CREATED/PUBLISHED London : Sold by I. Walsh & P. Randall ... I. Hare ... I. Culen ... & by ye author ..., 1710.

SUMMARY This is a translation of Raoul-Auger Feuillet's treatise Recueil de contredances mises ... (Paris, 1706), by English dance, dancing master, and writer John Essex. Through the use of diagrams, the manual gives descriptions of floor patterns and motions for the feet and arms, indicates how the dance corresponds to the music, and provides rules for performance of English country dances, known in France as the contredanse (also spelled contredance). Diagrams and music for ten dances are given. Performed as a series of figures by a column of men facing a column of women, the English country dance was one of the most popular ballroom dances during the eighteenth and early nineteenth centuries.

CREATED/PUBLISHED Paris, Chez le sieur Fe�illet, 1704.

SUMMARY This treatise includes six solo dances for women; eight for men; and seventeen duets for a man and a woman, two women, or two men, all choreographed by French dancer and choreographer, Guillaume-Louis Pecour (c. 1653-1729). Feuillet notes that several of the dances were performed by some of the most famous theatrical dancers of the time including Marie-Pers�e, and Cadmus et Hermione as well as Trancr�de and L'Europe Galante by Andr� Campra. The dances are notated in a system first published by Feuillet in 1700 and based on tract drawings that trace the pattern of the dance. Additionally, bar lines in the dance score correspond to bar lines in the music score. Signs written on the right or left hand side of the tract indicate the steps.

OTHER TITLES Premier recueil

CREATED/PUBLISHED Paris, Le sieur Fe�illet [etc.] 1702.

SUMMARY This treatise contains two duets choreographed by French dancer and choreographer Guillaume-Louis Pecour (c. 1653-1729) and notated in the eighteenth-century notation system first published by Raoul-Auger Feuillet in 1700. The system is based on tract drawings that trace the pattern of the dance. Additionally, bar lines in the dance score correspond to bar lines in the music score. Signs written on the right or left hand side of the tract indicate the steps.

CREATED/PUBLISHED [St. Louis? Mo.] 1882.

SUMMARY Created for the Esmeralda Club of Saint Louis, this short pamphlet consists of five figures of a waltz quadrille with a brief explanation of each figure.

OTHER TITLES Few sketches of the interior and work done at Foreman Hall, Portland, Oregon, 1894-1895

CREATED/PUBLISHED Portland, Ore. : Peaslee Bros., c1894.

SUMMARY This is a book of twelve photographs showing Mrs. Foreman's dance students in a variety of dance poses including "The Persian Vestal Dance," "The Minuet," "Society Skirt Dance," "Butterfly Skirt Dance," "The Cacucha," and "Scarf Dance."

CREATED/PUBLISHED Boston: Printed by D. Bowen, at the Columbian museum press, for the author [1796?]

SUMMARY Although the title of this manual would indicate a collection of cotillions (figure dances usually performed by four couples), the dances are, in fact, English country dances, performed by a column of men facing a column of women. The collection includes directions for 50 English country dances.

CREATED/PUBLISHED Philadelphia, Pa., The Beacon Academy, 1922.

SUMMARY This is a series of three pamphlets, each from sixteen to twenty-four pages, that describes the waltz, foxtrot, and the one step. Designed for those who "know nothing at all about Modern Dances," each pamphlet provides preliminary exercises and basic lessons for execution of the steps.

CREATED/PUBLISHED London [etc.] Longmans, Green. and co., 1907.

SUMMARY Originally published in 1895, Mrs Grove's account of dance history was considered one of the most important books on dance during the late nineteenth century. Although based on previously published materials, the book maintained popularity for several decades. Using a formula employed by many writers, Mrs. Grove writes about the dances of antiquity, ritual dances, and the dances of "savages." The remainder of the book is devoted to the dance of many lands and cultures indcluding Scotland, Wales, Hungary, Russia, Lapland, Spain, and Portugal.

CREATED/PUBLISHED Boston, London, O. Ditson company; [etc., etc.] c1893.

SUMMARY Similar to other prompter's books published during the last half of the nineteenth century, French gives instructions for calling the figures of quadrilles including examples of how the calls correlate to the music. The book also covers the calling of contra dances (progressive figure dances performed by a column of men facing a column of women).

CREATED/PUBLISHED London, Printed for the author and sold by R. Dodsley [etc.] 1772.

SUMMARY Originally published in 1762 and reissued in 1765, this work borrows heavily from previously published materials, including the works of Locke, Goldini, and especially John Weaver's 1712 An Essay towards a history of dancing. Gallini (1728-1805) presents a history of dance, arguments for learning the art of dance, and a discourse on the minuet. Especialy interesting are Gallini's comments on European and non-European dance and discussion includes practices in Britain, Spain, Naples, the peasants of Tirol, Russia, Turkey, China, Africa, and the Americas.

CREATED/PUBLISHED Washington, U.S. Govt. print. off., 1929.

SUMMARY This pamphlet discusses the legislative regulation of public dance halls in twenty-eight states. Some of the regulations undertaken by the states include restrictions on attendance, hours of operation, supervision, and regulation of the physical and social conditions of the hall. The author also discusses some of the regulations and ordinances of 100 cities including one from Lincoln, Nebraska that required patrons to keep their bodies at least six inches apart.

CREATED/PUBLISHED Louisville, Ky., Baptist book concern, 1893.

SUMMARY This antidance tract was originally a sermon presented by the author in Maysville, Kentucky in 1849 and repeated in 1866. It was published as a circular in 1874 and revised in 1887. The arguments are typical of this genre of literature. The author concludes that, based on his interpretation of the Scriptures, dance is dangerous to health, piety, and usefulness.

CREATED/PUBLISHED [Mobile, Ala.?] c1876.

SUMMARY This small aide de memoire for the waltz provides separate instruction for the woman's part, the man's part, and three versions of the pursuit step.

CREATED/PUBLISHED Milano, U. Hoepli, 1922.

CREATED/PUBLISHED Paris, Taride, 1858.

SUMMARY An excellent manual for description of mid nineteenth-century social dances, Gawlikowski also discusses steps and figures for the mazurka, a dance performed in the manner of a quadrille in Europe's ballrooms. Description is also given for other popular ballroom dances including the waltz, polka, schottisch, polka-mazurka, and redowa. Gawlikowski provides 38 figures for a contillon-valse, (known elsewhere as the cotillon or German), and a popular group dance performed as a series of party games usually to waltz music.

CREATED/PUBLISHED Portland, Me., M. B. Gilbert [c1890]

SUMMARY Gilbert, a well-known dancing master, notes that his book will deal only with round dnaces and for other dances or rules of etiquette, the reader should turn elsewhere. After a brief discusion of the positions of the feet, the author discusses, in some length, the waltz position. The manual gives the directions for a large number of waltz, polka, galop, redowa, and mazurka variations--many of which are not described in other contemporary dance literature.

CREATED/PUBLISHED Paris [Imprimerie A. Veutin, 187-?]

SUMMARY This is the seventeenth edition of a popular French manual that was revised into a larger edition in the mid-1880s entitled La danse, la tenue, le maintein... The manual gives a short history of dance, appropriate etiquette, and describes many of the popular ballroom dances such as the waltz, quadrille, and polka. However, the Giraudet includes many curious dances, schottisch polk�e saut�e, ganlovienne, and a tarentelle for twelve performers, as well as several dances from previous centuries such as the gavotte, pavane, and bour�e.

CREATED/PUBLISHED Paris [1885?]-1900.

CREATED/PUBLISHED Paris [1885?]-1900.

CREATED/PUBLISHED Philadelphia, Printed by J. F. Hurtel, 1817.

SUMMARY A translation of Gourdoux-Daux's Principes de la Danse (Paris 1804 and 1811), this manual is important for its description of step and step sequences appropriate in the performance of the popular ballroom dance, the quadrille (called contilion by the author). The quadrille is a series of figures, organized into sets and performed by sets of four couples. The manual begins with discussions on deportment, positions, and continues with descriptions of various steps including assembl�, jet�, echapp�, chass�, and glissad�. Step combinations are given for nineteen quadrille figures, such as "right and left," "hands round," "English chain," "ladies' chain," and "balanc�."

CREATED/PUBLISHED [Buffalo? N.Y.] c1895.

SUMMARY Part of a series of pamphlets published by Grant, this work provides preparatory exercises and instructions for steps including the pas de basque, waltz turn, and shuffle. Grant notes that the double sword dance can be performed as a solo or duet.

CREATED/PUBLISHED Buffalo, N.Y. [Kraft & Stern, printers] c1893.

SUMMARY Written for teachers of ballroom dance, this manual is illustrated with many diagrams designed to be useful in the classroom. Discussions include how to open a dance class, how to conduct a private lesson, and what to teach. Suggestions on appropriate dances include the mazurka, redowa, and polka. Group dances include descriptions of several figures for the grand march, six figures for the German (also known as the cotillon), and several contra dances.

CREATED/PUBLISHED [Buffalo? N.Y.] c1895.

SUMMARY Grant describes ten steps of a solo dance that requires a rope as a prop.

CREATED/PUBLISHED Buffalo, N.Y., Electric city press [c1892]

SUMMARY This short pamphlet is devoted to the Highland Fling, described as a popular fancy dance, especially appropriate for children. The author gives four exercises and descriptions for eleven steps, many with multiple parts.

CREATED/PUBLISHED Providence, R.I., E. A. Johnson & co., printers, 1889.

SUMMARY This manual, a compilation of previously published materials, includes a brief discussion on dancing and deportment, bows (which the author considers the "criteria of good breeding"), and a section on introductons with instructions on how to shake hands. The book also covers information on the duties of an escort, how to ask a lady to dance, and responsibilities of guests. General information is provided on quadrilles and the cotillon (also known as the German). However, the only dances described in detail are the figures for three quadrilles.

CREATED/PUBLISHED [San Antonio, The San Antonio printing company, 1916]

SUMMARY This is the second published edition of a sermon Ham delivered as part of an evangelistic campaign in Palestine, Texas in 1914 and his arguments are typical of this genre of antidance literature. Although Ham and other writers recognize dance in the Bible, it was interpreted as only danced by women, never in closed rooms, and never at night. Also typical of this type of manual, the author includes a list of other denunciations from Catholic, Jewish, Episcopal church leaders. And, in an unusual addition, Ham includes an attack against social dance written by famed ballerina, Lydia Lupokova. Ham, in his colorful language, notes he has published this warning to "save many young men and women from one of Satan's most fetching appeals to the lust of the flesh."

CREATED/PUBLISHED New York, H. J. Wehman [c1889]

SUMMARY This is a typical example of a manual compiled from previously published materials and assembled by a publisher. The manual contains hints for balls and information on the performance of quadrilles and round dances. The popular parlor game known as the German or cotillon is given 55 figures.

CREATED/PUBLISHED Philadelphia, Presbyterian board of publication [1879]

SUMMARY This antidance treatise presents three of the central arguments for this genre of literature. First, dance is injurious to the health; second, dance is a waste of time and money. The third argument recognizes that dance is mentioned in the Bible; however, the author claims that only women danced and solely for religious purposes.

CREATED/PUBLISHED New York, T. R. Turnbull & co., printers, 1857.

SUMMARY This manual was reissued in 1858 under the title Hillgrove's scholars' companion and ball-room guide ..., and formed the basis for a similar publication, A complete practical guide to the art of dancing, published in 1863. Typical of many nineteenth-century dance manuals, little of the text originated from the pen of New York dancing master Thomas Hillgrove. Instead, much is borrowed from previously published manuals. The scholars' companion gives information on dress, introductions, etiquette and deportment and describes the most popular ballroom dances of the day--quadrille, waltz, polka, schottisch, polka redowa, polka mazurka, gorlitza, and redowa. Noticeably missing from Hillgroves's manual is any reference to the popular group dance known as the cotillon or German.

CREATED/PUBLISHED New York, Dick & Fitzgerald [c1863]

SUMMARY New York dancing master Hillgrove acknowledges that he has "availed himself of all the books from which he might elicit any valuable information." Indeed, very little of the manual is original. Divided into six parts, Hillgrove discusses the benefits of dance, dress, deportment and etiquette in the ballroom and the supper room. The second part focuses on bows and courtesies, positions of the feet, and provides exercises for the feet and legs. The third and fourth parts discuss the quadrille and provide many figures; the fifth part is devoted to round dances such as the waltz, polka, schottisch, galop, and polka mazurka. The last section focuses on more quadrille figures and other group dances such as the "Virginia Reel," "Money Musk," and College Hornpipe.

CREATED/PUBLISHED London, H. Cox, 1907.

SUMMARY Holt begins his discussion with a history of "chorography" and the work of famed eighteenth-century dancing masters and choreographers Guillaume-Louis Pecour, Pierre Beauchamps, and Raoul-Auger Feuillet. Several pages of dances written in the dance notation system devised by Feuillet are included. Holt's "reconstruction" of the pavan includes the appropriate music from Thoinot Arbeau's 1588 manual, Orchesographie. For decades, the inclusion of the notation and music was deceiving to many unsuspecting people who used Holt's manual to reconstruct dances for the Renaissance and Baroque. Holt's interpretations bear no resemblance to the originals; however, they do clearly illuminate the romanticized aura that began to surround such dances as the minuet during the nineteenth century. Line drawings and photographs enhance Holt's manual.

CREATED/PUBLISHED Chicago, Akron, O. [etc.] The Saalfield publishing company [1914]

SUMMARY This manual is an excellent source for ragtime era dances including the one step, tango, Brazilian maxixe, and hesitation waltz. The book is richly illustrated with more than twenty photos of many famous exhibition ballroom couples such as Irene and Vernon Castle; and Maurice and Florence Walden.

CREATED/PUBLISHED Boston, O. Ditson & Co., c1886.

SUMMARY This small, pocketsiz manual is attributed to American in-ventor Elias Howe; however, a publisher assembled it. Even though the manual itself is small in size, it manages to pack in a thorough discussion of etiquette of the ballroom and supper room, a discussion on the differences betwn public balls an private parties, and how to call quadrilles or cotillons. Descriptions are included for numerous dances including the polka, waltz, schottisch, quadrille, and contra dance.

CREATED/PUBLISHED Boston, E. Howe, 1862.

SUMMARY This is one of several manuals credited to the well-known American inventor, Elias Howe. Like many nineteenth-century dance manuals, it is a compilation of other sources and assembled by a publisher. The book begins with a brief etiqutte of the ballroom and continues with information on th supper room and how to arrange balls. The work also discusses many popular group dances including the quadrille, country dance, and German or parlor cotillon as well as round dances--polka, schottisch, esmeralda, polka redowa, and zingerilla.

CREATED/PUBLISHED [Boston, Ditson, c1858]

SUMMARY To demonstrate the authority of this manual, the publisher claims the author to be American inventor, Elias Howe. Similar to many other dance manuals published throughout the nineteenth century, this book is a publisher's compilation of other sources. The book begins with a description of ballroom etiquette, dress, appropriate music, and rules for prompters. The manual continues of the era's most popular dances including quadrilles, waltz, polka, schottisch, gorlitza, polka mazurka, country dances, and figures for forty-two "Fancy Cotillons," (also known as the cotillon or German), a group dance performed as a series of party games, usually to waltz music.

CREATED/PUBLISHED Nashville, Tenn., Cumberland Presbyterian publishing house [c1901]

SUMMARY At first glance, Hubbert appears to be presenting both pro and con agruments regarding the suitability of dancing. However, the discussion is weighted toward the common discourse found in this genre of antidance literature. Hubbert argues that although dance was practiced in biblical times, it was performed by and for women. Additionally, he concludes that dance is bad for the health and a waste of time and money.

CREATED/PUBLISHED Dedham : Printed by M. & W.H. Mann, [1819]

SUMMARY This book consists of two sermons delivered by Jacob Ide (1785-1880), pastor of the Second Church in Medway during December 1818. In these sermons, the pastor declares that balls are too expensive, "excite very ardent feeling," and lead to an "inordinate love of company" resulting in idleness. The second sermon is devoted to a common theme in nineteenth-century antidance literature, that dancing and attending balls are contrary to Scripture. Ide's sermons were reprinted in 1859.

CREATED/PUBLISHED [London] : Printed for I. Walsh ... and I. Hare, [1715?]

SUMMARY This ballroom duet for one couple, preserved in feuillet notations, was choreographed by English dancing master Mr. Isaac (c.1640-c 1720) to music composed by James Paisible (died 1721). The eight-couplet dance is in duple meter. The dance notation system, first published by dancing master Raould-Auger Feuillet (1659 or 1660-1710), is based on tract drawings that trace the pattern of the dance. Additionally, bar lines in the dance score correspond to the bar lines in the music score. Signs written on the right or left hand side of the tract indicate the steps. E. Pemberton notated the dance.

CREATED/PUBLISHED [London] : Printed for I. Walsh ... and I. Hare, [1714?]

SUMMARY This ballroom dance for one couple, preserved in Feuillet notation, was choreographed by English dancing master Mr. Isaac (c.1640-c.1720) to music composed by James Paisible (died 1721). The five couplet dance is in duple meter and is dedicated to the Lady Harriot Godolphin, considered to be a "particular good dancer," by E. Pemberton, the notator of the dance. The dance notation system, first published by dancing master Raoul-Auger Feuillet (1659 or 1660-1710), is based on tract drawings that trace the patter of the dance. Additionally, bar lines in the dance score correspond to bar lines in the music score. Signs written on the right or left hand side of the tract indicate the steps.

CREATED/PUBLISHED [London : Printed for I. Walsh & I. Hare, 1713?]

SUMMARY This ballroom dance for one couple in eight couplets, preserved in Feuillet notation, was choreographed by English dancing master Mr. Isaac (c. 1640-1720) to music composed by James Paisible (died 1721). The dance notation system, firt published by dancing master Raoul-Auger Feuillet (1659 or 1660-1710), is based on tract drawings that trace the pattern of the dance. Additionally, bar lines in the dance score correspond to bar lines in the music score. Signs written on the right or left hand side of the tract indicate the steps.

OTHER TITLES Pastoral

CREATED/PUBLISHED [London] : Printed for I. Walsh ... and I. Hare, [1713?]

SUMMARY This ballroom dance for one couple, preserved in Feuillet natation, was choreographed by English dancing master Mr. Isaac (c.1640-c1720) to music composted by James Paisible (died 1721). The fourteen couplet dance begins in 6/4 and changes to a hornpipe on the ninth couplet. The dance notation system, first published by dancing master Raoul-Auger Feuillet (1659 or 1660-1710), is based on tract drawings that trace the pattern of the dance. Additionally, bar lines in the dance score correspond to bar lines in the music score. Signs written on the right or left hand side of the tract indicate the steps. The dance was notated by dancing master E. Pemberton who urged all dancing masters who had not learned the "characters of dancing" (Feuillet notation) either through "prejudice or mistaken notions" should do so as "it is necessary as the notes of music."

CREATED/PUBLISHED [London : Printed for I. Walsh & I. Hare, 1710?]

SUMMARY This ballroom dance for one couple, preserved in Feuillet notation, was choreographed by English dancing master Mr. Isaac (c. 1640-c.1720) to music composed by James Paisible (died 1721). A triple meter dance of nine couplets, the meter changes to 6/4 at the commencement of the fifth couplet. The dance notation system, first published by dancing master Raoul-Auger Feuillet (1659 or 1660-1710), is based on tract drawings that trace the pattern of the dance. Additionally, bar lines in the dance score correspond to bar lines in the music score. Signs written on the right or left hand side of the tract indicate the steps.

OTHER TITLES Royal

CREATED/PUBLISHED [London : Printed for I. Walsh & I. Hare, 1711?]

SUMMARY This ballroom dance for one couple, preserved in Feuillet notation, was choreographed by English dancing master Mr. Isaac (c. 1640-c.1720) to music composed by James Paisible (died 1721). The eleven couplet dance begins in triple meter and changes to a hornpipe on the fifth couplet. The dance notation system, first published by dancing master Raoul-Auger Feuillet (1659 or 1660-1710), is based on tract drawings that trace the pattern of the dance. Additionally, bar lines in the dance score correspond to bar lines in the music score. Signs written on the right or left hand side of the tract indicate the steps.

OTHER TITLES Royall Ann

CREATED/PUBLISHED [London] : Printed for I. Walsh ... & I. Hare, [1712?]

SUMMARY This ballroom dance for one couple, preserved in Feuillet notation, was choreographed by English dancing master Mr. Isaac (c. 1640-1720) to music composed by James Paisible (died 1721). The eight couplet dance is in triple meter. The dance notation system, first published by dancing master Raoul-Auger Feuillet (1659 or 1660-1710), is based on tract drawings that trace the pattern of the dance. Additionally, bar lines in the dance score correspond to bar lines in the music score. Signs written on the right or left hand side of the tract indicate the steps. English dancing master, E. Pemberton (fl. 1711), probably notated the dance.

CREATED/PUBLISHED London : Printed for J. Walsh & P. Randall ... & J. Hare, [1710?]

SUMMARY This ballroom dance for one couple, preserved in Feuillet notation, was choreographed by English dancing master Mr. Isaac (c.1640-c. 1720) to music composed by James Paisible (died 1721). The fifteen couplet dance begins in duple meter, changes to a triple meter sarabande at the tenth couplet, and changes once more to a canary on the twelfth couplet. The dance notation system, first published by dancing master Raoul-Auger Feuillet (1659 or 1660-1710), is based on tract drawings that trace the pattern of the dance. Additionally, bar lines in the dance score correspond to bar lines in the music score. Signs written on the right or left hand side of the tract indicate the steps.

OTHER TITLES Royal Portuguese

CREATED/PUBLISHED London : Printed for I. Walsh & P. Randall ... & I. Hare, [1709?]

SUMMARY This ballroom dance for one couple, preserved in Feuillet notation, was choreographed by English dancing master Mr. Isaac (c. 1640-c.1720) to music composed by James Paisible (died 1721). The fifteen couplet dance begins in 6/4 but changes to "brisk minuet time" on the eleventh couplet. The dance notation system, first published by dancing master Raoul-Auger Feuillet (1659 or 1660-1710), is based on tract drawings that trace the pattern of the dance. Additionally, bar lines in the dance score correspond to bar lines in the music score. Signs written on the right or left hand side of the tract indicate the steps.

CREATED/PUBLISHED [London] : Printed for I. Walsh ... & I. Hare, [1711?]

SUMMARY This ballroom dance for one couple, preserved in Feuillet notation, was choreographed by English dancing master Mr. Isaac (c.1640-1720) to music composed by James Paisible (died 1721). The eight couplet dance is in duple meter. The dance notation system, first published by dancing master Raoul-Auger Feuillet (1659 or 1660-1710), is based on tact drawings that trace the pattern of the dance. Additionally, bar lines in the dance score correspond to bar lines in the music score. Signs written on the right or left hand side of the tract indicate the steps.

CREATED/PUBLISHED Saint Louis, P. M. Pinckard, 1867.

SUMMARY This tract against the practice of social dancing is based on a series of articles written by Jones in 1852. Jones notes alarm because dance is gaining favor with the public. Two of his arguments are common in this genre of literature. First, he claims that dance is an unhealthy exercise. Second, he claims that dance in the Bible is exempted from criticism because it was interpreted as being performed only by women. Jones argues that dance is the natural result of "fervent piety, and of a heart overflowing with gratitude."

CREATED/PUBLISHED London, S. W. Fores, 1788.

SUMMARY This is a charming example of late-eighteenth-century caricature. Although the specific personalities and dances cannot be pinpointed, this collection of ten couples, dressed in ball dress and displaying exaggerated dance poses, is an excellent sample of an art form that flourished in England during the late eighteenth and early nineteenth centuries.

CREATED/PUBLISHED New York, Frederick A. Stokes company, 1914.

SUMMARY This is one of the most valuable dance manuals for the study of social dance practices during the ragtime era. The manual is enhanced by twenty six photographs of several important exhibition dance teams (for example, Irene and Vernon Castle; Maurice and Florence Walden). More than thirty steps are described including the one step, tango, Brazilian maxixe, and the hesitation waltz.

CREATED/PUBLISHED St. Louis, Press of S. F. Brearley & co. [c1883]

SUMMARY This manual is a compilation of previously published materials and includes standard advice on etiquette and dress. Dances include the grand march, quadrilles, and numerous round dances such as the waltz, glide waltz,Boston dip, society waltz, knickerbocker waltz, and the Newport. The popular series of party games called the German (also known as the cotillon) is given sixty-eight figures and other group dances include the "Virginia Reel."

CREATED/PUBLISHED Cincinnati, New York [etc.] The J. Church company [c1896]

SUMMARY This manual is acknowledged to be a compilation of previously published materials and, in fact, Kopp's etiquette section can be found in many contemporary works. Callers instructions are given for quadrilles, waltz quadrilles, polka quadrilles, and contra dances. Kopp includes rules and advice for calling dances such as "Never call at the wrong place to please dancers who do not dance correctly."

OTHER TITLES Theorie-pratique des contredanses

CREATED/PUBLISHED Paris, Cailleau [etc.] 1762-<65 >

SUMMARY This is a bound collection of contredanses, figured group dances for four or more couples that were popular during the last half of the eighteenth century. Each dance is described on four pages: a title page that gives the name of the dance and its choreographer, a page of text describing the figure, a page showing the floor pattern of the dance, and a final page for the music.

OTHER TITLES Recueil d'anglaises

CREATED/PUBLISHED A Paris : Landrin, m[archan]d de musique �t de dans[e] ... �t chez Mlle Castagnery ..., [between ca. 1760 and 1785]

SUMMARY This is a collection of nine English country dances with directions for the figures and appropriate music for a treble insturment. The English country dance was imported into France during the early eighteenth-century

OTHER TITLES Potpourri fran�ois de contre danse ancienne tel qu'il se danse chez la Reine

CREATED/PUBLISHED A Paris : Chez Landrin, m[archan]d de musique �t de dans[e] ..., Lahante, m[a�]tre de danse ..., M[ademoise]lle Castagnery ..., et aux adresse ordinaires, [ca. 1760]

SUMMARY This is a collection of twelve contredanses, figure-dances performed by four couples and popular during the last half of the eighteenth century. Unlike other published accounts that describe a single figure for each dance, all the dances in this collection contain a series of figures, demonstrating a closer relationship with nineteenth-century quadrilles. Although this collection contains no floor patterns, the figures for each dance are desbribed in text and appropriate music is provided.

CREATED/PUBLISHED Rochester, N.Y., C. Link, c1893.

SUMMARY This unique document contains the prompter's calls for twenty-eight dances. The calls themselves are printed in large type, making them easier to read. No dance instructions are provided.