NOR YET THE LAST TO CAST THE OLD ASIDE.

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centre - turn to places-all advance in two lines-all turn partners. iii. La Dorset.-First lady advance and stop, then the opposite gentleman-both retire, turning round-ladies' hands across half round, and turn the opposite gentlemen with left hands-repeat back to places, and turn partners with left hands. iv. L'Etoile. First couple set to couple at right-set to couple at leftchange places with partners, and set, and pirouette to places-right and left with opposite couple. v. Les Lanciers. -The grand chain. The first couple advance and turn facing the top; then the couple at right advance behind the top couple; then the couple at lefɩ, and the opposite couple, do the same, forming two lines. All change places with partners and back again. The ladies turn in a line on the right, the gentlemen in a line on the left. Each couple meet up the centre. Set in two lines, the ladies in one line, the gentlemen in the other. Turn partners to places. Finish with the grand chain.

cross over to each other's places; chassez to right and left. Balancez and turn partners. (Four times.) Or Double L'Eté. Both couples advance and retire at the same time; cross over: advance and retire again; cross to places. Balancez and turn partners. (Four times.) Third Figure, La Poule.-Leading lady and opposite gentleman cross over, giving right hands; recross, giving left hands, and fall in a line. Set four in a line; half promenade. Advance two, and retire (twice). Advance four, and retire; half right and left. (Four times.) Fourth Figure, Trenise.-The first couple advance and retire twice, the lady remaining on the opposite side; the two ladies go round the first gentleman, who advances up the centre; balancez and turn_hands. (Four times.) Fifth Figure, La Pastorale. - The leading couple advance twice, leaving the lady opposite the second time. The three advance and retire twice. The leading gentleman advance and set. Hands four half round; half right and left.* (Four times.) Sixth Figure, Galop Finale.- 126. THE CALEDONIANS. First Top and bottom couples galopade quite Figure.-The first and opposite couples round each other. Advance and retire; hands across round the centre and back four advance again, and change the to places set and turn partners. gentlemen. Ladies' chain. Advance and Ladies' chain. Half promenade-half retire four, and regain your partners in right and left. Repeated by the side your places. The fourth time all galop-couples. Second Figure. The first ade for an unlimited period. (Four gentleman advance and retire twice. times.) Or, All galopade or promenade, All set at corners, each lady passing' eight bars. Advance four en galop oblique, into the next lady's place on the right. and retire, then half promenade, eight Promenade by all. Repeated by the bars. Advance four, retire, and return other couples. Third Figure.-The first to places with the half promenade, eight lady and opposite gentleman advance bars. Ladies' chain, eight bars. Re- and retire, bending to each other. First peated by the side couples, then by lady and opposite gentleman pass round the top and bottom, and lastly by the each other to places. First couple cross side couples, finishing with grand pro- over, having hold of hands, while the menade. opposite couple cross on the outside of them-the same reversed. All set at corners, turn, and resume partners. All advance and retire twice, in a circle with hands joined-turn partners. Fourth Figure. The first lady and opposite gentleman advance and stop; then their partners advance; turn partners to places. The four ladies move to right, each taking the next

125. LANCERS.-i. La Rose.-First gentleman and opposite lady advance and set-turn with both hands, retiring to places-return, leading outside-set and turn at corners. ii. La Lodoiska. -First couple advance twice, leaving the lady in the centre set in the

This or the Trenise must be omitted.

WILLOWS ARE WEAK, YET THEY BIND OTHER WOOD.

A LADY IN AMERICA MADE A QUILT IN 55,555 PIECES.

49

selves at every two bars, the gentleman
with his left foot forwards, and the lady
with her right, that is to
say, we should
make one whole and one half step to
every bar. The music is rather slower
than for the ordinary waltz.

133. VALSE CELLARIUS.-The gentleman takes the lady's left hand with his right, moving one bar to the left by glissade, and two hops on his left foot, while the lady does the same to the right, on her right foot; at the second

foot- this is repeated for sixteen bars; they then waltz sixteen bars, glissade and two hops, taking care to occupy the time of two bars to get quite round. The gentleman now takes both hands of the lady, and makes the grand square

fourth bar making two beats while turning the angle; his right foot is now moved forward to the other angle three bars-at the fourth, beat again while turning the angle; the same repeated for sixteen bars the lady having her right foot forward when the gentleman has his left foot forward; the waltz is again repeated; after which several other steps are introduced, but which must needs be seen to be understood.

menade, called the pursuit, while those who dance the waltz turn in a circle about the room. The position of the gentleman is the same as for the waltz. The gentleman sets out with the left foot, and the lady with the right. In the pursuit the position is different, the gentleman and his partner face, and take each other by the hand. They advance or fall back at pleasure, and balance in advance and backwards. To advance, the step of the pursuit is made by a glissade forward, without spring-bar they repeat the same with the other ing, coupé with the hind foot, and jeté on it. You recommence with the other foot, and so on throughout. The retiring step is made by a sliding step of the foot backwards, without spring, jeté with the front foot, and coupé with the one behind. It is necessary to ad--moving three bars to his left-at the vance well upon the sliding step, and to spring lightly in the two others, sur place, balancing equally in the pas de poursuite, which is executed alternately by the left in advance, and the right backwards. The lady should follow all the movements of her partner, falling back when he advances, and advancing when he falls back. Bring the shoulders a little forward at each sliding step, for they should always follow the movement of the leg as it advances or retreats; but 134. CIRCULAR WALTZ.-The danthis should not be too marked. When cers form a circle, then promenade the gentleman is about to waltz, he during the introduction-all waltz sixshould take the lady's waist, as in the teen bars-set, holding partner's right ordinary waltz. The step of the hand, and turn-waltz thirty-two bars Redowa, in turning, may be thus de-rest, and turn partners slowly-face scribed. For the gentleman-jeté of partner and chassez to the right and left the left foot, passing before the lady. -pirouette lady twice with the right Glissade of the right foot behind to the hand, all waltz sixteen bars-set and fourth position aside the left foot is turn-all form a circle, still retaining brought to the third position behind-the lady by the right hand, and move then the pas de basque is executed by round to the left, sixteen bars-waltz the right foot, bringing it forward, and for finale. you recommence with the left. The pas de basque should be made in three very equal beats, as in the Mazurka. The lady performs the same steps as the gentleman, beginning by the pas de basque with the right foot. To waltz à deux temps to the measure of the Redowa, we should make each step upon each beat of the bar, and find our

135. POLKA WALTZES.-The couples take hold of hands as in the usual waltz. First Waltz. The gentleman hops the left foot well forward, then back; and glissades half round. He then hops the right foot forward and back, and glissades the other half round. lady performs the same steps, beginning with the right foot. Second. The gen

The

50

THE CURRANT TREE WAS INTRODUCED IN 1533.

tleman, hopping, strikes the left heel three times against the right heel, and then jumps half round on the left foot; he then strikes the right heel three times against the left, and jumps on the right foot, completing the circle. The lady does the same steps with reverse feet. Third. The gentleman raises up the left foot, steps it lightly on the ground forward, then strikes the right heel smartly twice, and glissades half round. The same is then done with the other foot. The lady begins with the right foot.

the conclusion, the first couple with fourth, and the second with the third couple, recommence the figure,—and so on until they go completely round the circle, when the dance is concluded.

138. POLKA. In the polka there are but two principal steps, all others belong to fancy dances, and much mischief and inconvenience is likely to arise from their improper introduction into the ball-room. First step. The gentleman raises the left foot slightly behind the right, the right foot is then jumped upon, and the left brought forward with a glissade. The lady commences with the right, jumps on the left, and glissades with the right. The gentleman during his step has hold of the lady's left hand with his right. Second step. The gentleman lightly hops the left foot forward on the heel, then hops on the toe, bringing the left foot slightly behind the right. He then glissades with the left foot forward; the same is then done, commencing with the right foot. The lady dances the same step, only beginning with the right foot. There are a variety of other steps of a fancy character, but they can only be understood with the aid of a master, and even when well studied, must be introduced with care. The polka should be danced with grace and elegance, eschewing all outré and ungainly steps and gestures, taking care that the leg is not lifted too high, and that the dance is not commenced in too abrupt a manner. Any number of couples may stand up, and it is the privilege of the gentleman to form what figure he pleases, and vary it as often as his fancy and taste may dictate. First Figure. Four or eight bars are devoted to setting forwards and backwards, turning from and towards your partner, making a slight hop at the 137. CIRCASSIAN CIRCLE.-The com- commencement of each set, and holding pany is arranged in couples round the your partner's left hand; you then perroom-the ladies being placed on the form the same step forwards) all round right of the gentlemen,-after which, the room. Second Figure. The gentlethe first and second couples lead off the man faces his partner, and does the dance. Figure. Right and left, set and same step backwards all round the turn partners—ladies chain, waltz.—At | room, the lady following with the oppo

136. VALSE A DEUX TEMPS.-This waltz contains, like the common waltz, three times, but differently divided. The first time consists of a gliding step; the second a chassez, including two times in one. A chassez is performed by bringing one leg near the other, then moving it forward, backward, right, left, and round. The gentleman begins by sliding to the left with his left foot, then performing a chassez towards the left with his right foot without turning at all during the first two times. He then slides backwards with his right leg, turning half round; after which he puts his left leg behind, to perform a chassez forward, turning then half round for the second time. The lady waltzes in the same manner, except that the first time she slides to the right with the right foot, and also performs the chassez on the right, and continues the same as the gentleman, except that she slides backwards with her right foot when the gentleman slides with his left foot to the left; and when the gentleman slides with his right foot backwards, she slides with the left foot to the left. To perform this waltz gracefully, care must be taken to avoid jumping, but merely to slide, and keep the knees slightly bent.

CABBAGE, CARROTS, ETC., WERE NOT KNOWN BEFORE 1547.

site foot, and doing the step forwards. All form two lines, ladies on the right, Third figure. The same as the second gentlemen on the left. Figure. Top figure, only reversed, the lady stepping lady and second gentleman heel and toe backwards, and the gentleman forwards, (polká step) across to each other's placealways going the same way round the second lady and top gentleman the same. room. Fourth figure. The same step Top lady and second gentleman retire as figures two and three, but turning back to places-second lady and top as in a waltz. gentleman the same. Two couples polka step down the middle and back againtwo first couples polka waltz. First couple repeat with the third couple, then with fourth, and so on to the end of dance.