Paper 66

A Selection of Balls from 1807

Contributed by Paul Cooper, Research Editor

This paper continues a theme that we've previously studied in earlier research papers. Specifically, this paper investigates a selection of historical balls that were held by the British aristocracy in the year 1807. The events that we'll be studying were all, by chance, discussed in the British newspapers that year. The fact that they were referenced in the press explains how we are able to investigate them today. The only theme that connects these various events is that they were described in the press, and that the descriptions were sufficiently detailed that we can recover some interesting details of the original events. In each case we will discover a partial list of the tunes and dances that were enjoyed, we'll then go on to study those tunes further below.

The tunes and dances that we'll consider further in this paper are:

• Mother Goose
• The Wood Daemon / Miss Millet
• Drops of Brandy / New Drops of Brandy / Cammolan
• Off She Goes

Figure 1. Lady Vernon a portrait c.1790, image courtesy of Wikimedia Commons.

Lady Vernon's Ball

We'll begin by considering a ball held in April of 1807 by Lady Vernon (see Figure 1). Lady Jane Venables-Vernon (c.1746-1823) was the second wife of George Venables-Vernon, 2nd Lord Vernon (1735-1813) of Sudbury Hall in Derbyshire. The ball was held at their Park Place address in London, it was ostensibly held in celebration of the Baron's birthday. The ball may in practice have been an opportunity to present their daughter Georgiana to society, she would go on to marry the Honourable Edward Harbord (1781-1835) a couple of years later in 1809. The Morning Post newspaper for the 22nd of April 1807 wrote of the ball (with dance references highlighted in bold):

On Monday evening, in Park-place, Lady Vernon gave an elegant Ball and Supper to a large circle of fashionables. The fete was given in honour of Lord Vernon's Birth-day. The magnificent family mansion, second to none in the kingdom, was fitted up for the occasion with more than usual taste and splendour. The floor of the ball-room was painted in water colours by a first rate artist. In the centre of the floor appeared the family arms richly emblazoned. Owing to the Marchioness of Headfort's Concert, and several other fashionable parties, given on the same evening, the company did not begin to arrive till eleven o'clock. About a quarter past eleven the dancing commenced, the ball being opened by Earl Percy And Miss Vernon, to a new tune called Mother Goose, being a selection from the overture to the favourite Pantomime of that name. Among the couples which followed were:-

Earl of Ilchester ... Lady C. Yorke
Earl of Kinnoul ... Miss Cortewall
Lord Royston ... Lady F. Perry
Lord Palmerstone ... Lady F. Pratt

An attempt was made to introduce two sets, but the idea was given up for want of room. About three o'clock the company, about 150, partook of a most elegant banquet, consisting of the most delicate viands, and the rarest wines. The dancing was resumed at four o'clock, and about half past six yesterday morning the music ceased, when the company departed. Previous to the conclusion a Reel was given, with the true Highland fling, by the Earls of Ilchester, Kinnoul and Percy. The latter took the lead of all others. His Lordship so effectually incapacitated every individual in the dance, that every female about six o'clock studiously shunned his encounter.

There is much of interest in this passage. First we learn that the dance floor had been painted with watercolours in preparation for the dancing, this is a convention that we have written about before. It was more common to decorate ballroom floors with chalk imagery (which would be destroyed as the dance proceeded), I imagine that a watercolour design would survive a little longer. We also learn that many of the guests attended a concert earlier in the evening hosted by the Marchioness of Headfort; this is not only evidence that guests might attend more than one event of an evening, but also that the hosts might coordinate with each other. One particular tune is named as having been danced at the event, Mother Goose, we'll return to consider that tune in more detail shortly.

Next we're informed that there was an attempt to create a second longways set for country dancing. There was insufficient space in which to do so however. We don't know how many couples were able to dance, it's likely to have been between twelve and twenty; there were evidently more guests willing to dance than there was space available in which they could do so. The guests danced throughout much of the night, pausing only for supper around 3am.

Lastly we're told of a particularly memorable Reel of Three being danced by three gentlemen towards the end of the night. The dancers were the 20 year old Henry Fox-Strangways (1787-1858), the 22 year old Thomas Hay-Drummond, 1785-1866 and the 22 year old Hugh Percy (1785-1847). We've described the Reel of Three in a previous paper, you might like to follow the link to read more. It was evidently danced on this occasion with some enthusiasm and energy, we're informed that it was given with the true Highland fling (a phrase we have encountered before in previous descriptions of Reel dancing). It's perhaps notable that of the three dancers, only one can be clearly identified as a Scotsman. We're finally told that Earl Percy was so energetic that he wore down his partners (in what might be imagined to have been a competitive form of dancing), to the extent that the ladies preferred not to dance with him thereafter. This is a unique observation that I have never encountered in any other description of a society ball, Earl Percy's dancing evidently made a significant impact on the assembled company!

Lady Scott's Ball and Supper

Our next event was hosted in June 1807 by Lady Scott. There were several ladies with the title Lady Scott in the peerage at this date, it's not entirely obvious to me which Lady Scott was the hostess. She could have been the wife of Sir John Scott of Ancrum, or perhaps the wife of Sir Joseph Scott of Great Barr. Or someone else entirely. The ball was held in Leicester Square and was led off by Miss Scott (presumably the daughter of the hostess) and the Viscount Trafalgar (1788-1808) (Admiral Nelson's nephew, see Figure 2). The British Press newspaper for the 6th of June 1807 wrote (once again with dance references highlighted in bold):

Figure 2. Viscount Trafalgar c.1807, image courtesy of the University of Glasgow.

Lady Scott gave a grand Ball and Supper, last night, at her elegant house in Leicester-square. The arrangements were in the highest style of elegance. The Grand Hall was brilliantly lighted by variegated lamps. Supper tables for 120 were laid out in the parlours, and another table, for sixty persons, in the front drawing room. They were set out in the greatest splendour, and lighted by silver branches, and the most beautiful wax vases, with wax lights, which had a most brilliant effect, being the first of the kind invented to resist the heat of a candle. A superb triumphal arch, supported by fancy figures, was placed on the table; various pastry ornaments, were judiciously placed at distances, and had an elegant effect. The curious wax vases, and the arrangements of the table, were executed by Mr Cooke, of Suffolk-street. Three superb drawing-rooms, lighted by diamond-cut-glass lustres, and or-molu branches, bearing lights, displayed the elegant paintings of Sir Joshua Reynolds, with which those superb apartments are adorned. The floor of two of the drawing-rooms were chalked; the one representing a parterre, and the other a Mosaic pavement. A band of music was placed in one of the anti-chambers. At twelve o'clock the ball was opened by the lovely Miss Scott, and Viscount Trafalgar; Miss Scott was elegantly dressed in apple-blossom crape, with garlands of roses, and was joined in a Cotillon by Count Misnard, the Chevalier Boublanc, Miss Walsh Porter, and Miss Boughton; after which followed the new dance, called The Wood Daemon; in which Lady Sarah Spencer and Lady Charlotte Nelson joined. At one o'clock the company sat down to a supper, consisting of soups, and every delicacy of the season; the choicest wines graced the festive board in abundance. There were upwards of 500 persons present; amongst whom were-

Their Royal Highnesses the Dukes of Cumberland and Gloucester; the Duchess of Northumberland, who was elegantly dressed in agate blue; and the two Ladies Percy; the Marchionesses of Blandford and Townshend; Earls Percy and Limerick; Count and Countess Woronzoff; and several of the Foreign Nobility.

At two o'clock the company returned to the Drawing-room, and resumed dancing.

Once again we read that particular care was invested into the decoration for a ball, this time it's the lighting that was of special merit. Lady Scott is reported to have had the first use of a newly invented variety of wax lights. Two rooms were chalked for dancing, a third held the band. The supper table was elegantly decorated too. Two of the Royal Dukes were in attendance at the ball, Lady Scott evidently had high connections.

Two dances are mentioned as having been enjoyed during the course of the evening. The first was described as being a Cotillon. The text is a little unclear as to whether this Cotillon was the opening dance of the event, or whether it was a feature dance performed a little later in the evening. Six dancers are named as having been involved, in all probability there were eight participants. These dancers are likely to have rehearsed together in the days or weeks preceding the event in order to perform the choreographed dance to the best of their abilities, they may have been particular friends. The term Cotillon is one that is open to a degree of interpretation; the term could imply a cotillion dance of the type widely performed in Britain since the late 1760s (but that had somewhat fallen from favour during the 1790s), it may however have been a more general French Country Dance. It's notable that at our mid 1800s date we do find evidence (often from other British society balls) of a renewed interest in uncommon square dances, it's possible that what was danced might in later years have been described as a Quadrille. We've discussed the variations in cotillion dancing at around this date in a previous paper, you might like to follow the link to read more. We don't know which specific French Country Dance was enjoyed, a cotillion named The Ridicule was in the process of becoming popular at our date so it's a reasonable candidate for what was danced.

The second dance to be named was The Wood Daemon, we'll investigate that tune further shortly.

Lady Hume's Ball and Supper

Figure 3. Lady Hume a portrait, image courtesy of Wikimedia Commons.

Our next ball was held in July of 1807 by Lady Hume. She was Lady Amelia Hume (1751-1809), the wife of Sir Abraham Hume (1749-1838). The first dance was led off by their eighteen year old second daughter Amelia Hume (1788-1814) together with the 22 year old Hugh Percy (1785-1847) (who entirely exhausted the other dancers at Lady Vernon's ball above). The ball was held at their Berkeley Square address in London. The British Press newspaper for the 3rd of July 1807 wrote (with dance references highlighted in bold):

Lady Hume gave a grand Ball and Supper, on Tuesday night, at her house in Hill-street, Berkeley-square, which were numerously attended. The grand stair-case was lighted by patent lamps, on Egyptian pyramids. The grand ball-room displayed great taste in its arrangements; it was lighted by a superb lustre, with diamond-cut drops and icicles. Lights in or-molu branches were placed on elegant stands; three supper-rooms, on the ground floor, were set out with great elegance; in the first was a horse-shoe table for one hundred persons; valuable China vases, with bouquets, were on the tables, and curious figures intermixed between them; Mother Goose was well executed in wax. In the other two rooms tables were set out for one hundred more, and the whole lighted by silver branches, bearing lights. The supper was hot, and consisted of every delicacy of the season. At twelve, the ball was opened by Earl Percy and Miss Hume, to the favourite air of The Fairy Dance. After which, Earl Kinnoul and Lady Townshend, the Hon. Captain Hay, and Miss Evelyn, danced the merry dance of Fight about the fire side. At two o'clock the company came down to supper, and at three returned to the ball-room, when dancing recommenced, with Drops of Brandy. It was half past five when the company separated, amongst whom were:- His Royal Highness the Duke of Cambridge, Prince Esterhazy; Duchesses of Northumberland, Gordon, Bedford, Leeds, and Rutland; Marchionesses of Salisbury, Ashburnham, Carhampton, Camden, Dowager Essex, Barrymore, and Talbot; Ladies Townshend, M. Cotton, Smith Burges, G and E Cecil, Glynne, and Metcalf.

On this occasion we're informed once again about the quality of the lighting, also the impressive horseshoe of tables arranged for the guests to dine from. Once again we find a reference to Mother Goose, only this time it's to a character depicted in wax rather than to a dance. Three specific tunes are named as having been danced at the event, two of which we have previously studied: we've discussed various tunes known as the Fairy Dance elsewhere, so too the popular Fight about the Fireside (both of which featured in a Ball held by the Prince Regent in 1813). We'll investigate the third tune, Drops of Brandy further below. And once again we find that one of the Royal dukes was present at the ball, along with a great many other dignitaries.

Amelia Hume, who led off the first dance of the evening, would go on to marry John Cust (1779-1853) in 1810. He would go on to become the first Earl Brownlow in 1815, sadly Amelia died in 1814.

Brighton Pavilion Ball

Our next event was held at the Royal Pavilion in Brighton in August of 1807, under the auspices of the Prince of Wales and his brothers. We've previously studied balls held at Brighton Pavilion in both the years 1808 and 1817, you might like to follow the links to read more. The Daily Advertiser newspaper for the 17th of August 1807 wrote of our event (with dance references highlighted in bold) that:

Figure 4. The Corridor, Royal Pavilion, c.1820. Image courtesy of the Royal Academy of Arts

The most splendid Entertainment that ever was given at this place, was that at the Pavilion last night, and at which upwards of three hundred distinguished personages were present. Among whom we were only enabled to notice the following:-

Their Royal Highnesses the Prince of Wales, Dukes of Clarence, Kent, and Cambridge; their Excellencies the Imperial and Portuguese Ambassadors, Count Stahremberg, and the Marquis de Susa; the Dukes of Orleans, Norfolk, and St. Alban's; the Marquis of Hertford; the Earl of Egremont, the Earl and Countess Berkeley, Earl Craven, the Earl and Countess of Barrymore, &c. The Ex-Chancellor, Lord Erskine, Lords Huntingfield, Dursley, C. W. and A. Somerset, Petersham, Gage, Melbourne, &c. &c. Ladies Huntingfield, Somerset, Rawlinson, Stuart, Haggerstone, Melbourne, Newburgh, &c. &c. The Honourable Berkeley Craven, the Hon. Mrs Upton, Mr Sheridan, Mr Garrow, Mr and Mrs Masters, Baron Hompesch, &c. &c. &c. Together with the whole of the General and Field Officers at present in this district, and their Ladies.

The Company began to assemble as early as nine o'clock; and, before ten, the whole of the Royal Brothers had entered the Egyptian Gallery (or, on this occasion, Ball Room), where dancing soon after commenced. The Ball, we believe, was opened by Earl Craven and the Hon. Miss Seymour, the little interesting protege of Mrs Fitzherbert, with the lively air of Off she goes!. About twenty couple followed, the apartment being too crowded to admit any more. The Prince and his Royal Brothers were in high spirits; though neither danced, yet all that dignified condescension could do to render a company happy, was successfully practised by them.

The whole suite of apartments were most superbly lighted up; consisting of the right wing, commonly denominated the Conservatory, the Drawing-room, the Anti-room, the Grand Rotunda or Saloon, the Egyptian Gallery, the large Banquetting-room, or left wing and two or three spacious apartments in the western part of the edifice. The blaze of lights that was emitted from the eastern rooms, illuminated the most distant parts of the Steyne, and many individuals of character and fashion were to be found on the walk the greater part of the night.

By eleven o'clock the Pavilion appeared quite crowded with Nobility, the Ladies being most superbly dressed, with a splendid profusion of diamonds. Towards one o'clock the supper-rooms were thrown open; to describe the magnificence of which is impossible in this hasty sketch. The ornamental embellishments of the Table were beyond description beautiful, all in the Chinese Style; and not a delicacy that the season, or refined art could produce, were the Tables deficient of. The Extraordinary Beauties of the Apartments, the superior Elegancies of the Tables, the strikingly magnificent dresses of some of the finest Women in the World, the full dress uniforms of the Military, and the Blaze of Female Charms, all reflected by the immense mirrors, reaching from the ceilings to the floors, produced an effect such as may be conceived, but can never, with justice, be expressed. It could only be compared to one of those scenes of enchantment, such as are described in the Arabian Nights Entertainments, and the Fairy Tales. Every individual present appeared enraptured - every heart seemed to palpitate with joy - every countenance was brightened with smiles - and every eye beamed with pleasure.

The golden spangles of the Morning Sun sparkled in the East, ere the company possessed the resolution to leave the Supper Rooms, and which they at length only did to renew the Merry Dance, and which continued to enliven its Votaries until after five o'clock. It was nearly six o'clock on Friday morning, ere the last carriage drove from the vestibule of the mansion of refined mirth and Royal hospitality.

We read that a whole suite of rooms were used for our ball and that the Egyptian Gallery was employed as the temporary ballroom. The first dance of the ball was led off by the 36 year old William Craven (1770-1825) with either the approximately 10 year old Mary Seymour (c.1798-1848), or her sister the nearly 12 year old Horatia Seymour (1795-1853). They were both daughters of Lord Hugh Seymour (1759-1801) and proteges of Prince George's mistress Mrs Fitzherbert (1756-1837). The Prince had attempted to broker a guardianship proposal for Mary in 1802 following her father's death, if accepted he pledged £10000 to Mary upon her coming of age. It's a little bizarre for a ball to have been opened by a child. We've previously written of a ball held at the Royal Pavilion in 1817 (some 10 years later) that was also opened by, in all probability, Mary Seymour. Our ball was opened to the tune of Off She Goes, we'll investigate that further below. Only twenty couples were involved in the dancing on this occasion as that was all that the room could hold.

Wentworth House Fete

Our final event was held in October of 1807 in celebration of Lord Milton's coming of age. It was held in the Yorkshire estate of Wentworth House. The young lord was Charles Wentworth-Fitzwilliam (1786-1857) and the venue was the magnificent Wentworth Woodhouse near Rotherham. The ball was opened by his mother, Lady Charlotte Fitzwilliam (c.1750-1822) with William Cavendish (1790-1858) (later Duke of Devonshire). The Morning Post newspaper for the 26th of October 1807 wrote of the event (with dance references in bold):

Figure 5. Wentworth Woodhouse c.1828 from A Complete History of the County of York by Thomas Allen. Image courtesy of Wikimedia Commons.

The grand Fete and Ball given at Wentworth House on Tuesday, in celebration of Lord Milton's coming of age, was the most splendid entertainment ever witnessed in Yorkshire. The arrangements for the accommodation of the guests were completed in a most extensive style.

About 1100 tickets were issued to the principal families in the county; and, for some weeks past, every post horse within forty miles of his Lordship's seat had been engaged to convey the Freeholders of Yorkshire to this enchanting scene of hospitality. Several Noble families, from the most distant parts of the country, were present. At nine o'clock, the company began to assemble. They alighted at the grand hall, which displayed sixteen very large and beautiful lamps, surrounded with cut glass drops; from thence they ascended a newly fashioned staircase, of the most curious workmanship, to the grand-saloon, or ball-room, allowed to be the most magnificent in England. The brilliant display of light astonished every beholder: the design was new and beautiful; and exhibited many thousand lights, in splendid forms, never before witnessed. So enchanting was the scene, that some hours elapsed before the ball commenced, the company appearing as if they never could be satisfied with viewing the rooms. The ball was opened at 11 o'clock, by the Marquis of Hartington, eldest son of the Duke of Devonshire, and Lady Milton, to the admired air of Madame Catalani's Waltz. The room was hung all round in festoons of artificial flowers, and bouquets of odoriferous flowers were tastefully placed in various parts of the room.

About two o'clock supper was announced, which consisted of all the luxuries and rarities of the season, and was prepared in eleven different apartments, where covers were laid for upwards of one thousand persons. The principal supper room is forty-five yards long, and twenty-five wide; upwards of four hundred were accommodated in this room. Dancing recommenced at half past three, and it was nearly eight before the company departed. The riding-house was fitted up for the accommodation of the servants, who partook of Old English fare, roast beef, plum pudding, and ale. Among other distinguished fashionables present were:

The Marquis of Hartington, Lord Yarborough, Lord Milton, Lord William Beauclerk, Lord Dundas, Lord Galloway, Gen. Sowerby, Colonel Thornton, Major Blades, Mr Wentworth, and Mr Mellish.

For this event we're given some colourful details about the attendees. Several of them were representatives of prominent families from around the country, most of the 1100 or so guests consisted of land owners from around Yorkshire. Apparently every post horse within forty miles of his Lordship's seat had been engaged to convey the invitations! The number of guests was significant, the typical London balls we've investigated would have an attendance cap of perhaps 400 invitees; this event had well over 1000, presumably the grounds of the Wentworth estates were used for genteel promenading by many of the guests. We're also informed of arrangements being made for the innumerable servants who would have accompanied the guests, the riding-house was fitted up for the accommodation of the servants, they were also served a good meal and ale.

We're only informed of a single country dancing tune that was enjoyed at this event, Madame Catalani's Waltz, we've studied that tune before in a previous paper, you might like to follow the link to read more.

We will now turn our attention to the named tunes that have been encountered from across our various events.

Mother Goose

About a quarter past eleven the dancing commenced, the ball being opened by Earl Percy And Miss Vernon, to a new tune called Mother Goose, being a selection from the overture to the favourite Pantomime of that name. (Lady Vernon's Ball)

Figure 6. The Mother Goose tune from Ware's score to the pantomime (upper) and Mother Goose from Kelly's New Country Dances For the Year 1808 (lower).

The favourite Pantomime of Harlequin and Mother Goose, or, The Golden Egg had opened at the Theatre Royal, Covent Garden in late December 1806. The music for the pantomime was composed by William Henry Ware (1777-1828, dates derived from an obituary printed in the Hampshire Chronicle for the 20th of October 1828). The opening performance was held on December the 29th 1806, the initial reviews heaped praise on the production. For example, the Morning Post newspaper for the 30th of December 1806 wrote: It is scarcely possible to imagine a quicker succession of objects, all differing in appearance, nature, and effect, than this Pantomime exhibits - transformations the most curious and surprising; dances the most ludicrous, grotesque, and graceful; music various and appropriately adapted to almost every scene; scenery and decorations in all their aspects the most beautiful and splendid. It continued Scarcely any of the machinery failed; but all was worked with the greatest ease and dexterity... The overture by Mr Ware was very deservedly noticed. The Courier newspaper for the 30th of December 1806 wrote: This Harlequinade forms a very pleasant holiday treat. The introduction of the goose was extremely well managed, and the feathered performer was received with unbounded applause. The scenery was very splendid. The views of St . Dunstan's Church, Vauxhall Gardens, the Mermaid's Cave, and Sub-Marine Palace, were very fine indeed. The Music was appropriate, and the pantomime promises to become highly popular. It did indeed become highly popular. A pantomime of the early 19th century would be quite different to a modern pantomime; nonetheless, Mother Goose remains one of the stock Christmas pantos of the modern era, often arranged with a plot loosely derived from that created by Thomas Dibdin (1771-1841) for our production of 1806.

The term Mother Goose significantly predates Dibdin's pantomime of course, it had been associated with collections of stories in Britain from at least as early as the 1740s (e.g. Ipswich Journal, 28th November 1741). Whereas the story of The Goose that Laid the Golden Eggs dates back to antiquity. The Courier (30th of December 1806) briefly summarised the plot of the pantomime as follows: An old Miser, in breach of his promise, is about to wed his daughter to a rich old Squire. Her lover has the humanity to rescue Mother Goose (a reputed witch) from a ducking-stool, and she, in return, presents him with the Goose so famed in fable for laying golden eggs. This appropriate present he offers his intended father-in-law, as the price of his daughter's hand. The Miser, characteristical, wishes to rip up the goose, and Colin (the lover) rashly assents. The bird is saved by its patroness, and the parties are condemned to wander in Pantomimic shape, and in mutual contention, until the golden egg shall be recovered from the sea. Then follow the usual series of pursuits and escapes, tricks and transformations. At length Mother Goose relents, the egg is restored by a sea-sprite, and the lovers are united in a splendid sub-marine pavilion.

Dibdin's Acting Edition arrangement of the Pantomime has been digitised and is available on-line courtesy of the Hathi Trust. Ware's score for the production is also available courtesy of the Petrucci archive.

At least four country dancing tunes named Mother Goose were published in London in 1807 and 1808, two of which were directly derived from Ware's score. The most popular of these tunes is readily identifiable, both because it was the most widely published, and also because Ware identified the tune in his subsequently published score with the legend This is the favorite Dance call'd MOTHER GOOSE (see Figure 6, upper). It is this most celebrated of the four tunes that is most likely to have been the opening dance of our April 1807 Ball.

The precise publishing sequence for the tune can't be known, examples issued in London include: Goulding & Co's c.1807 10th Number, Skillern & Challoner's c.1807 4th Number, Clementi & Co's c.1808 5th Book, James Platts's c.1808 7th Number and Kelly's New Country Dances For the Year 1808. It would go on to be named as a popular tune in Thomas Wilson 1809 Treasures of Terpsichore and in Edward Payne's 1814 Companion to the Ballroom.

We've animated a suggested arrangement of Thomas Wilson's 1809 version.

For further references to the tune, see also: Mother Goose (2) at The Traditional Tune Archive.

The Wood Daemon / Miss Millet

... after which followed the new dance, called The Wood Daemon; in which Lady Sarah Spencer and Lady Charlotte Nelson joined. (Lady Scott's Ball and Supper)

Our next tune, The Wood Daemon, was once again adapted from the stage. The origins of the tune are from Michael Kelly's score for the 1807 production The Wood Daemon, Or, The Clock Has Struck. This was a gothic melodrama created by Matthew Gregory Lewis (1775-1818), it would subsequently be renamed in 1811 as One O'Clock, Or, The Knight and Wood Daemon. It was first presented on the 1st of April 1807 at Drury Lane.

Figure 7. A toy theatre scene depicting a set from The Wood Daemon (upper), Miss Millet or The Wood Daemon from Dale's c. 1810 17th Number (lower). Upper image courtesy of Clive Hicks-Jenkins' Artlog.

The Morning Post newspaper for the following day wrote: Last night a New Grand Romantic Melo-drama, called The Wood Daemon; or, The Clock has Struck, was brought out at this Theatre for the first time. It is founded on a German tale, which affords full scope to the wild fancy of Mr Lewis, author of The Castle Spectre, &c. who has acquired so much celebrity for productions of this description. The scene is laid in Holstein, and the interest and incidents of the piece almost wholly arise from the devotions paid to the Wood Daemon, to whom, it seems, it was the superstition of the place yearly to immolate a child.. It continued: This is perhaps one of the most magnificent and interesting spectacles with which the ingenuity of the mechanist, and the liberality of the proprietors, have for some time indulged the curiosity of the Holyday-folks. The scenery, decorations, &c. are of exquisite beauty, and the whole is enlivened by magic, happily varied and adapted to the scene. It affords a new proof of the taste and science of Kelly, who has given a very delightful air to a Miss Feron, who made her first appearance last night, and who gave the air with a characteristic sweetness, which drew down repeated bursts of applause. ... We were most struck, however, with the picturesque Gothic Hall, with a gallery crowded with spectators, and an emblematic representation of the Four Seasons, who, as they move in a superb pageant, make offerings peculiar to each to the Count. ... The scenes, machinery, &c. were worked with wonderful ease and dexterity for a first exhibition of so complex and elaborate a nature. At the close of the last scene, when the Wood Daemon and the Clock sink into the earth, that opens to devour them, amidst all the horrors of the infernal regions, there was a general cry of bravos which was redoubled when the piece was announced for a second representation. It promises, indeed, to be of lasting attraction, and amply to repay the vast expense that must have attended the getting up a spectacle of such splendour, magnificence, and variety.

The composer of the music was Matthew Kelly (c.1764-1826). Several songs from the production were advertised to be available for purchase from Kelly's Opera Saloon some weeks later in May (Morning Herald, 18th May 1807). The Morning Herald newspaper for the 2nd of April 1807 wrote of the score that The music is entirely new, and composed by Mr Kelly; and entitles him to much applause. Evidently one of these tunes from the score was adapted into a Country Dance and was enjoyed at our ball of June 1807. A rondo arrangement of The celebrated dance in The Wood Daemon was advertised to be available in July of 1808 (Morning Herald, 30th July 1808), it was presumably derived from the same tune danced at our ball. Thomas Wilson also referenced a tune named Wood Daemon in his 1809 Treasures of Terpsichore publication, thereby indicating that the tune remained popular at that date.

It's at this point however that that we encounter a bit of a mystery. A popular tune derived from the Wood Daemon was evidently in circulation but I've yet to find a copy to study. It seems not to have been widely known, at least not under the name we would expect and at our 1807 date. The play would subsequently be revived in 1811 under a slightly different name, and at around that date (possibly a little earlier) a tune named The Wood Daemon did in fact circulate, only it did so under two different names. The first name was The Wood Daemon, the other name was Miss Millet. Quite who Miss Millet may have been, and what connection she had to the production, remain unclear. There are no characters in the play named Millet and I've found no evidence of an actress of this name performing in the play. And yet the mystery deepens further, as we will see momentarily.

The (possibly) first publication of the tune that I can find is located in one of the later editions of Charles Wheatstone's first Selection of Elegant & Fashionable Country Dances, Reels, Waltz's &c.. This work is particularly difficult to date as Wheatstone seems to have reissued it under the same cover multiple times; I've studied two different copies, I suspect that there may have also been a third. I've previously speculated that the two copies that I've studied dated to the year 1808 (or later) and that a different work had first been published under the same name back in 1806. Of the two copies that I've studied, the copy which contains our tune is clearly the later, what's unclear is the original date of publication; it could have been 1808 but it could have been 1810... or later still. You can read more of my attempts to make sense of all this in a previous paper. To further confuse matters, the name of our tune in this work is given as Miss Millet. In other words, the alternative title of Miss Millet could have been the first name under which the best known Wood Daemon tune was issued. That said, Wheatstone may have been obliged to reissue his work following his loss of a copyright dispute in 1812, it's possible that the edition of his work that included Miss Millet may have been issued at this later date, and so the name Miss Millet may in fact have been somewhat later. It's all rather confusing! And it remains a matter of speculation that the tune that was danced at our ball of 1807 is the same as that which became popular around the year 1811.

It's not possible to reconstruct a precise sequence of publication for the country dancing tune in London, examples include: Dale's c. 1810 17th Number (as Miss Millet or The Wood Daemon, see Figure 7), Monzani's c.1810 20th Number (as Mrs or Miss Millet), Walker's c.1812 30th Number (as Miss Millet or The Wood Daemon) and in Dublin in W. Power's A Collection of Fashionable Dances for the Year 1812 (as The Wood Daemon, or Miss Millet). The picture that emerges remains uncertain; the stage production was released in 1807 and a tune became sufficiently popular to be danced at our 1807 ball (without being widely published); Wilson referenced the tune as remaining popular in 1809 and several publishers may have issued it around 1810. Wheatstone may have been one of the first to do so, or one of the last to do so; the alternative name for the tune remains unexplained. The tune remained sufficiently popular to have been named in Edward Payne's 1814 Companion to the Ballroom however.

We've animated a suggested arrangement of Dale's c.1810 version (see Figure 7).

Drops of Brandy / New Drops of Brandy / Cammolan

... the company came down to supper, and at three returned to the ball-room, when dancing recommenced, with Drops of Brandy (Lady Hume's Ball and Supper)

Figure 8. Drops of Brandy from Wright's c.1740 Compleat Collection of Celebrated Country Dances (left); Cammolan from William Campbell's 1795 10th Book of New and Favorite Country Dances & Strathspey Reels (right, upper); and Drops of Brandy from William Campbell's c.1796 11th Book of New and Favorite Country Dances & Strathspey Reels (right, lower).

Our next tune is something a little different. It's a tune with a publication history spanning from the 1740s through to the date of our 1807 ball, and beyond. This alone would make it unusual, very few country dancing tunes remained in fashion over such a timescale. The vast bulk of the tunes that we've studied in previous research papers were of recent publication at the date that they were danced, they're rarely more than a decade old. Whereas Drops of Brandy was a veteran tune, something that the dancer's grandparents could have danced to back in their own youth! Not only that, but several minor variations of the tune circulated under different names thereby adding another layer of confusion.

The first publication of the tune that I can find is in the first volume of Wright's c.1740 Compleat Collection of Celebrated Country Dances under the name Drops of Brandy (see Figure 8, Left). It also appeared in the first volume of Johnson's A Choice Collection of 200 Favourite Country Dances shortly thereafter, still under the same name. It would then resurface a few years later in the c.1765 second volume of Thompson's Compleat Collection of 200 Favourite Country Dances, still under the same name. These early versions of the tune were essentially the same. These initial publications of the tune were all issued in London, some later publications would go on to emphasise an Irish origin for the tune. It may indeed have been of Irish origin. The tune is written in 9/8 time signature, this rhythm was widely referred to as an Irish rhythm, whether the tune itself genuinely derives from Ireland is (as far as I know) unknown.

The next publishing boom for the tune occurred in the 1790s and 1800s. It would appear in two different c.1795 works: in Longman & Broderip's c.1795 Fifth Selection of the most admired Dances, Reels, Minuets & Cotillons (still as Drops of Brandy but with a few minor variations in the notes) and also in William Campbell's 1795 10th Book of New and Favorite Country Dances & Strathspey Reels, only this time under a name of Cammolan (see Figure 8, Right Upper). Campbell's tune was very similar to that of the earlier publications but included a few distinctively different notes throughout, it seems to have been a new variant of the tune with an explicitly Irish name, quite possibly collected from an Irish source. To further confuse matters, Campbell published Longman's arrangement of Drops of Brandy in his next annual publication a year or so later in his c.1796 11th Book of New and Favorite Country Dances & Strathspey Reels (see Figure 8, Right Lower). It seems that the two variants of the tune, despite being very similar, were circulating concurrently with different names.

To complicate matters further still, another version of Drops of Brandy was published in Bland & Weller's Annual Collection of Twenty Four Country Dances for the Year 1797 in yet another arrangement. This third variant fused elements of both the Longman and Cammolan (Campbell) variants together into yet a new variation on the theme (see Figure 9, Left). Three further collections were issued around 1799; the tune appeared in Riley's Collection 1799, in Smart's Annual Collection of Twenty Four Country Dances for the Year 1799 and in the Kauntze's c.1799 Collection of the most favorite Dances, Reels, Waltzes &c.. Further minor differences in the notes appear across these collections, they were all issued under the shared name Drops of Brandy. I should perhaps emphasise that although there were minor variations in the notes across these published tunes, there was no more variation than might be expected when two publishers independently issued copies of any other tune; ordinarily there would be no need to describe them as unique tune variants. It's the publishers themselves who emphasised the Cammolan tune as being different from the Drops of Brandy tune.

Figure 9. Drops of Brandy from Bland & Weller's Annual Collection of Twenty Four Country Dances for the Year 1797 (left); and Cammolan or Drops of Brandy, another way from Dale's c.1800 Selection of the most favorite Country Dances, Reels, &c. (right).

Next we come to an interesting publication of uncertain date issued by Joseph Dale somewhere around the year 1800. It's named Dale's Selection of the most favorite Country Dances, Reels, &c.. This publication included both Drops of Brandy (in the arrangement that was used by both Longman and Campbell) and also a danced named Cammolan or Drops of Brandy, another Way (as had previously been arranged by Campbell, See Figure 9, Right). Finding both tunes co-located in the same work hints that the public continued to understand them as separate tunes. Their similarity was sufficiently close that Dale renamed the second tune to emphasise that this was no mere accident, the Cammolan tune was just the Drops of Brandy tune arranged another way. The Cammolan variant of the tune was also issued in Edinburgh around the 1800 date within Nathaniel Gow's collection of dances named Master F. Sitwell's Strathspey. Gow added the suffix A Favorite Irish Dance to the name, he evidently considered it to be an Irish tune.

Back in London it would appear in many more publications. Preston included the Cammolan version of the tune in his 24 Country Dances for 1801, only he named it New Drops of Brandy. Goulding & Co. published the Bland & Weller variant of the tune in their c.1802 2nd Number, as did Andrews in their c.1804 6th Number. Walker published two versions of the tune in their c.1805 5th Number (Drops of Brandy) and 7th Number (New Drops of Brandy). Button & Whitaker issued it in their c.1806 2nd Number, as did Monzani in his c.1806 1st Number. Edward Payne would go on to name the tune in his 1814 New Companion to the Ballroom and Thomas Wilson included it as the very first tune in his 1816 Companion to the Ballroom (where he once again identified it as being an Irish tune). It evidently remained popular. No doubt there were many more such publications.

In addition to a rich publishing history the tune was also danced at a good number of society balls in the 1800s. Examples include The Countess of Leicester's Ball of 1800 (Caledonian Mercury, 27th of March 1800), a ball held by the Duke of Clarence in 1806 (Saunders's News-Letter, 8th of February 1806) and The Lady Mayoress's Ball also in 1806 (Morning Advertiser, 9th of April 1806). It was danced at several events of 1807 in addition to Lady Hume's Ball and Supper; examples include a ball to celebrate the opening of the South London Water Works (The Star, 17th of June 1807) and the annual meeting of the Northern Shooting Club in Aberdeen (Morning Post, 16th of October 1807). It was also danced in 1809 at a ball held by John Mattet, Esq near Wimborne (The Star, 31st of January 1809).

The title of the tune was sufficiently humorous to be used as a punchline in a number of jokes. The Chester Chronicle for the 25th of April 1800 wrote: At a late Gala, a beautiful and very young Lady called for Drops of Brandy, and a gallant Peer for Petticoats Loose! They were both gratified; the joke combined the names of two dancing tunes that, when used together, perhaps hint at something else. The European Magazine in 1802 published a passage of fiction that included the same format of humour: I was happily seated next to one of these beauties, who, after a little pause, asked me if I danced the new steps, and whether I preferred the waltz, or the Irish Shuffle. I hesitated a moment, when a lady on the other side, with a red face, told me that she liked Drops of Brandy very much; and that Go to the Devil, and shake yourself, was a monstrous charming dance. This staggered me a little at first, till it was explained to me, that these were reels called for by ladies of the highest distinction.. There is much in that passage of interest, for now it will suffice to note that Drops of Brandy was admitted to be a popular tune. A further variation on the same theme was published in the Morning Advertiser newspaper for the 3rd of March 1806: The fashionable private masquerades do not admit company until after supper, when it is supposed that the visitants may be full of spirits. It is singular that most of our fashionable nocturnal assemblies conclude about four o'clock in the morning with drops of brandy; but by that time the fair visitors may well be fatigued!.

Our tune was popular across the late 1790s and 1800s, it may have fallen from favour thereafter. We've animated a suggested arrangement of Campbell's 1795 version of Cammolan (see Figure 8) and of Campbell's c.1796 version of Drops of Brandy (see Figure 8).

For further references to the tune, see also: Drops of Brandy (1) at The Traditional Tune Archive.

Off She Goes

The Ball, we believe, was opened ... with the lively air of Off she goes!. (Brighton Pavilion Ball)

Our next tune danced in 1807 is named Off She Goes. It's a tune that was popular across the first decade of the 19th century. The first publication of the tune (that I can identify) was issued in Edinburgh in Thomas Calvert's c.1799 A Collection of Marches & Quick Steps, Strathspeys & Reels, it was printed under the name Of Shew Goyes. Thereafter the tune became popular in London, it would be published by a myriad of London based music shops between about 1804 and 1809.

Figure 9. Off She Goes from Campbell's c.1805 20th Book.

The tune's precise sequence of publication in London can't be known but examples include: Dale's c.1804 4th Number, Campbell's c.1805 20th Book, Hodsoll's collection of 12 Most Fashionable Country Dances for the Year 1805, Preston's collection of 24 Country Dances for 1805, Goulding's c.1805 7th Number, Thompson's collection of 24 Country Dances for 1805, Walker's c.1806 10th Number, Hamman's c.1806 1st Number, Button & Whitaker's c.1806 1st Number, Wheatstone's 1806 Sixteen Favourite Country Dances, James Platts's c.1807 1st Number, John Paine's collection of 24 Country Dances for 1807 and Wheatstone & Voigt's c.1808 1st Book. The tune was also mentioned in both Thomas Wilson's 1809 Treasures of Terpsichore and in Edward Payne's 1814 New Companion to the Ball Room, it also appeared in Wilson's 1816 Companion to the Ball Room. It was evidently popular.

Back around 1804 there was an unusual publication of a tune named Off she goes, or Follow her over the borders, this was in William Campbell's c.1804 19th Book. Campbell's tune was not in fact Off She Goes, it was actually another popular tune correctly named as Follow her over the border. It appears that Campbell had been provided with a tune and two possible names; he may, from uncertainty, have decided to use both names. He would go on to issue the real Off She Goes tune in his next publication, his c.1805 20th Book. The oddity of the c.1804 tune having two names, one of which was wrong, does hint at an informal mechanism by which tunes could propagate; presumably someone had passed it to Campbell without being certain of the correct name. We might imagine an attendee at a ball hearing the tune and noting the melody, whilst remaining confused as to the name of the tune; this confused person may then have sold the tune to Campbell as being a new and fashionable tune. This is pure speculation of course but it's something we have encountered about before; we noted a similar naming oddity in Wheatstone's 1806 Sir Charles Dougless, or St Kelters Reel in a previous paper (on that occasion there was some evidence to hint at an oral transmission originating from a society ball).

The tune was certainly popular at society balls. It was danced at a ball held by the Earl of Dorchester in 1803 (Salisbury and Winchester Journal, 19th of September 1803), at Ramsgate in 1804 (Morning Post, 31st of July 1804), at a ball held at Romney Races in 1805 (Morning Post, 31st of August 1805), at a ball held by James Farquharson in 1805 (London Courier, 17th of October 1805), a ball held by The Duke of Clarence in 1806 (The Sun, 3rd of February 1806), the Lady Mayoress's Ball in 1806 (Morning Advertiser, 9th of April 1806), and of course at our Brighton Ball of 1807. It would also be danced at a ball held by the Prince Regent in 1813 (Morning Post, 14th of May 1813) and a second event held by the Prince also in 1813 (Morning Post, 27th of August 1813). Perhaps it was a favourite tune of the Prince.

The tune is much better known today as a nursery rhyme under the name Humpty Dumpty. It's unclear at what date the tune became associated with the rhyme, it might very well have been a Regency era combination. We've previously encountered Off She Goes in another paper when investigating the improbable claim that George McFarren composed the tune. You might like to follow the link to read more.

We've animated a suggested arrangement of Campbell's c.1805 version, of Preston's 1805 version and of Wheatstone & Voigt's c.1806 version.

For further references to the tune, see also: Off She Goes (1) at The Traditional Tune Archive.

Conclusion