advertised, once again in The Scotsman that for the accommodation of Gentlemen attending the University, or who may be otherwise occupied during the day, he will open a Class for instruction in QUADRILLE DANCING on Tuesday Evening at eight o'clock. He also offered instructions in music to ladies in this 1825 advertisement. We now know our author to most probably have been a Mr Alexander Murray.

Figure 2. Mr A. Murray's advertisement, The Scotsman, 5th of November 1823. Image © THE BRITISH LIBRARY BOARD. ALL RIGHTS RESERVED. Image reproduced with kind permission of The British Newspaper Archive (www.britishnewspaperarchive.co.uk)

I've struggled to discover any further biographical details of any certainty pertaining to Mr Alexander Murray. One further clue does exist however. A brief statement was issued by the Edinburgh based dancing master Barclay Dun in 1821, Dun declared that he had engaged an assistant named Mr Alexander Murray (Caledonian Mercury, 10th of February 1821). It's likely, that our Mr Alexander Murray and Dun's Mr Alexander Murray were the same person. Dun wrote of Murray that he is well qualified for giving instructions in Dancing. Thereafter the trail runs cold, we've no further information about Alexander Murray. There was however a young gentleman named Alexander Murray, born around the year 1800, who went on to become a celebrated Violinist in Edinburgh in the 1820s and 1830s (Musical Scotland, Past and Present, 1894); it's tempting to speculate that the fiddler was the son of our Alexander Murray. The fiddler was said to have been taught by both Barclay Dun and Nathaniel Gow (1763-1831), if he was the son of our Alexander Murray then the father could certainly have made those prestigious introductions. A concert was advertised in early 1826 for Messrs Murray and Swift (The Scotsman, 15th of March 1826) of ancient and modern music, to be held at the George Street Assembly Rooms; the Mr Murray in this instance was the lead musician and tickets were advertised to be on sale at our address of 21 South Castle Street, it seems likely that the identically named musician and dancing master were indeed closely related.

Further information may yet surface. For now we can say that the author of the book was probably a Mr Alexander Murray, that he was not of any great fame but was a skilled practitioner in the art of dancing. One of his sons is likely to have gone on to become a celebrated violinist.

Reception of the Book

The Etiquette of The Ball-Room was (according to the cover) published in Edinburgh in 1823 by Wood, Small, and Co of Waterloo Place. It was also available from W. Hunter's bookshop in Edinburgh. Beyond this little is known of the origins of the book. It was not, as far as I can tell, advertised to the public; it seems not to have been registered at Stationer's Hall, it is likely to have had a small print run and distribution. Few copies of the book are known to exist today, thus it is likely to have had a limited distribution at the outset; we might speculate that perhaps 200 copies were printed (which is approximately the minimum number one might reasonably print), perhaps not all of them even sold. It's likely that the author offered the work to his personal network of contacts, selling copies individually to Edinburgh's elite as opportunity presented itself. It survives today as much by chance as anything else.

Figure 3. Mr Alexander Murray's advertisement in The Scotsman for the 20th of October 1824. Image © THE BRITISH LIBRARY BOARD. ALL RIGHTS RESERVED. Image reproduced with kind permission of The British Newspaper Archive (www.britishnewspaperarchive.co.uk)

And yet, as uncelebrated as the work was at the time, it offers one of the most interesting insights into Britain's early Quadrille dancing industry to be found anywhere. The author offered personal observations into the rise of the Quadrille, his insights add colour and depth to what is otherwise an obscure subject. He named several key personalities in that early industry and his observations span the whole of England. It's curious that an Edinburgh based dancing master should not refer to the state of Quadrille dancing in Edinburgh, or indeed elsewhere in Scotland; perhaps he was concerned that his potential customers would be offended... he could point out the deficiencies of elite dancers in England and still hope to sell his book to elite dancers in Scotland.

It's probable that our author was not in London when the Quadrille dance first rose to popularity between about 1815 and 1819. As we'll see shortly, his observations relating to the early Quadrille in London are slightly flawed in a way that suggests mild confusion. He was probably in Edinburgh from around 1821 (and working with Barclay Dun as described above). He may have been in France, or elsewhere, during the initial rise of the Quadrille dance in England. His observations are nontheless valuable and relevant, he evidently had nationwide observations to share regarding the Quadrile dancing conventions of the early 1820s.

People named within the Book

One of the more fascinating aspects of the book is that it names several celebrities of the early Quadrille dancing movement in England, it offers a brief glimpse into their activities. Our author, who may or may not have been Alexander Murray, is likely to have known several of these people personally. Others he'll only have known by reputation. Most would have been household names at the time, at least within their own localities, each had a personal influence over the rise and development of the Quadrille dance in Britain. We'll now consider those named individuals and briefly comment on their lives and work.

• Countess Lieven

  Princess Katharina Alexandra Dorothea von Lieven (1785-1857) (see Figure 4) was named by our author as being The Star at Almack's (page 16), he writes that she had an unrivalled system of Waltzing and Quadrilles. Her dancing prowess was the least of her accomplishments however. Dorothea was the wife of the Russian ambassador to London between 1812 and 1834 and she was highly influential in her own right. She was a close friend to a succession of British Prime Ministers, the first foreign patroness of Almack's Assembly rooms, and one of the leaders of fashion in London. She was arguably one of the most successful diplomats of her generation. Some authorities also suggest that she was responsible for championing the Waltz dance in London, she was evidently considered one of the best Quadrille dancers too.
  Figure 4. Princess Dorothea von Lieven, c.1814. Image courtesy of the Wikimedia Foundation.

  It's unlikely that our author knew the Countess personally, rather her reputation will have proceeded her. Our author went on to write (page 16) of the First Set of Quadrilles that: after seven years experience, in no instance has the original set been danced in England, so as to deserve any kind of praise, except at Almack's, where, in a few instances only, they have been properly correct.. Our author had a poor opinion of English Quadrille dancing but made a slight exception for the dancers at Almack's, the first amongst whom would have been Countess Lieven herself.

• Payn of Almack's

  Our author variously refers to The publishers of Payn's Quadrilles (page 15), the first set of Payn's Quadrilles (page 16) and even Payn of Almack's Quadrilles (page 29). The curiosity is that there was no single person with this name, it seems instead that the author has made the mistake of conflating the dancing master Edward Payne (1792-1819) and the orchestra leader James Paine (of Almack's 1778-1855) as a single person. This was a common mistake, both two hundred years ago and also in the modern era. Two different (and probably biologically unrelated) people, both highly influential in the early success of the Quadrille dance in London, happened to share a similar name. And as one of them died in 1819, before the Quadrille reached it's peak, there was no drive to disambiguate the references to them thereafter.

  That said, our author's confusion does suggest that he was not personally active in London between the years 1816 and 1819. If he had been it seems unlikely that he would have made this mistake; he would either own copies of their printed music (with their different names clealy identified on the covers), or have met the men in person, either way he shouldn't have made the mistake so common in later years of assuming they were the same person. It seems more likely that our author was in Edinburgh, or elsewhere, during these formative years for the Quadrille and was subject to the same general confusion as most of the rest of the public. We have shared biographies of both Payne and Paine before in previous papers, you can follow the links to read more about them.

  One curiosity that we will mention at this point is our author's reference to English music publishers issuing music to be compatible with the first set of Payn's Quadrilles (page 16). This is a fascinating thing for him to have written. It seems to be a clear reference to the Quadrille figures, rather than the music, and it credits that specific combination of figures to Payn. The implication being that this specific set of figures is considered to be a distinctively English phenomenon (rather than a French phenomenon), something that by nationwide consensus almost all British Quadrille music should be compatible with. These figures are of course known to have been danced on the continent in the preceding decades, either in isolation or even in combination. Yet they seem not to have enjoyed the same primacy in France as they were experiencing in England in the late 1810s. The figure sequences known as Pantalon, L'Ete, La Poule, La Trenis and La Pastorale are all known from other sources prior to either Payne or Paine publishing them in London, many of these sources are French; but the combination collectively referred to in England as The First Set and danced in preference to all others, that seems to have been thought of as an English phenomenon. They would go on to become the standard arrangement for Quadrilles in Paris too in later years, just (I think) not yet at this early date. Our author is almost unique in further qualifying these figures as being Payn's rather than more generically the first set or the original set or similar. Again, this additional clarification may be evidence of his not having been in London during the pivotal few years when the First Set emerged as a concept; other writers hint (without being specific) that the term relates to the first set danced at Almack's, or the first set danced at Carlton House or more generally the first set to be widely known. Our author identifying them specifically as Payn's is more specific than most writers achieved, more modern (modern scholars cite specific sources) but also less accurate in that it glazes over the process by which the First Set rose to prominence. I personally suspect that the first set was being danced in London for some months, possibly even years, before either Payne or Paine came to publish them. Our author seems to lack insight into the earliest years of the Quadrille in London.

• Mr White of Bath

  Our author makes several references to White's music shop in Bath. He notes that White's quadrille music is reckoned superior to any other compositions of the kind (page 28), that the principal Music Shops have always in their windows copies of White's quadrille music (page 27), and that Mr White, of Milsom Street, Bath, regularly publishes new Quadrilles in figures and Music (page 27). He went further, White's quadrilles were always deemed an useful ornament to the piano (page 28). It's fascinating to read that a Quadrille publisher from outside of London had a nationwide reputation in the early 1820s.
  Figure 5. The Navy Quadrilles, White's c.1820 24th Set, with New Figures by Miss Giroux.

  We have written of White's music shop and the young prodigy John Charles White in a previous paper, you might like to follow the link to read more. On that occasion we investigated a pair of 1818 copyright prosecutions that John White filed against two London based music publishers who had printed their music without permission. White won and was awarded damages. It is my suspicion that this copyright action, more than any other single incident, led to the collapse of the Country Dance publishing industry in London. The share-and-share-alike mentality the industry had held prior to that date was discarded thereafter, the result being that tunes, even simple 16 bar country dancing tunes, tended not to be published in London without clear provenance and permission. Of course the collapse of the country dance publishing industry was also the result of pressure from elite ballrooms, the success of the Waltz and the Quadrille had meant that there was less demand for new Country Dancing tunes. John Charles White shifted his efforts to publishing of Quadrille music thereafter. It's unclear how many sets of Quadrilles were composed and published by White, his 30th Set of Coronation Quadrilles were presumably (based on their title) published in 1821, his 52nd Set were advertised in 1828 (The Age, 7th December 1828). He would have had a significant collection available in 1823 when our book was published, including his c.1820 24th Set as seen in Figure 5.

• The Misses Giroux

  Our author informs us that White did not in fact create the figures for his popular Quadrille sets himself, rather he is in general indebted to the Miss Giroux', whose dancing on the stage will always be a recommendation (page 28). White's first twenty or so Quadrille Sets were arranged to match the figures of the first set of Quadrilles, at some point perhaps around 1820 he began printing Quadrille Sets with a new set of figures arranged by a Miss Giroux (see for example Figure 5). There were five Giroux sisters, all celebrated stage performers from a famous performing family. In addition to performing on stage the sisters assisted their father with the tuition of social dance. By the late 1810s at least two of the Giroux sisters were involved in running a dance academy in Bath (Bath Chronicle, 21st of august 1817). It's uncertain which of the Giroux sisters was most active in Bath in the early 1820s, and assisted with arranging figures for White's Quadrilles, it is likely to have been either the elder sister Miss Cecilia Giroux or her sister Miss Louisa Giroux.

  It seems likely that the Quadrille figures printed by John Charles White from around 1820 were in fact being danced at the Assembly Rooms in Bath, as arranged by the Misses Giroux. One of the Misses Giroux, presumably the same sister, also arranged the figures to be found in Joseph Hart's 1822 5th Set of Quadrilles. The Quadrille arranging Giroux sister may have influenced popular Quadrille figures not just in Bath but across the whole nation.

• Mr Forth of Brighton

  Our author wrote of Mr Forth that he was Master of the Ceremonies at the Castle Rooms, Brighton and was seldom absent from any of the parties of distinction there (page 31). The annecdote continued that he never suffered a Dance to commence without first arranging the distance of the company; yet, although this was admitted as strictly proper, it generally happened, as in other places, that the Dance, in a very short time, became a crowd. Mr Forth, we are told, struggled to make the dancers at Brighton's Castle Rooms stay a suitable distance away from each other within a dance. This story is unusually personal, it hints that our author had attended the Castle Rooms in person and witnessed Mr Forth's difficulties there. When Quadrille dances became the fashion, from around 1816, Mr Forth evidently considered it his duty to politely nudge the dancers into a suitable starting position for each dance. If this convention was thought to be proper at Brighton (potentially under the personal influence of Mr Forth, where the dancers would be the socially elite), it will have been enforced at other Assembly Rooms around the country too. Mr Forth had been appointed the Master of Ceremonies in Brighton in 1808 under the patronage of the Prince of Wales (Bath Chronicle, 23rd of June 1808); we've written of an 1808 ball held at the Castle Rooms and officiated by Mr Forth in a previous paper, you might like to follow the link to read more

  Mr Forth was something of a celebrity in and around Brighton, Brighton in turn was one of the most fashionable towns to visit in England. Many people around the country would have known of Mr Forth's reputation. The Morning Herald newspaper for the 31st of August 1810 included a brief biography of Mr Forth. He had, we are informed, previously been a popular Captain in a regiment of Dragoons; he may perhaps have had the voice of a drill sergeant, he was able to martial the polished ranks of elegance and fashion, under the benign and immediate patronage of the Heir Apparent, at Brighton. The report continues: That the balls here, therefore, are in general so numerously attended by the Military, is easily understood, and the cause it so honourable, that we feel a particular pleasure in making it known; nor in his distinguished civil capacity does Mr. F. evince less skill in commanding respect, and extending the circles of his friends. He was not without critics however. The owners of the Castle Rooms were reported in 1815 (Sussex Advertiser, 18th of September 1809) to be desirous of replacing Mr Forth, except that a meeting of the Brighton subscribers voted their confidence in him and their desire for his to stay on in his role; they resolved That it is the opinion of this Meeting, that the conduct of Mr Forth, as Master of the Ceremonies, has been such as to entitle him to the approbation of the public and that we, the undersigned, are therefore determined to use our utmost exertions to support Mr Forth in his present situation.. Mr Forth evidently remained employed in his role at Brighton.

  Mr Forth eventually resigned from his duties as Master of the Ceremonies at Brighton in 1827 (Brighton Gazette, 1st of March 1827), he died in 1831 (Brighton Gazette, 29th of September 1831).

  Figure 6. A. c.1817 Set of favorite Quadrilles by Monsieur Paris of Liverpool. They are presumably his first set of Quadrilles.

• Mr Paris of Liverpool

  Our author briefly wrote of Mr Paris, of Liverpool (page 28) that he has composed some very popular Quadrilles as to music; and the fashionables of Chester and Liverpool are quite disposed to think no Quadrilles equal to those at the Wellington Rooms, Liverpool. Mr Paris (he usually signed himself Monsieur Paris) was a dancing master associated with Liverpool's Wellington Rooms, relatively little is known about him however. He published at least three sets of Quadrilles, the third being advertised in the Liverpool Mercury newspaper for the 27th of March 1818 (see Figure 6 for an example set). Back in 1817 he had described himself in an advertisement (Liverpool Mercury, 21st of February 1817) as Ballet Master to the Wellington Rooms and advertised for sale a book named The Ground Work of Quadrille Dancing. Unfortunately I know of no surviving copies of this work. An 1824 Liverpudlian directory gave his full name as Nicholas Jerome Paris, his obituary was printed in the Liverpool General Advertiser for the 19th of July 1832.

  An element of confusion does exist in the historical record however. Someone else operating under the same name was also active as a dancing master in the nearby city of Manchester at around the same time. A Mancunian Monsieur Paris was active between at least 1823 (Manchester Mercury, 22nd of July 1823) and 1845 (Manchester Courier, 26th of July 1845). Our Nicholas Paris may perhaps have serviced both cities in the 1820s, it may have been one of his sons who continued the Mancunian academy into the 1830s after his death. The question is of some interest as the Mancunian Mons Paris was responsible for publishing (and probably inventing) the Sixdrille dance format in 1825 (Manchester Guardian, 25th of June 1825). Sadly I know of no surviving copy of the original Sixdrille publication either. I find the early transmission of the Sixdrilles to be particularly fascinating, they would rapidly become thought of as Parisian (from the city of Paris) rather than a dance from the north of England created by Monsieur Paris!

  My impression is that Mr Paris was a highly influential dancing master in the north of England. He is largely forgotten today but his influence would have been better understood 200 years ago.

• Sir John Gallini

  Our author doesn't have much to say about Sir John Gallini (1728-1805), he had little reason to do so as Gallini had died long before the Quadrille dance rose to prominence. Gallini had held an important influence over dancing in London over several decades however. His story is fascinating, he was a dancer who married his way into the aristocracy and went on to direct and ultimately run the King's Theatre Opera House. He also operated the Hanover Square rooms. Our author includes anecdotes on the perfection of the cotillon dancing at the Hanover Rooms (page 12), he perhaps remembered them from his youth. Our author would probably have met Gallini at this time. Gallini was a controversial figure however, many of the leading nobility were involved in disputes involving Gallini.

  The anecdote that caused our author to actually name Gallini involved the foundation of the Almack's Assembly. Our author wrote of Almack's that it should be understood that Almack's, as it is called, is the Assembly from Hanover Square (page 14). He continued: The subscribers, through dislike of Sir John Gallini, moved their Assembly, under the influence of the Countess of Salisbury, to King Street, St James', where the subscription has continued ever since in the name of Almack's.. The Almack's Assembly, we are told (and which were so important to the elite social life of Regency London), came about as the Countess of Salisbury (1750-1835) moved her retinue away from Gallini's influence. I do rather wonder if the institution of Lady Patronesses at Almack's was introduced by Salisbury and her friends simply to keep Gallini out!

  One possibly important observation that our author does make regarding the Cotillon dancing at the Hanover Rooms (page 12) is that they danced them perpetual, in the manner of Quadrilles. It's likely that the cotillions were danced in succession, perhaps even in groups, somewhat as a Set of Quadrilles would typically be danced in the 1820s. This may not have been Gallini's personal invention but he may have, to some extent, paved the way for the later Quadrille revolution.

Assorted Observations on the Content of the Book

There are many fascinating things to be found within the book that could be commented upon. I'll share a few of the points that I found to be especially comment worthy here.

One detail of the book that intrigues me involves the different experiences of Quadrille dancing to be experienced across England in the early 1820s. Our author explains that the music used in London (specifically at Almack's Assembly Rooms) was different to that in Bath, it was different again in Liverpool and York (page 28). We're told that the same was true in France too, with each Assembly Room employing Quadrille dances that are peculiar to themselves. The anecdote goes beyond just the music though, the implication being that the popular dance figures could vary by locale too. Visitors to an Assembly Room (page 29) might have to watch the Quadrille dancing as the figures danced were liable to be different to what they already know. As our author wrote on page 29: Amidst what may be called a catalogue of fashions, as to figures and music, how unpleasantly situated must any Lady or Gentleman be, under the fancies mentioned, who might wish to visit at Bath, or any other place, (having NO GUIDE,) where they differ so widely!. There wasn't a single shared Quadrille repertoire used by everyone nationwide, individual groups of friends and neighbours evidently found their own favourites to dance, often supporting local dancing masters and band leaders in the process. There was a diverse pattern of competing dance cultures across the country, the nuance of which is largely lost today.

Figure 7. An example Quadrille dance. From Highest life in London: Tom and Jerry sporting a toe among the Corinthians at Almacks in the West, 1821. Image courtesy of the National Gallery of Victoria.

Our author regular refers to the need for a Scientific approach to the tuition of Quadrilles (eg page 13). We're not told precisely what the scientific approach is however. My impression is that it involved learning the principles of Quadrille dancing, the repertoire of figures and steps that might be encountered, and how to apply them. This is in preference to teaching dancers to memorise specific sequences of Quadrille figures. Students should be taught how to dance Quadrilles, rather than being drilled endlessly in a single specific set. Dancers can then apply those skills wherever they go. Our author was sufficiently certain of his ability to teach dancing in this way that he wrote (page 25): The Author of this publication has qualified numerous Ladies and Gentlemen, of all ages, to dance Waltzing and Quadrilles, of every description, scientifically, in the most elegant manner, in 'eight' lessons; and will take upon himself to give every instruction and information, 'gratis', that shall be required, or necessary, after the expiration of eight hours' practice.. If he couldn't teach someone to dance in eight hours he was willing to provide their remaining tuition free of charge! The idea that social dance can be subject to scientific discipline is one that we have encountered before; Thomas Wilson regularly described Country Dancing as a scientific discipline, other writers such as Edward Payne and John Cherry made similar observations. The early 19th century was a period of change where new inventions, technologies and ideas were literally changing the world, the idea that dancing could be perfected through methodology and discipline may have appealed; the dancing masters may have imagined perfected dances in which people would move with the finesse and consistency of mechanical machines!

Our author, like so many both before and since, was of the opinion that modern social dancers (of the early 1820s) were inferior in their accomplishments to their peers of a generation earlier. That is perhaps to be expected as a dancing master always needs pupils to improve, he was incentivised to have a dim opinion of most dancers. He was particularly generous in his descriptions of the Cotillon dancers at the Festino events of the late 18th century (page 11). His memory may indeed have been correct, or there could have been an element of nostalgia to his recollections. Our author goes further (page 16): I must take upon myself to say, that after seven years experience, in no instance has the original set been danced in England, so as to deserve any kind of praise, except at Almack's, where, in a few instances only, they have been properly correct.. What I, as a modern reader, take away from such two hundred year old observations, is that the average social dancer at the time was imperfect. I therefore hold the opinion that modern re-enactors shouldn't feel the need to achieve perfection either! Perfection in social dancing is somewhat anachronistic, even the most elite dancers in the country only occasionally (if our author is to be believed) achieved it.

Figure 8. Image from the cover of the Tremont Quadrilles, Boston, c.1830. Image courtesy of the New York Public Library

The early years of the Quadrille in England, presumably between about 1814 and 1817, were characterised by uncertainty as to how they should be danced. Our author explained (page 9) that From the continual hostilities which prevailed between France and England, during the long usurpation of Bonaparte, all intercourse between the countries was suspended; the most of the professional gentlemen, in consequence, lost all knowledge of the French fashions, and indeed all desire for them; so that any one who could merely shew the method of walking Quadrilles, was considered a prodigy; and many, who could only give information respecting the dancing of them, acquired large fortunes.. Our author held a poor opinion on what the first generation of Quadrille-teaching dancing masters achieved, he considered the Napoleonic Wars to have been a factor in the poor Quadrille dancing tuition received in England at this time.

A minor observation that caught my attention from page 17 involves three different types of Quadrille that were being danced in Paris. One was termed Operitic as being derived from opera music - a great deal of English Quadrille music of the 1820s might be similarly termed as many English Quadrilles were adapted from the operas. The next was en Militaire, derived from military (marching) music. The third was the Waltz Quadrille, so named for interspersing waltz dances between the Quadrille dances (perhaps as in Figure 8), I'm not aware of any other sources defining a Waltz Quadrille in this way. The concept of a Waltz Quadrille is usually understood to imply a regular Quadrille dance in waltz time with waltz turns injected wherever possible, our author's definition of a Waltz Quadrille may be useful when interpreting other sources.

One final observation I'll share involves the need for space when Quadrille dancing. Our author (page 31) observed that numerous professional Masters of the Ceremonies complained of the same issue; they would in the most polite manner, address their guests on this point and were for a moment ... respectfully attended to, but in less than ten minutes after, the same company have been as close, for a Contre Dance, as rank and file were ever drawn up in military discipline. Dancers struggle to maintain distance from each other during a dance, even if they all begin with an appropriate distance. Some things never change!

Transcript of the Book

What follows is a transcript of the contents of the book. I've attempted to create it as faithfully as I can, preserving spelling and punctuation in the process. Page numbers have been retained though some minor editing decisions have been made: words that spanned multiple lines in the original have been recombined, ellipsis characters have been added when a sentence spans a page boundary, that sort of thing. Where a word in the original text was given in italics, the transcript retains the italics and adds quotation marks too. There are no subtitles in the original text.

The
Etiquette
of
The Ball-Room,
and
Delineation
of the
Art of Dancing Quadrilles, &c.
By A Gentleman,
who has
travelled through France, Italy, Portugal, &c.
and frequented the most
Fashionable Assemblies
in England

Discendo amplificamus facultates

Edinburgh:
Printed for the Author, 21, Castle Street,
and to be had of
Wood, Small, and Co, Music Sellers, Waterloo Place,
and
W. Hunter, Bookseller, Hanover Street.
1823.

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The Author's purpose in submitting this Publication to the Fashionable World, it will be seen, is not an attempt to display literary talents, but to convey much important information upon their most favourite amusement. For this end, in addition to circumstances materially affecting the Ball-Room, it is necessary to shew what Dancing was, what it is, and what it ought to be, in order to ascertain the importance of an improved system; - and by what means that system can be accomplished with infinitely less trouble, expense, and loss of time, than has been generally incurred, - and to point out to the fashionable world a method of distinguishing themselves from the practical manners of people of inferior rank. Many Ladies and Gentlemen have, for this and other purposes, travelled abroad; and most part have returned without profiting much in the science of Dancing, - it being admitted fact, that procrastination has been studied more than science; and that those who are qualified...

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... to give valuable instructions, with ease and elegance, take good care to withhold those accomplishments till acquired by much time and trouble. And here it may be truly said, such are the qualifications of a large majority of Tutors, called Dancing Masters, that some Ladies have acquired more in eight lessons than others accomplished in three or four years practice. This fact is so far indisputable, that it can be proved by innumerable references to Academies, &c. The Writer has personally witnessed many occurrences capable of amendment, in the most fashionable Assemblies, both abroad and in England, but being only a visitor, he could not presume to dictate to the Master of the Ceremonies; he therefore now endeavours to point out the most beneficial methods, for comfort, convenience, accommodation, and amusement; and also to shew, in the most conspicuous and incontrovertible manner, how much Ladies and Gentlemen may enjoy themselves and, at the same time, support their rank and dignity, by bestowing a small portion of time to improved methods; and likewise to shew the advantages derived from such improvements. Acrimonious, fastidious, and morose critics, soured with the world, and dissatisfied with themselves, ...

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... will declaim against Dancing, however improved. This splenetic, surly, tasteless description of a narrow and depraved understanding, (in the inapplicable phrase of a moralist, who wishes to be ignorant of polished manners,) only deserves an answer, when they have proved that personal graces are incompatible with intellectual improvement and virtuous habits. Nature, content with the rich profusions of her gifts, leaves to Art the task of setting them off to advantage. Dancing gives grace to the motions, elegance to the manners, and dignity to the person; it also gives rise to the general sanction of enlightened society; therefore can never be depreciated by the absurd and snarling censure of those who undervalue all accomplishments they do not themselves possess.

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Etiquette
of the
Ball-Room, &c.

Quadrilles are not only particularly fashionable, but are an interesting description of Dancing, on account of the elegance and variety of which the figures are susceptible; and it is somewhat remarkable, so little trouble is taken to acquire a proper knowledge of them, as they are a description of Dancing more in estimation than any other, either in former or present times. I shall, therefore, deem it my duty, without ceremony, to make every necessary remark on them, that concerns their respectability. So much has dancing Quadrilles gained an ascendancy over all other fashions for the Ball-Room, that at the Upper Rooms, Bath, (one of the most eminent places in England for those polite accomplishments,) the Full Dress Ball, which for ages had been attended every Monday, by all the beauty and fashion...

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... of the season, after the arrival from France of Quadrilles, dwindled away and were almost abolished; while Thursday evenings' Quadrille Practice were crowded to excess; and many of the Noblemen's Balls have been occupied the whole evening, without any other Dancing than Waltzing and Quadrilles. Quadrilles, it is presumed, were invented for the higher circles, as a description of Dancing more suitable to their education, taste, and judgement; and as they are grand and picturesque in design, it cannot be a desirable circumstance, that the real intention and merit of them should be metamorphosed. - That Quadrilles have been trifled with, will not, it is presumed, be disputed when the proofs are adduced; but it is first deemed proper to describe what gave rise to this derangement of system. The only reason that can be assigned why the Quadrilles became metamorphosed, is, that when they were first introduced into this country, Ladies and Gentlemen very rightly concluded, it was impossible to ascertain them properly without information; and one of the first authorities from abroad declared, seven years ago, that without a previous correct knowledge of steps, Quadrilles could never be performed with precision.

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I coincide with the gentleman so far as to affirm, that by an ordinary uncultivated method, mistakes and difficulties must for ever, in a greater or less degree, occur, with a perpetual uncertainty of accomplishing the figures correctly to the music, - the various sorts of new steps, ornamentally adapted, constituting the distance, the figure, the science, and the whole beauty of the design. Stripped of all these, what is there to place Quadrilles above the most uninteresting description of dances? To remedy this great defect, I have had from sixteen to sixty applications in a day, recommended by various gentlemen, Master of the Ceremonies, in different places. From the continual hostilities which prevailed between France and England, during the long usurpation of Bonaparte, all intercourse between the countries was suspended; the most of the professional gentlemen, in consequence, lost all knowledge of the French fashions, and indeed all desire for them; so that any one who could merely shew the method of walking Quadrilles, was considered a prodigy; and many, who could only give information respecting the dancing of them, acquired large fortunes. And Ladies and Gentlemen, finding that the true scientific method of teaching was attended with so much delay, ...

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... in their eagerness to follow the rage of fashion, contented themselves with merely following the music of a Quadrille in the uncultivated manner of a Contre Dance. Many Ladies reckoned it great policy to procure the use of large Ball-Rooms, to practice in by themselves, particularly on the eve of any great Ball; and I have known many months employed in this plan of assembling to teach one another errors and awkward manners, without the possibility of dancing to music with any degree of respectability. I know also, that from a distaste for being instructed, there are many who wish to argue, that fancy merely, is the most desirable system for Dancing. I presume to ask, what was the original design and purpose of institutions for Dancing? Is there any Lady or Gentleman who is disposed to argue, that grand Assembly Rooms were erected merely for company to follow music in a confused untutored stile, promiscuously jumping to Quadrille or Cotillon time? This is the grand foible to which almost general practice presents a stubborn propensity. I therefore feel myself peremptorily called upon to state, in every particular, how unprofitable, unbecoming, and degrading such a notion is, and that any professional Gentleman who would undertake to...

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... teach Quadrilles, by merely shewing the figure, must, in common sense, be supposed not to be qualified to teach then in any other way.

Cotillon always for science known
Was not by th' uneducated shewn;
Serv'd to higher circle shew
The difference between high and low.

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... distinction. I have a perfect recollection of the figures of the Cotillons danced at those grand Balls, and have seen eight sets of the first nobility in Europe, who danced them perpetual, in the manner of Quadrilles. I may, however, tell the admirers of Dancing and Music, that the piano movements of those Cotillons were eminently beautiful and graceful; for I have witnessed, after the eight bars piano, except the last note, that the sixty-four dancers correctly finished the last spring step in the third position, to the last note in full voice, - every one of the eight sets correct in their places at the concluding note. This had a grandeur in effect, and a display of science no Quadrille dancing in England must venture to look at. The whole of those Cotillons were an accurate variety of ease and elegance, scarcely visible but in the few instances of Quadrilles, which instead of being inferior ought to excel. I presume to say, I have some authority for stating how far Quadrilles are open to improvement, from having been for many years a tutor in a considerable number of the first academies in England, and also assistant master at the Italian Opera House, in the Haymarket, London. And as a proof that my argument has some foundation, I have, at this...

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... moment sons, who never received any tuition but from myself, who have been highly complimented for their most elegant system of dancing, both in France, and in the many academies and families of distinction in England. The advantage of a scientific method of teaching Quadrille Dancing is, that by various well designed and improved manners, no sort of difficulty can arise from any new publication, or card of Quadrilles, which may be presented either in public or private. And I wish it were possible here to draw a picture of all the various descriptions of figures of Quadrilles, with the power of shewing the effect of proper scientific and appropriate steps, which to avoid formality are now made various: I mean to say, I wish I could give a correct idea of all the figures in a proper way, and at the same time a description of the effect of those promiscuous practitioners, who sometimes take a run for it, or stop now and then, to catch the music as their ear may direct. That the deportment of the whole person is as material as the steps, is admitted; but it is a direct impossibility for the attitude to be graceful and appropriate, if the steps are awkward, ill judged, and inapplicable to the music. I will shew why very awkward deportment must necessarily accompany an inferior...

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... system of Dancing: To set to your partner, for example, occupies four bars, and to turn your partner four bars; - if you apply eight appropriate steps to set, and eight to turn your partner, you accompany the music; but if you apply 9, or 7, or 11, or 12 random steps, how will your steps suit your music, or your music suit your steps? The consequence of those inaccurate sort of methods of dancing Quadrilles is, that it throws the chief beauty of the Dancing, out of sight. Quadrilles are so arranged as to be wholly divested of fatigue, by only requiring all the dancers occasionally; therefore there can be no excuse for any sort of omission or deviation of the proper steps from the music. It should be understood that Almack's, as it is called, is the Assembly from Hanover Square, though the Rooms were infinitely more grand, having cost the celebrated Back and Abe L.60,000. The subscribers, through dislike of Sir John Gallini, moved their Assembly, under the influence of the Countess of Salisbury, to King Street, St James', where the subscription has continued ever since in the name of Almack's. The plate glass in Hanover Square Concert Rooms (which was purchased by his Majesty) are the largest in...

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... Europe, being six long squares, and cost L.800 each without frames. The publishers of Payn's Quadrilles, (White at Bath,) the Lancers, &c. have stated the length of time each figure should occupy, by stating the number of bars of the music; but how that time is to be filled up, by what, or with what, is left to your own discretion. Discretion has, in consequence, been most shockingly abused, to the disgrace of the name of the Ball-Room or Dancing - turning science completely into ridicule; and the next thing to be expected is, that practitioners will be led to sound their music discretionally, or at random, as their fancy may direct, - in expectation that by doing so, they will in time accomplish harmony. If my arguments are incorrect, allow me to ask, what is Waltzing without the step or the time? Yet that simple system of science is in itself beautiful and elegant. Quadrilles are, in fact, an enlargement of the original Cotillon, with various modern steps and figures; the number of eight or sixteen is the same - the time is the same - the original and modern steps appropriately adapted, the same; yet neither the original nor modern steps, except in very few instances, are seen in practice. The Star at...

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... Almack's, and private Noblemens' parties, is the Countess Lieven; and if any one were to ask that Lady, if she could dance her unrivalled system of Waltzing and Quadrilles without science, I am sure her Ladyship would think it a very great insult. But though that system of Dancing, properly called scientific, is so easily and so soon accomplished; yet for want of only one of the most beautiful steps of French institution, it is very usual to see a Jig system to a Sauteuse or quick Waltz time. It is somewhat surprising and unaccountable to see the existing difference between the methods and practice of foreign courts and assemblies, and those in our country. Here it is made a merit to publish new music expressly adapted to the first set of Payn's Quadrilles, - indicating as much as if the nobility in all these years had accomplished no more than the first Quadrilles, danced here seven years ago. I must take upon myself to say, that after seven years experience, in no instance has the original set been danced in England, so as to deserve any kind of praise, except at Almack's, where, in a few instances only, they have been properly correct. Very recently I saw, at Paris, cards presented of new Quadrilles; the one was...

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... Operitic, because the music was selected from the Opera; another Quadrille, en Militaire, because it was to martial music; another, more beautiful if possible, called Waltz Quadrille, because interspersed with slow and quick Waltzing. And is it not remarkable to say, that the Gentleman and Ladies, being possessed of a little scientific knowledge, danced all these entirely new figures to new music, as correctly as the music was written; for it was not in print. Here was something interesting, - something to distinguish the educated from the uneducated, calculated to amuse the mind and divert the attention. If I shall be told, that the first set of Payn's is sufficient to divert, and support the fashion; my reply is, I have been in love with a new composition in music, and have heard it repeated till the very sound of it became obnoxious. I was favoured with a copy of the music and figures of these Quadrilles; (and a great favour it was, being private property, and prohibited publication,) the inference is, though all the Quadrilles yet published are humble indeed in comparison to those partly described, it serves to shew, that a proper system of Dancing is, and ought to be, like learning to read music, - removing all description of difficulty in the general practice, as well as the...

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... superior effect so glaringly visible between the accomplished Lady, and the Lady of no education. The great evil is the unnecessary length of time usually employed for the accomplishment of so useful and so desirable a system, which, as can be proved by experience and references, should on no occasion, with either young or old, occupy more than from 8 to 12 hours' instruction. It is no uncommon circumstance for a fashion to obtain general practice, that on further consideration is discovered to be ridiculous and absurd. It cannot be said we live in an age more enlightened, or that it is a proof of our superior taste and judgement, that the Ball-Room, which for centuries was the school for genius, and display of refinement, should have dwindled into a mere mimic of qualification. Minuets, that were held is so much estimation for many ages, on account of their science and graceful elegance, (so that for more than 100 years, no Ball at Court, or at the mansion of a Nobleman, ever commenced otherwise than with them,) they have, by wonderful improvement, substituted in their place a hop, skip, and jump! How much time and ingenuity for ages - the admiration of the best informed people in the world, is at last arrived at disrepute! This is as material an error in...

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... the understandings of those who hold Dancing in estimation, as any other foible in practice; and for many reasons, - a few of which I shall quote. First, by the practice of Minuets, at an early age is acquired that superior deportment of the person which is glaringly discernible in an Lady who has never been under the Dancing Master; and next those who practice other descriptions of Dancing, who have never practised the movements, positions, and graces of Minuets, do it at an eminent disadvantage; inasmuch as those who become desirous of accomplishing new dances, or Quadrille steps and figures, would be much less trouble to a Teacher, if they had previously practised Minuets. I can give reference to a family of distinction, where the eldest daughter was lately sent to a great distance for superior education; at which time Minuets were out of fashion. Two younger sisters, in the mean time, were persuaded, by their Dancing Master and Governess, to learn Minuets. The result was, the younger sisters were all gracefulness and elegance in their manners and deportment - the eldest sister all awkwardness and deformity. This is not a singular instance, or matter of accident. Another important circumstance can be proved by reference. Three Ladies, who had...

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... been nearly four years under two French Teachers, called Dancing Masters, came on a visit to a young Ladies' Boarding School; and when they were invited to join in Quadrilles and other dances, were obliged to confess they were not qualified to join in the dance with those who were younger than themselves, and who had learnt only nine months. This is another convincing proof, if any more were wanting, of the advantages of scientific methods over those of a system of confusion. There were in this school 26 young Ladies, who in nine months had accomplished Minuets, Quadrilles, Waltzing, &c. and could dance any set printed - join any party with the utmost ease and certainty, under all the advantage of improved methods; and the three Ladies, above alluded to, who had been more than three times longer under tuition, were unqualified to enter a Ball-Room with any degree of respectability. The fact of this Academy, and of the three visitors, is so far from being a secret, that it is well known for 100 miles through the country, and nearly 100 families visited the school to see the young Ladies' practice, - all of whom having heard of the two different French Gentlemen; they were dismissed from all the Academies within 70 miles:-

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This exhibits plain want of science,
And oft prevents power of compliance;

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... and procured, at great expense, a French Governess for them; for fashion has long been endeavouring to teach us, that no qualified Tutoress can possibly be procured, except from the Continent. Well, this prodigy of nature, the all-elegant and accomplished Governess, recommended that the young Ladies should be sent three miles, for the instructions of a popular Dancing Master. The first circumstance observable in the eldest daughter was, squeezing her nose sideways, and snifting, as if taking snuff. The next still more admirable accomplishment was, when the young Lady, now fifteen years of age, began to practise a little scientific Dancing, and found she did not at first accomplish according to her wish, she catched her hand to the side of her Person every time, in the exact position and manner of the great monkey exhibited in Perouse, or the Desolate Island. The scratch of the side was always accompanied by the drawing of the nose aside, and a snift; and when again disappointed, the hands and arms were thrown back, and the whole person being crooked. The Dancing Master requested to speak to one of the Governesses out of the Academy, there being three sisters, most accomplished Ladies, who kept the school; the eldest of whom being...

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... acquainted of the elegant manners above described, answered, she had observed the young Lady most astonishingly ungenteel; but, at the same time, begged to remind the Dancing Master, that the young Lady was not one of their pupils; that she was merely solicited to permit the Rev. Gentleman's family to attend her School as pupils in Dancing; but that all the other branches of their education were under the direction of a French Governess: To which, added the Lady, I highly approve, Sir, of your motives of delicacy; but if this is the acquisition of a French teacher, who being always with them, should have watched every motion, I should rather prefer England for accomplishments. The fact is, people of merit are to be found in both countries, and impostors also; but to imagine that refinement is confined to one spot in the world, is as silly, as it is cruel and unjust. As a specimen, how the easy, certain, and ornamental methods, should be observed in dancing Quadrilles, and give an idea how the various steps are beautifully designed and adapted to the different sorts of figures, I may simply describe the method of turning your partner. For example: The Gentleman and his partner, inclining towards each other, raise...

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... both hands on a parallel with the shoulder; for, it may be observed, to turn the partner, keeping the hands downwards, is a very inelegant position, - keeping at an easy distance, by no means closing - for that is another as ill judged form. Each extending the arms, a little inclined to bowing or bending, supporting the Lady by bearing up the two hands, you both commence the step together with raising the left food, pointing to the ground in the second position, and inclining to turn round, in an easy, light, and elegant manner, counts one; resting immediately on the left, you spring, and catch the right behind the left, at the same time advance the left a second time, which counts two. You then repeat exactly the same, beginning with the right foot first, then again with the left, continuing to turn, as you perform the step, at the easy distance before described. By this counting 1, 2, 3, 4, 5, 6, then quitting hands, you walk one step, and spring into the third position with the left foot, exactly into the very spot from whence you commenced; the concluding walking step, and spring, or jump, making 7 and 8. By this you are never out of time, or your proper place. Keeping the head up, and observing the distance, easily comprehended by the position of the arms...

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... nearly extended, you will see the distinction between science and becoming positions, and that of a confused and unstudied method. This is the most simple and common method of performing the step; but the superior manner in which it is performed by the French, may be more easily acquired by instruction, than by any description which can here be given. Espagnoles, or Spanish Dances, and Polonaises, have been introduced at Almack's, and are very interesting, pleasing, and easy elegant Dances, chiefly confined to a Waltz system; which places them far above common Contre Dances, and may be learnt in a very short time. It is an undeniable fact, that Ladies and Gentlemen are called upon to practise year after year, and subscribe to class after class, in order to learn Quadrilles. The Author of this publication has qualified numerous Ladies and Gentlemen, of all ages, to dance Waltzing and Quadrilles, of every description, scientifically, in the most elegant manner, in eight lessons; and will take upon himself to give every instruction and information, gratis, that shall be required, or necessary, after the expiration of eight hours' practice. Nor are what I have endeavoured to point...

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... out, all the advantages to be derived from eight lessons; for by taking the instructions, so indispensably necessary for a proper accomplishment of Quadrilles, much of the scientific knowledge derived from them, may, at the same time be made appropriate to an improved method of Contre Dances. By occasionally employing or borrowing many steps applicable to Quadrilles, in various figures of Contre Dances, they will thereby be rendered less fatiguing, and very superior in effect, - making them also a useful guide to those whose ear for music may not be so chaste as that of others. And here another argument applies to the utility of dancing Quadrilles in the stile before mentioned, and that is, - suppose one of the set, in a Quadrille of eight or sixteen, should be at all incorrect in their notion of the music, or not possessed of a good ear for it; it is quite undeniable, that one, dancing in an uncultivated system, must confound the whole, by destroying the figure, and occasioning the rest to go wrong. It must, however, be observed, that there is frequently great distinction of time between Quadrille music, and that of Contre Dances; notwithstanding, a great many steps are rendered applicable and useful, by quickening their motion, if necessary, to the time of the...

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... Contre Dances. When this is not the case, as in quick movements of Scotch Contre Dances, then proper scientific Scotch steps must be employed. But where age possessing mirth, and a desire to accompany the younger branches of the family in the Contre Dance, occurs, an abridged Quadrille step can easily be made appropriate to the music, and is extremely useful, as it gives grace to the motion, and ease to the dancer. Another advantage of being taught scientifically is, that when young people are properly instructed in their early years, they can never forget, or be in fault when more advanced in age; but according to the modern methods of some frequenters of the Ball-Room, they may not only be seven years in practising, to learn little or nothing, and when they have abstained from their valuable experience for any length of time, they are as much at fault, as if they had never attempted any thing of the kind. Mr White, of Milsom Street, Bath, regularly publishes new Quadrilles in figures and Music; and the principal Music Shops have always in their windows, during the season, tokens of the Quadrilles, as danced at the Rooms, to be had there. Mr White is certainly entitled to great merit for his variety...

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... of figures, - but to much more, for his music; a great part of which is reckoned superior to any other compositions of the kind; and I am so far justified in this assertion, by White's sets (elegantly bound) being always deemed an useful ornament to the piano. For the figures, I believe, he is in general indebted to the Miss Giroux', whose dancing on the stage will always be a recommendation, - though genius, at the same time, must be allowed to the figurante. I cannot, however, exactly coincide with the methods, which is not at all surprising, as it frequently happens, that great talents of the Stage are lost in the Ball-Room: the business of the Stage being quite distinct from the instructions for Noblemen's Assemblies. Mr Paris, of Liverpool, has composed some very popular Quadrilles as to music; and the fashionables of Chester and Liverpool are quite disposed to think no Quadrilles equal to those at the Wellington Rooms, Liverpool. The Assembly Rooms in France have each sets peculiar to themselves. At York, an endeavour is made to have sets of Quadrilles of their own; and it is not a little remarkable, that at Almack's, London, they never dance a single set of any of the Bath Quadrilles; nor at Bath are any London Quadrilles ever...

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... introduced. Any one who has frequented the Assemblies at those places, will allow me to be perfectly correct in this particular, and that during the time of Payn of Almack's Quadrilles, not one of them was ever introduced at Bath. Amidst what may be called a catalogue of fashions, as to figures and music, how unpleasantly situated must any Lady or Gentleman be, under the fancies mentioned, who might wish to visit at Bath, or any other place, (having NO GUIDE,) where they differ so widely! They must therefore be content to visit the Rooms, merely to look on, and be stared at; while according to the precepts before enjoined, any Lady or Gentleman can join the Quadrilles at Bath, or any other place, though they have never seen or heard them before, without the hazard of mistake, by taking only a few hours' proper practice and information. In case the truth of this may be questioned, I can accommodate with reference to a Gentleman, (an eminent banker,) whose five daughters, with one son, (all under 12 years of age,) having had only 12 lessons, I took four of the young practitioners to a young Ladies' Boarding School, - when the two couple joined at the Academy with young Ladies they never saw practise a single moment; and the set thus...

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... met, danced as easy and as correct, as if they had practised Quadrilles together for seven years - merely from having a card of the figures. That part of the etiquette which may properly be denominated the arrangement, is evidently open to material amendment. As it is presumed the intention of a Ball, or Assembly, is designed to afford Ladies and Gentlemen an agreeable opportunity of dancing for amusement, it frequently occurs, that at these, young Ladies and Gentlemen covet an opportunity to display the progress they have made under the Dancing Master. But both the amusement, and the possibility of dancing with ease or good effect, is, at a numerous party, often thwarted, by an invincible propensity, in Contre Dances, to standing close together; (which ought never to be allowed,) a space between each couple being indispensably necessary, in order to render the figure of any Contre Dance practicable with the least degree of respectability, - to say nothing of the danger of Gentlemen jostling against Ladies' shoulders, as they endeavour, while crowded, to right and left, or the great probability of treading on a Lady's foot so situated; nor can a pousette figure be possible without room.

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The amendment of this simple circumstance, I conceive of the utmost importance, if strictly adhered to. What effect would a Quadrille have, if a proper space were not always observed? The practice I have here noticed may be disputed; but I am not alone in reprehending this particular, - having seen and heard many Gentlemen, (Masters of the Ceremonies,) in the most polite manner, address their guests on this point, who for a moment have been respectfully attended to, but in less than ten minutes after, the same company have been as close, for a Contre Dance, as rank and file were ever drawn up in military discipline. - Mr Forth, Master of the Ceremonies at the Castle Rooms, Brighton, was seldom absent from any of the parties of distinction there; and that Gentleman, either at the public Ball, or Nobleman's party, never suffered a Dance to commence without first arranging the distance of the company; yet, although this was admitted as strictly proper, it generally happened, as in other places, that the Dance, in a very short time, became a crowd. It is certainly by no means a very pleasant thing to have to complain to persons of the most polite education, that they do not allow sufficient room in their Dances; nor can it...

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... be at all agreeable to an officiating Gentleman to have to repeat the necessity of such decorum being observed; - therefore, I trust the observations I have made on this particular will be found just, and the hints I have thrown out, be attended with advantage in future. Another unpleasant circumstance frequently occurs, even at the grandest Balls, where the higher gratification is expected, but where frequently the most grievous disappointment ensues, - and this partly owing to the absurd custom of standing so close together in numerous assemblies, where, from etiquette, it may fall to the lot of some old fashioned old maid to call her favourite Dance - some old ditty perhaps; with which the Ball is annoyed half the night. Nor can true politeness be strictly observed by a numerous, crowded, long Dance. It would, therefore, be very highly commended, were a rule to be laid down, and strictly observed, that the first part of the company standing up, neither too numerous nor crowded, should sit down at the conclusion of the first Dance, in order that a second might commence. From the want of such a regulation, I have frequently witnessed Ladies and Gentlemen promenading the Room the whole evening, evidently...

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... much disappointed, and complaining that they had not a chance of joining in the Dance. I would just add, that any thing, the least at variance with the most rigid politeness, should never appear in a Ball-Room; and it certainly is an intrusion on decorum, while standing up to join the Dance, to indulge in perpetual conversation, by which the attention is often diverted from what it ought to be applied to, - and thus harmony is destroyed, and the Dancing interrupted. And this inattention to decorum is frequently productive of quarrels between Gentlemen, which lead to disagreeable consequences; a circumstance much to be regretted, and which might, in most cases, be avoided, by a strict adherence to the rules of politeness, which is the distinguished ornament of the Ball-Room, - and the attainment of which is the chief design of such assemblies to effect.

When Waltzing first its fashion found,
To be practis'd on English ground,
It was objected to for reason-
It was thought to decency a treason.
Russians, like bears, hug and squeeze,-
But did not English Ladies please;
At any rate, where ceremony required,
Sight of Waltzing soon tir'd;
Patience became exhausted - at an end -
To see the attitudes Russian bend;
So wisely alter'd the foreign form,
For graceful movements to step adorn.

Conclusion

I consider The Etiquette to the Ball-Room to be one of the most interesting dance publications of the early 1820s, it offers a unique insight into the evolving Quadrille dancing traditions of the period. It has, until now, been a difficult text to access; this transcript provides anyone who is fascinated by the early Quadrille in Britain the opportunity to read and enjoy it for themselves.

We'll leave this investigation at this point, if you have any additional information to share, do please Contact Us as we'd love to know more.