'THE ART OF DANCING, DEMONSTRATED BY

CHARACTERS AND FIGURES': FRENCH AND

ENGLISH SOURCES FOR COURT AND THEATRE

DANCE, 1700-1750

MOIRA GOFF

I N 1700 Raoul Auger Feuillet published in Paris Choregraphie ou Part de de'crire ladance,^ and revolutionized the art of dancing. His treatise made available, for the firsttime, a system of notation whereby dances could be recorded in symbols - allovi ing themto be recreated at other times and in other places by reference to a written page alone.Dance, the most ephemeral of the arts, had at last achieved a permanence equivalent tothat of its sister art music.

Feuillet's work did not appear by chance, nor was his system the product of a singlestroke of genius. Rather, it was the culmination of a long series of developments in theart of dancing throughout the seventeenth century, inspired in part by the interest ofLouis XIII of France and his son Louis XIV in court ballets. These lavish and extremelycostly entertainments had a political as well as an artistic purpose: they were meant toenhance the prestige of the monarch at home, and to demonstrate the political andcultural hegemony of France abroad. In pursuit of these aims Louis XIV founded theAcademie Royale de Danse in 1661, followed by the Academie Royale de Musique in1669; the latter became the Paris Opera, providing a public stage for the presentation ofworks hitherto performed within the confines of the court. One of the earliest of thedancing-masters associated with both academies was Pierre Beauchamp, who taughtLouis XIV, and it was to him that Feuillet owed the invention of the system of notationwhich he published.^ Feuillet was also helped by the increasing use in the lateseventeenth century of engraving as a means of printing music; the flexibility of theprocess, in terms of the quality of the image that could be produced and the freedom withwhich copies could be revised and reprinted, was of inestimable value to the productionof dances recorded in Beauchamp-Feuillet notation.

In the early seventeenth century, during the reigns of James I and Charles I, Englanddeveloped its own court entertainment in the masque - many of them devised by thedramatist and poet Ben Jonson in collaboration with the architect and designer InigoJones. Like the court ballets of Louis XIII, the masques were costly and elaborate

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(dancing was an integral part of the spectacle), and were intended to enhance the gloryof the King. The Civil War and Commonwealth put an end to such entertainments, sothat when Charles II returned in 1660 there was no native tradition of court ballet uponwhich to draw. His own tastes, formed during his long exile, were predominantlyFrench, so it is hardly surprising that French dancers were among the foreign artists andperformers encouraged to visit London. However, England did manage one export to itsFrench neighbours - English country dancing, which kept its popularity during theCommonwealth. The first collection of country dances. The English Dancing Master, waspublished by John Playford in London in 1651, and several more collections appearedbefore 1700. French interest in these dances was such that an English dancing-master,Mr Isaac, is recorded as visiting France to teach the court of Louis XIV how to performthem.'

As far as modern scholars are concerned, the most important result of Feuillet'spublication was the stream of notated dances and works on dancing which followed it,which today allow eighteenth-century dancing to be researched both practically andacademically.^ This article is concerned with the dance notations and treatises relatingto court and theatre dance which were published, in France and England, between 1700and 1750. The relationship between dancing in France and in England is complex, thatbetween dance publishing in the two countries is scarcely less so. They influenced oneanother, but they also differed significantly. There are no readily available studies ofdance publishing in the eighteenth century, and no comparison between France andEngland has yet been attempted.' This article represents a first approach to a subjectwhich deserves close and extensive study. A chronological list of dance works publishedbetween 1700 and 1750 in the two countries, with details of copies held by the BritishLibrary, forms the Appendix to this article.

DANCING AND TREATISES ON DANCING BEFORE I7OO

There had, of course, been works on dancing before 1700. The earliest treatises dealingspecifically with dancing date from the fifteenth century: from about 1420 onwardsmanuscripts survive which preserve the compositions of such dancing-masters asDomenico da Piacenza, Guglielmo Ebreo da Pesaro, and Antonio Cornazano. For thisperiod Italian sources predominate, although manuscripts describing French andBurgundian dances also exist. The repertoire of dances which they record were forperformance at royal and ducal courts, either for the private entertainment of thecourtiers or as part of the lavish public spectacles of the time. Sources from the first halfof the sixteenth century are few, but around the end of the century a number ofimportant treatises were published. Best known among these are three works in Italian:// Ballarino by Fabritio Caroso, which was first published in Venice in 1581 andappeared in a second edition under the title of Nobilta di Dame (Venice, 1600); and LeGratie d'Amore by Cesare Negri, which was published in Milan in 1602. French sourcesfor this period include Orchesographie by Thoinot Arbeau, which was published at

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Chacon,ejpcr

F,g. ,. The opening plate of the ' Chacone of Galathee' from Anthony L'Abbe, A New Collection

of Dances (London, [1725?])

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Lengres in 1588 and remained influential well into the seventeenth century.^ Mentionshould also be made of the Balet comique de la Royne (Paris, 1582) by Baldassarino deBelgiojoso - the libretto of a court entertainment universally referred to as the first'ballet de cour'.^'* Despite the French additions to the literature of dance, Italy went onsetting the fashions in dancing for the rest of Europe until the early 1600s.

All the early dance manuals are similar in content: they give instructions for executingthe steps, advise on performance style, and prescribe the correct etiquette for socialoccasions which include dancing. They also describe a number of dances in detail but,since there was no notation for dancing before the Beauchamp-Feuillet system becamewidely available in 1700, all the descriptions are verbal (although abbreviations wereused, for example to refer to individual steps). Nevertheless, these sources of thefifteenth, sixteenth and seventeenth centuries allow the dances of the period to bereconstructed with a fair degree of certainty.

During the seventeenth century many changes in dancing took place. The initiativefor dance developments passed to France, as her political and cultural dominanceincreased while that of Italy waned. Dance technique itself underwent fundamentalchanges. Dancers began to turn their legs out from the hip, which increased the rangeand variety of movements possible and allowed the step vocabulary of the older Italiandance to develop into a greater number of steps of different types, and the arms beganto be used so as to create a total body picture far removed from that of earlier centuries.Pierre Beauchamp is credited with the codification of the five positions of the feet, ^thereby laying the foundations of a technique which would later develop into theRomantic and Classical ballet of the nineteenth and twentieth centuries. At the sametime the composition of individual dances was developing new aesthetic rules, which canbe seen (for example) in the complex uses of symmetry found in dances for a couple -the 'danses a deux' which form so great a part of the surviving eighteenth-centuryrepertoire. Despite all this activity, the only manuals which survive from the period areApologie de la danse by F. de Lauze published (probably in Paris) in 1623, and Discursossobre el arte del danfado by Juan de Esquivel Navarro dating from 1642. ^ Neither workadequately documents the important developments which were taking place in dancingduring this period.

Two works published in Paris during the second half of the seventeenth centuryconsidered the court ballets of the time, rather than just dances or dance technique.Michel de Pure, in Idee des spectacles anciens et nouveaux (1668), and Claude-FrancoisMenestrier, in Des ballets anciens et modernes selon les regies du theatre (1682),^^ discussedevery aspect of the court ballets - including their subject matter, libretti, choreography,music and design. They attempted a critical evaluation of those ballets they hadthemselves seen, in order to formulate aesthetic rules for the composition of new ballets.Both referred to ballet's antecedents in the theatre of the classical world - a theme whichwould be returned to time and again in eighteenth-century works on dance.

During this period England added little to the literature of dancing, other than TheEnglish Dancing-Master^ its subsequent editions, and other similar collections - the best

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known of which is probably Thomas Bray's Country Dances published in London in1699. These collections all contained verbal instructions for the steps and figures,beneath the music for the dances. As a result of the appearance of Feuillet's treatise in1700, dance publication in England was to change significantly. Indeed, during the earlyeighteenth century, England's contribution to the art of dancing both theoretically andpractically would in many ways surpass that of France.

FEUILLET, PECOUR AND FRENCH DANCES IN NOTATION

At the same time as he published Choregraphie, Feuillet issued two collections of dancesrecorded in Beauchamp-Feuillet notation - the three works are usually found boundtogether, and appear to have been intended to be issued in this way. ^ One was theRecueil de Dances, Compose'es par M. Feuillet, a collection of fifteen of Feuillet's owndances, some of which may have been intended for performance in the theatre. The otherwas the Recueil de Dances, Compose'es par M. Pecour, a collection of nine ball dances.Choregraphie was reissued in 1701, with some minor corrections; in 1709 a new editionwas published which was entirely engraved, and this was reissued in 1713 (the 1700edition had had letterpress text with engraved illustrations of the notation symbols, bothon the text sheets and as separate plates). The two collections of dances were reissuedon each occasion, with the date on the title-page amended for the 1709 edition but noalterations to the plates of notation.^^ In 1699 Feuillet had been granted a 'privilege' fora period of six years to publish dances in notation;^' these two collections marked thebeginning of a series of annual collections of ball dances recorded in Beauchamp-Feuilletnotation which would continue to be published until 1725.

The publication of these dances was intimately associated with the status andpopularity of dancing at the court of Louis XIV. The King had been a fine dancer in hisyouth and had regularly taken part in court ballets until he reached his early thirties.After the death of the Queen, the influence of Madame de Maintenon had contributedto the decline of the court ballet but great formal balls continued to be held, at whichcourtiers were expected to display their ability in a variety of dances including speciallycomposed danses a deux. The order and ceremony of such occasions was described in atreatise on dancing published in 1725, ten years after the King's death, in a chapterentitled 'Du Ceremonial que Ton observe au grand Bal du Roy'.^^ Dancing as a pastimeenjoyed renewed popularity following the arrival at court of Marie-Adelaide de Savoie,who married the Due de Bourgogne, the King's grandson, in 1697. It is likely that shewas an active patron of dancing, for one of Pecour's dances in the 1700 collection isnamed La Bourgogne, and another is called La Savoye, probably in her honour. ^

In 1700 Feuillet also published four single dances by Pecour, followed by two more,one in 1701 and the other in 1702. ' From 1702 he began a numbered series of annualcollections, which continued until the Vllle recueil de dances pour Panne'e 1710 (Paris,1709). Until 1703 Feuillet worked with Michel Brunet (whose address was given in theimprints as 'dans la grande Salle du Palais au Mercure galand'), but from the Illme.

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recueilde danses de bal. Pour Pannee 1705 (Paris, 1704) he appeared alone in the i pAll of these collections contained dances by Guillaume-Louis Pecour, who was arguablythe most famous dancing-master of the early eighteenth century.^^ Indeed, Pecour'sfame in his time as well as our own owes much to Feuillet's work in recording andpublishing his dances. ^ Feuillet did not neglect his own interests as a choreographer, forhe included his own dances alongside Pecour's in the collections from the fourthonwards.

Feuillet died in 1710, but his series of annual collections was continued by his studentDezais with the IX. recueil de danses pour Pannee ijii (Paris, [1710]).^^ This collectionagain comprised dances by Pecour and Feuillet, but the X. recueil de danses pour Pannee1712 (Paris, 1712) was devoted to dances by Claude Balon and Dezais himself ^ Dezaiscontinued this pattern until the XVII. recueil de dances pour Pannee ijig (Paris,[1719]);^^ the XVIII. recueil de dances pour Pannee ij20 (Paris, 1720) consistedexclusively of dances by Balon, but unfortunately no copy of the nineteenth collection(which was presumably published in 1721) survives to provide information about itscontents.

The reasons for Dezais's neglect of Pecour are not evident. It is possible that Pecourhad been overtaken in popularity by the younger Balon, but the change probably hadmore to do with Pecour's transfer of his 'privilege' to the dancing-master Gaudrau, whopublished a collection of both ball and theatre dances entitled Novueau [sic] reciieil dedance de bal et celle de ballet...de la composition de Mr. Pecour in Paris in about 1713.^^Although Feuillet appears to have considered Pecour's ball dances of greater importance(or found them a more lucrative publishing venture) he had published a collection ofPecour's theatre dances as early as 1704, the Recueil de dances contenant un tres grandnombres des meillieures entrees de ballet de Mr. Pecour, which included a supplement toChoregraphie called Traite de la cadance which dealt with the timing of dance steps to themusic. Gaudrau's collection was in two parts, the first containing nine ball dances andthe second thirty theatre dances; this arrangement may have been specifically chosen toemulate both the 1700 and 1704 collections published by Feuillet. ^ For the theatredances, both Feuillet and Gaudrau give as part of the head-title the dancers and theoperas in which each dance was performed (thereby providing much useful informationfor later researchers), but Gaudrau's notations are very much more complex thanFeuillet's.^® Gaudrau published his collection with Pierre Ribou 'Libraire au bout dupont neuf', and they went on to publish two more of Pecour's ball dances in Dansesnouuelles presentees au Roy (Paris, 1715). This was the last collaboration between Pecourand Gaudrau, who appears to have left Paris for Madrid in 1715, to take up hisappointment as dancing-master to the Spanish Crown Prince.^*' Dezais resumed hiscollaboration with Pecour by publishing a second XVII recueil de dances pour Panneeijig (Paris, [1719]) devoted to two dances by Pecour notated by Maker, to accompanythe one which had contained dances by Balon.

In 1722 Dezais, following the publication of two or possibly three separate collectionsof dances by Pecour and Balon respectively, brought together dances by the two

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choreographers in the XXe. et Vie. recueil de dances pour Panne'e 1722 (Paris, 1722). Thetwenty-first collection does not survive (presumably it was published in 1723), and thetwenty-second contains dances by Pecour, Blondy and Marcel. The XXUl recueil dedances pour Panne'e 1725 (Paris, [1725]), which seems to have been the last collection tobe published, has dances by Pecour and Dezais only - a return to the pattern establishedby Feuillet in 1705. ^ By this time Louis XV had attained his majority and the Regent,Philippe, Due d'Orleans, had died. ^ The cessation, after twenty-five years, of the seriesof annual dance collections may reflect a lack of interest on the part of the young monarch(and hence less incentive for his courtiers to patronize dance publications), or perhapsbe due to the retirement or death of Dezais. Other important works on dancing wouldbe published in France later, and Beauchamp-Feuillet notation continued to be useduntil late in the eighteenth century, but virtually no new dances or collections of dancesseem to have appeared in notation after 1725.

The collections of dances published in France followed an orderly pattern: publicationwas strictly governed by the privileges accorded to Feuillet and Pecour and later assignedto Dezais and Gaudrau, which meant that only a handful of men was ever involved inthe notation and publication of dances - there was no problem of unauthorizedpublication or 'piracy'. Feuillet appears to have himself undertaken the notation of alltbe dances he published, as did his successor Dezais (with the exception of the twodances by Pecour published in 1719, mentioned above). The only other notator andpublisher was Gaudrau, who worked with Pecour between 1712 and 1715. Collaborationswith other printers, publishers or booksellers appear to have been limited to thosebetween Feuillet and Brunet and Gaudrau and Ribou, which were of short duration. Thecollections (of two to four dances) appeared regularly, according to an annual pattern setby Feuillet which Dezais tried to follow. The publication of the series, which was tightlycontrolled by the dancing-masters concerned, appears to have been designed principallyto make ball dances available to a small readership composed mainly of dancing mastersand their pupils among the French aristocracy and bourgeoisie.

The same control was exercised over the publication of the two collections of theatricaldances, which were notated and published by the same men. The intended audienee forthese collections is harder to define: the dances in both are of types and levels of difficultywhich would seem to preclude their performance in the context of a ball, howevermagnificent, and by the early eighteenth century large-scale court ballets witharistocratic participants able to perform alongside professional dancers were no longer animportant feature of court life. Although the publication of dances was ultimatelysanctioned by the King, the appearance of these two collections of theatre dances mayhave owed rather more to the aspirations of his dancing-master, Guillaume-LouisPecour. No other dancing-master working in France (not even Claude Balon) seems tohave attained the status of Pecour, which accounts for his overwhelming presence amongthe choreographers whose dances were chosen for publication.

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ISAAC, WEAVER, WALSH AND THE ENGLISH DANCES

The situation in England was very different. In 1706 two translations of Feuillet'sChoregraphie were published, virtually simultaneously, in London. The first to appearwas The Art of Dancing., Demonstrated by Characters and Figures by P. Siris, which wascloser to an adaptation than a translation; the second, which became much moreinfluential in England, was Orchesography, or, the Art of Dancing.^ by Characters andDemonstrative Figures by John Weaver, which was a more faithful (if less imaginative)translation of Feuillet's original text.^^ Siris's version included two dances in Beauchamp-Feuillet notation — The Rigaudon^ an adaptation of a dance originally by Mr Isaac, andThe French Bretagne by Pecour. Weaver quickly issued A Collection of Ball-Dancesperformed at Court: ...All Composed by Mr. Isaac (London, 1706), which contained sixdances in Beauchamp-Feuillet notation. Weaver also published A Small Treatise on Timeand Cadence in Dancing (London, 1706), his translation of Feuillet's Traite' de la Cadanceof 1704. Both men were obviously well aware of the French publication of dance treatisesand dances in notation, and were eager to emulate it in England.

It is possible that the English publication of dances in notation had begun before1706,^^ but in 1707 a series of annual dances began with The Union by Mr Isaac, notatedand published by John Weaver. This had been choreographed to celebrate the pohticalunion between England and Scotland which took place in that year, and was performedat court by professional dancers during the celebrations for Queen Anne's birthday on6 February.^^ During the Queen's reign the birthnight balls, held in honour of thesovereign's birthday, were an established part of the social calendar. The custom ofchoreographing a dance for the occasion, which was then published in notation, beganwith Queen Anne and continued under both George I and George II. No detaileddescriptions of the birthnight balls survive, although they were mentioned in thenewspapers, but the notated dances performed at them do - in a series that runs from1707 to 1733.^^

During Queen Anne's reign the birthday dances were choreographed by Mr Isaac,who had taught her to dance and in a later source was described as 'court dancing-master' although he never held a formal post.^^ His surviving dances show clearly thathe was a gifted choreographer. By 1708 Isaac had entered into an agreement with thewell-known music publisher John Walsh and his partners Joseph Hare and P. Randallfor the publication of his annual dances. Walsh, Hare and Randall immediatelyrepublished the six dances in Weaver's 1706 collection, issuing them individually ratherthan as a collection. They also began their own series of singly issued dances with Isaac'sThe Saltarella, a 'new Dance made for Her Majesty's BirthDay', possibly performed atthe 1708 birthnight ball and certainly danced in the theatre very shortly afterwards.^^Walsh and his partners continued to publish dances by Mr Isaac every year until TheFriendship of 1715.

John Walsh was an enterprising man of business and quickly saw that profits were tobe made from the publication of dances in notation. In addition to the new dances which

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'appeared annually, he reissued Isaac's older dances in 1710, 1712, and finally in 1730.Since he was not a notator himself, he employed dancing-masters to record the dances,and their names were given on the title-pages; from 1713 to 1715 the notator wasEdmund Pemberton. In 1711 Walsh, Hare and Pemberton had collaborated in thepublication of a collection of dances. An Essay for the Further Improvement of Dancing,which contained eight * Figure Dances' for women and three solo dances, also forwomen, by Isaac, Anthony L'Abbe and Pecour respectively. The three of Isaac's danceslater notated for Walsh by Pemberton, The Pastorall (1713), The Godolphm (1714) andThe Friendship (1715), are among the most beautiful published in England or France.Pemberton's work did more than satisfy Isaac and Walsh: it also brought him to theattention of Anthony L'Abbe.

On the accession of George I in 1714, Isaac lost his place at court and was replacedby the Frenchman Anthony L'Abbe, who was given the post of dancing-master to theKing's three young granddaughters.^*' It became L'Abbe's task to compose annualdances for the King's birthday, and he turned to Edmund Pemberton not only to notatebut also to publish them. Despite his loss of royal favour, Isaac continued to choreographdances, and he too turned to Pemberton as his notator and publisher.^^ There followedan unseemly wrangle between Walsh and Pemberton over the right to publish thesedances. Walsh went so far as to publish his own versions of Pemberton's notations forL'Abbe, and Pemberton retaliated with an advertisement in The Evening Post of 14 June1716, in which he directly accused Walsh of piracy:

his Design is equally Level'd against me his Friend, he having Pirated upon me the last Birth dayDance, compos'd by Mr. Labbe. The main Reason he gives for it, is, he Loves to be Doing, andby the same Rule, a Highwayman may exclaim against the heinous sin of Idleness, and plead thatfor following his Vocation: ...

L'Abbe (and possibly the King) supported Pemberton and Walsh had to give way; by1717 Pemberton had established a monopoly over the publication of L'Abbe's birthdaydances which continued until he died in 1733.*^

John Walsh and Edmund Pemberton were by no means the only publishers of dancenotations, for the dancing-masters working in England were notably more independentand competitive than their French counterparts. Siris (who may have been French)notated and published at least seven of his own dances between 1708 and 1725.*^ Hebegan his publishing career with The Camilla, a dance to music from Bononcini's opera,in collaboration with the Amsterdam pubhsher Etienne Roger. By 1712 he was workingwith Walsh - their partnership endured until at least 1715 - but Siris produced his lastknown dance The Diana (London, 1725) alone, declaring in the imprint 'This Book isgiven gratis to all Dancing Masters in England'. Another dancing-master and notator,Kellom Tomhnson, began to work with Walsh in 1715 with The Passepied Round 0.Their partnership did not last very long either, for from 1718 Tomlinson's imprints sayonly 'T'o be had at the author's'. Tomlinson published six dances in all, and in 1720brought them together under a collective title-page as Six Dances ...a Collection of all the

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Yearly Dances with himself as sole publisher and seller.'*'* Walsh's attempts to oustPemberton from the publication of dance notations badly affected his professionalrelations with Siris and Tomlinson, among other dancing-masters.

There is no record of the publication in France of dances by English dancing-masters,but the latter did on occasion publish dances by the French. Among them was MrShirley who advertised The Silvea 'a new dance of three movements, compos'd by thefamous Mr. Baton' in The British Weekly Mercury for 5-12 March 1715; this was hisnotated version of Balon's La Silvie which had originally appeared in the X. recueil dedanses pour Pannee 1712 (Paris, 1712). No copy survives of The Silvea, nor is there oneof Pecour's La Royalle advertised in The Evening Post of 14-16 February 1723 as 'soldby S. Bulkeley', who declared that 'This dance is done in a character smaller, and morecurious than usual, and may be had on one sheet, for the convenience of sending bypost.' ^ He was not the only one to perceive the advantages of more economical printing,for at about the same time William Holt published Le Rigadon Renouvele, a dance of hisown composition 'put in characters in a less compass than any hitherto done andengrav'd'. The only remaining copy of this dance consists of a title-page and two leavesof dance notation, each of which has four couplets of the dance crowded on to it.

Only one collection of theatre dances was ever published in England, AnthonyL'Abbe's A New Collection of Dances which was notated, engraved and published by F.Le Roussau and comprised thirteen solos and duets danced on the London stage (fig. i);like the earlier French collections, the names of the performers were given as part of thehead-title for each dance, and Le Roussau's collection for L'Abbe seems to have beeninspired by Gaudrau's collection of Pecour's theatre dances. L'Abbe dedicated thecollection to the King, presumably George I since it is generally agreed to date to about1725. ^ Le Roussau, who may have been a Frenchman, published only one other dance,A Chacoon for a Harlequin (London, [1729.?]).*^ The notation is unusual in that itincorporates illustrations of some of Harlequin's actions within the dance.

Although far fewer notations were published in England than in France, many morepeople were involved in their production. There was virtually no regulation of theirpublication: although there was an English equivalent of the French 'privilege' systemit was rarely used, and there is no indication that it was exercised on behalf of anydancing-masters. There was no copyright protection for engraved notations, so sharppractice and printing piracy occurred more than once. ^ The English preferred topublish dances singly rather than in collections, but a number of dancing-mastersfollowed the French practice of annual publication. The presence of several importantFrench dancing-masters in London doubtless affected English dancing - although theinfluence was not all one way. The English market for dance notations is less easy todefine than the French: the notations were certainly intended for purchase by dancing-masters and their pupils, but these pupils were not necessarily aristocratic; and it ispossible that the notations of the birthday dances were also sold more widely, askeepsakes. In England, judging by the advertisements in the newspapers and thecommercial rivalry between publishers, dance notations were a lucrative line of business.

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Uo/nme ct Femme prest afazre la premier Acverenceav ant d£^ Dancer ' ^

Fig. 2. An illustration from Pierre Rameau, Le maitre a danser (Paris, 1725)

LE MAITRE A DANSER AND MANUALS ON DANCING ^

In 1725 in Paris, as the publication of new dances in notation came to an end, a manualof dancing appeared - Le maitre a danser by Pierre Rameau. This work complementedFeuillet's Choregraphie by explaining how many of the steps he had notated should beperformed. It also returned to the earlier pattern of works on dancing by includingdiscussions of deportment, correct etiquette in the ballroom, and a detailed verbaldescription of the menuet, the most popular ballroom dance of the eighteenth century.*^In the same year, Rameau published Abbrege de la nouvelle methode in which he soughtto revise Feuillet's work to produce a more consistent and easily-read notation fordances. Despite the reissue oi Abbrege de la nouvelle methode in about 1728, and again inabout 1732, Rameau's notation was never successful and Beauchamp-Feuillet notationcontinued to be used in publications until late in the eighteenth century.^''

Rameau provided his own illustrations for Le maitre a danser, most of which he seemsto have engraved as well as drawn (fig. 2). He referred to the importance of theillustrations in his preface:

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j'ai fait graver plusieurs Planches qui representent le Danseur en diverses positions: les preceptesqui passent par les yeux aient toujours beaucoup plus d'effet, que ceux qui sont denuez de

As a dancing-master, Rameau presumably felt that he could delineate dance positionsand movements better than a professional artist. The results are naive, if charming, andhave been the source of much confusion and disagreement among modern scholarsconcerned with the reconstruction of early eighteenth-century dance technique.

Where France led England continued to follow. The English dancing-master JohnEssex translated Rameau's manual within three years, calling his version The Dancing-Master (London, 1728). He included Rameau's preface, which praised the virtues ofFrench dancing, dancing-masters and dancers, but added his own on behalf of theEnglish - pointing out that 'Dancing here in England has been very much advancedwithin this twenty Years', and adding that 'our English Masters and Performers, ... bearan equal Merit with any in Europe"" although he had to admit the primacy of the French.He copied Rameau's illustrations, although he employed an engraver rather than doingthem himself, with more professional results. Essex issued a second edition of TheDancing-Master in 1731, and reissued this with many new illustrations by GeorgeBickham junior in about 1733.^^ Bickham subsequently plagiarized Essex's work topublish An Easy Introduction to Dancing (London, 1738).^^ Rameau issued a 'nouvelleedition' of Le maitre a danser in 1734, and what appears to be his final edition of themanual in 1748. John Essex reissued the 'second edition* of his translation of Rameau'smanual in 1744, the year of his death.

Essex's reissues of The Dancing-Master may well have been influenced by theimpending publication of the most lavish of all the eighteenth-century dance manuals- Kellom Tomlinson's The Art of Dancing (London, 1735). Tomhnson was at pains topoint out that his was an original work owing nothing to either Rameau's manual orEssex's translation and had been in preparation as early as 1726.^^ Although his workinevitably covers many of the same topics as Le maitre a danser, it includes much materialnot found in the latter and is clearly an independent work. Like Rameau, Tomlinsonpreferred his own drawing skills to those of a professional artist, but he entrusted hisillustrations to a number of the best engravers of the day. The result was a series ofplates, each dedicated to a different pupil, which are among the most beautiful danceillustrations of the early eighteenth century (fig. 3). Unlike Rameau and Essex,Tomlinson published his manual by subscription; his list of subscribers includes manypatrons from the aristocracy and gentry, who we are invited to assume were his pupils.^^Tomlinson published a second edition of The Art of Dancing in 1744.

Rameau was accorded a ' privilege' lasting ten years for Le maitre a danser, and anotherfor eight years covering not only the Abbrege de la nouvelle methode but also dancesrecorded in his revised notation. Essex and Tomlinson had to rely on the protection ofthe 1710 Copyright Act. Tomlinson published The Art of Dancing alone, but Rameauand Essex both took the more usual course of collaborating with printers and booksellersfor the publication of their manuals. An examination of the first and second editions of

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.•.',;vi •[? ,1 il' J? W' '• ,"f -^ m' '4-

if - BrowniowLordBurleig'liMargaretSophia Cecil/^/cAifefec-f^^

Fig. 3. A plate from Kellom Tomlinson, The Art of Dancing (London, 1735)

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both Le maitre a danser and The Dancing-Master (including the 1733 issue of the latter)shows that the texts were not re-set for the new editions; it seems that more copies ofboth works were originally printed than could be sold, and sales were encouraged by theusual expedient of reissue under a new title-page.^^ Manuals of dancing may not havebeen as popular with the public as their authors claimed, and certainly did not match theappeal of published dance notations.

COUNTRY DANCES IN BEAUCHAMP-FEUILLET NOTATION

The popularity of English country dances in France encouraged Feuillet to devise asimplified form of notation to record them. He published an explanation of the system,together with a collection of thirty-two country dances, in Paris in 1706 entitled Recueilde contredances. Dezais followed this with a / / . reciieil de contredances (Paris, 1712), whichcontained twenty-seven dances. Country dances were also included in some of the annualcollections. The links with England are shown by the titles of some of the dances. Forexample, Feuillet's 1706 collection includes Le Carillon d'Oxfort, while Dezais's has LeRigaudon d'Angleterre and Les Foiies d'Isac.

Notwithstanding the well-established series of country-dance collections published bythe Playford family and others, John Essex translated Feuillet's work into English andadded his own collection of ten country dances (which included some of those notatedby Feuillet) under the title For the Furthur [sic] Improvement of Dancing (London,1710)." In about 1715 Essex pubhshed a new edition, adding four more country dancesand his only surviving ball dance The Princess's Passpied. The princess was Caroline,Princess of Wales, to whom the new edition was dedicated. The only surviving copy ofthis work is part of the King's Library in the British Library and was at one time in thePrincess's own library.^^ Unlike the first edition, which was duodecimo, this copy ishandsomely printed in folio with the original small plates reprinted four to a page andfull-sized plates for the new dances. It is likely that it was a presentation copy for PrincessCaroline, and there is no certainty that any other copies in this format were ever printed.

Neither Feuillet nor Essex were entirely successful in their attempts to introducenotation for the publication of country dances ~ presumably because verbal descriptionswere a popular and successful method for recording country dances. The only other workwhich used the simplified Beauchamp-Feuillet notation was Edmund Pemberton's AnEssay for the Further Improvement of Dancing (London, 1711), since the simplifiednotation was particularly suitable for recording figure dances.

TREATISES ON DANCING PUBLISHED 17OO-175O

Apart from the notated dances and the manuals, only five other works on dancing werepublished during the first half of the eighteenth century. For once England led the way,for the most prolific writer of the period was the dancing-master John Weaver.''^ Thefirst of his works to appear (following his translations of Feuillet's treatises) was An Essay

215

towards an History of Dancing (London, 1712) in which he explored the status and historyof dancing from antiquity to his own day. He looked particularly at mime and pantomimeamong the Greeks and Romans, and included a final chapter 'Of the Modern Dancing'in which he categorized the social and theatrical dancing of his own time and discussedthe elements of good dancing. He published a shortened, popular version of the treatisein 1728, under the title The History of the Mimes and Pantomimes. In 1721 Weaver madeanother important contribution to the literature of dancing, when he publishedAnatomical and Mechanical Lectures upon Dancing, in which he explored in great detailthe physical basis of the art and gave 'Rules and Institutions for Dancing' which unitedhis studies of anatomy and physiology with aesthetic precepts. Weaver was both atheorist and a practical man of the theatre, and put his theories on mime and dancinginto practice in a series of 'ballets d'action' performed at Drury Lane Theatre-beginning with The Loves of Mars and Venus in 1717, and ending with The Judgment ofParis in 1733. He can fairly be described as one of the most important writers on danceduring the eighteenth century.

French treatises on dancing in this period were limited to Jacques Bonnet's Histoiregenerale de la danse, sacrie et prophane (Paris, 1724), and Vart de la danse (Paris, 1746)by Borin. Bonnet covered much the same ground as had Weaver in An Essay towards anHistory of Dancing - discussing dancing in the ancient world before describing andcommenting on dancing in France in his own time. His work was predominantly moraland theoretical, lacking the practical concerns of Weaver's. Borin's work was derivedfrom Rameau's Le maitre a danser, but in a much smaller compass and withoutillustrations.^^ The French had to wait until the second half of the eighteenth century,and the advent of Jean-Georges Noverre, before they could catch up with the Englishin both the theory and practice of what John Weaver called ' dramatick entertainmentsof dancing'.

FRANCE, ENGLAND AND PUBLICATIONS ON DANCING

From the detailed listing given in the Appendix below an interesting overall pattern ofdance publishing in France and England between 1700 and 1750 emerges. From 1700to 1705 the only works to appear were French: Feuillet's Choregraphie and its secondedition were published in 1700 and 1701 respectively, and at least one collection andusually one single dance appeared each year (1700 and 1704 saw the publication of fourand three single dances respectively, while in 1705 there were none). Between 1705 and1725 no more dances were issued singly in France, but at least one collection appearedeach year and in 1709 and 1713 there were as many as four, because of the reissue of theFeuillet and Pecour collections which had originally been published in 1700. No dancesseem to have been published in 1708 or 1711 and none survive for 1721 or 1723. InEngland, once the two translations of Choregraphie had appeared in 1706 dancepublishing quickly gathered pace. At least two or three dances were published singlyalmost every year until the 1720s. In 1708 eight dances appeared, and in 1712 there were

216

thirteen - due to John Walsh's reissue of all of Isaac's earlier dances. 1715 also saw thepublication of eight dances; this was the year when the rivalry between Walsh andEdmund Pemberton was at its height, and several other dancing-masters were alsopublishing. From the 1720s the number of dances appearing began to faU off, with atmost one each year and none at all in 1726, 1730 and 1732. English collections, whetherof court or theatre dances, appeared sporadically. In both countries manuals and treatiseswere published infrequently, and were subject to periodic reissue. By the 1730s dancepublications of all sorts were rare, as the impetus provided in 1700 by the publicationof Choregraphie lost its force.

The bibliographical history of dance notations, the manuals of dancing and dancetreatises is only just beginning to be studied in detail, and the social and politicalbackground to dancing and dance publishing in France and England between 1700 and1750 is stiU to be explored. By 1750 the publication of new dances in Beauchamp-Feuilletnotation was all but over, and manuals and treatises were appearing infrequently if at all,but the reasons for this are yet to be fully investigated. The notation continued to be usedin manuals published later in the century, and in its simplified form survived into theearly 1800s, but virtuaUy no new dances were published and the old ones were seldomrevived. Dancing and dance publishing in France and England changed in many respectsduring the second half of the century, establishing new patterns which have been equallyoverlooked and are as well worth investigating, but the phenomenal rate of publishingof the early eighteenth century was not repeated. The flood of works published between1700 and 1750 form a unique resource which has to be the starting point for any seriousstudy of dance in the eighteenth century.

APPENDIX

A CHRONOLOGICAL LIST OF WORKS ON DANCE PUBLISHED

IN FRANCE AND ENGLAND I7OO - I 7 5 O

Works for which there are copies in the British Library are indicated by BL followed bythe pressmark in parentheses at the end of the entry. Details of those works not in thecollections of the British Library are taken from Meredith Ellis Little and Carol G.Marsh, La Danse Noble: an Inventory of Dances and Sources (Williamstown, 1992).Works for which no printed copies are known have entries within square brackets.

FRANCE ENGLAND

1700 1700

FEUILLET, Raoul Auger. Choregraphie ou l'art dede'crire la dance par caracteres, figures et signesdemonstratifs. Paris: chez Fauteur , et chez MichelBrunet, 1700.

FEUILLET, Raoul Auger. Recueil de dances. Paris:chez rauteur, et chez Michel Brunet, 1700.

217

[PECOUR, Guillaume-Louis. La nouvelle mariee.Paris: chez le Sieur Feuillei ei chez Michel Brunei,

PECOUR, Guillaume-Louis. La pavanne des saisons.Paris: chez le Sieur Feuillet et chez Michel Brunei,1700.

PECOUR, Guillaume-Louis. Le passepied nouveau.Paris, chez le Sieur Feuillet et chez Michel Brunei,1700.

PECOUR, Guillaume-Louis. La seconde nouvellemarie'e. Paris: chez le Sr. Feuillet. Ei chez MichelBrunei, 1700.

PECOUR, Guillaume-Louis. Recueil de dances. Paris:chez rauieur, ei chez Michel Brunei, 1700.

1701 1701

FEUILLET, Raoul Auger. Choregraphie ou Tart dede'crire la dance par caracteres, figures et signesde'monstratifs. Seconde edition, augmentee.Paris: chez I'auteur. Ei chez Michel Brunei, 1701.(BL:556.e.i3.(i.))

FEUILLET, Raoul Auger. Recueil de dances. Paris:chez rauieur. ei chez Michel Brunei, 1700 [1701].(BL:556.e.i3.(2.))

PECOUR, Guillaume-Louis. Aimable vainqueur.Paris: chez le Sieur Feuillei. Ei chez MichelBrunei, 1701.

PECOUR, Guillaume-Louis. Recueil de dances. Paris:chez Pauieur, ei chez Michel Brunei, 1700 [1701].(BL:556.e.i3.(3.))

1702 1702

PECOUR, Guillaume-Louis. L'Allemande. Paris:chez le Sieur Feuillei, 1702.

PECOUR, Guillaume-Louis. Per. recueil de danses debal pour Tannee 1703. Paris: chez le Sieur Feuillei.Ei chez Michel Brunei., 1702.

1703 1703

FEUILLET, Raoul Auger. La Madalena. Pans: chezfauieur. Ei chez Michel Brunei, 1703.

PECOUR, Guillaume-Louis. lime, reciieil de dansesde bal pour Tannee 1704. Paris: chez le SieurFeuillet. Et Michel Brunei, 1703.

1704 1704

[PECOUR, Guillaume-Louis. La babeth. Paris: chezle Sr. Feuillei, 1704].*''

218

[PECOUR, Guillaume-Louis. La Bretagne. Paris:chez le Sr. Feuillet, 1704].^^

PECOUR, Guillaume-Louis. Reciieil de dances con-tenant un tres grand nombres des meillieuresentrees de ballet. Paris: chez le Sieur Feuillet,1704. (BL: 7895.6.24.)

PECOUR, Guillaume-Louis. La triomphante. Paris:chez le Sr. Feuillet, 1704.

PECOUR, Guillaume-Louis. Illme. reciieil de dansesde bal. Pour Tannee 1705. Paris: chez le Sr.Feiiillet, 1704.

1705

I I I I E . RECUEIL de dances de bal pour l'annee 1706.Paris: chez le Sr. Feiiillet, 1705.

1705

1706

FEUILLET, Raoul Auger. Recueil de contredances.Paris: chez fauteur, 1706. (BL: C119.a.5.;Hirsch.1.172.)

VME. RECUEIL de danses de bal pour Tannee 1707.Paris: chez fauteur [i.e. Raoul Auger Feuillet, thenotator], 1706. (BL: d.64.n.)

1706

FEUILLET, Raoul Auger. [Choregraphie. English].The art of dancing, demonstrated by charactersand figures; ...Done from the French... by P.Siris. London: printed for the author [i.e. P. Siris,the translator], and may be had of him, 1706.(BL: 797.dd.20.)

FEUILLET, Raoul Auger. [Choregraphie. English].Orchesography. Or, the art of dancing, bycharacters and demonstrative figures...an exactand just translation ... By John Weaver. London:printed by H. Meere, for the author [i.e. JohnWeaver, the translator], and are to be sold by P.Vaillant, 1706. (BL: 558*.c.39.)

ISAAC, Mr. A collection of ball-dances perform'd atcourt. London: printed for the author [i.e. JohnWeaver, the notator], and sold by J. Vaillant,1706. (BL: 785.k.7.(3-7.), imperfect.)^^

FEUILLET, Raoul Auger. [Traite de la Cadance [sic].English]. A small treatise of time and cadence indancing,... by John Weaver. London: printed byH. Meere, for the author [i.e. John Weaver, thetranslator], and are to be sold by Isaac Vaillant,1706.

1707

VIME. RECUEIL de danses et de contredanses pourl'annee 1708, Paris: chez I'auteur [i.e. RaoulAuger Feuillet, the notator], 1707. (BL; d.64.0.)

1707

ISAAC, Mr. The union a new dance... 1707. [London,1707].

1708 1708

ISAAC, Mr. The Britannia a new dance... i7[blank].

219

1709

FEUILLET, Raoul Auger. Choregraphie ou Tart dedecrire la dance par caracteres, figures et signesdemonstratifs. Paris: chez lauteur, et chez MichelBrunet, 1709.

FEUILLET, Raoul Auger. Recueil de dances. Paris:chez Fauteur, 1709.

PECOUR, Guillaume-Louis. Recueil de dances. Paris:chez lauteur, 1709.

V I I E . RECUEIL de dances pour l'annee 1709. Paris:chez Pauteur [i.e. Raoul Auger Feuillet, thenotator], 1709.

VIIIN4E. RECUEIL de danses pour l'annee 1710.Paris: chez fauteur [i.e. Raoul Auger Feuillet, thenotator], 1709.

London: printed for I. Walsh. I. Hare, and P.Randall, [1708?]'^

ISAAC, Mr. The favorite a new dance... i7[blank].London; printed for I. Walsh. I. Hare, and P.Randall, [1708?]

ISAAC, Mr. The Richmond a new dance... i7[blanlt].London: printed for I. Walsh. L Hare, and P.Randall, [1708?]

ISAAC, Mr. The rigadoone a new dance... i7[blank].London: printed for I. Walsh. I. Hare, and P.Randall, [1708.?]

ISAAC, Mr. The rondeau a new dance... I7[blank].London: printed for I. Walsh. I. Hare, and P.Randall, [1708?]

ISAAC, Mr. The saltarella ... 1708. [London]: Sold byI. Walsh. I. Hare, [1708]. (BL: 785.k.7.(ii.),imperfect; h.993.(7.))

ISAAC, Mr. The Spanheim a new dance... i7[blank].London: printed for / . Walsh. I. Hare, and P.Randall, [1708?]

SiRis, P. La Camilla. Londres: chez le Sieur Siris. Eta Amsterdam, chez le Sieur Etienne Roger, 1708.(BL: K.5.C.10.)

1709

ISA,\c, Mr. The royal Portuguez... 1709. London:printed for I. Walsh 6" P. Randall 5" /. Hare,[1709]. {BL: d.64.h.(i.))

SIRIS, P. The brawl of Audenarde... new dance forthe year 1709. [London]: Sold by Mr. Siris. AndI\ Walsh, [1709]. (BL: f5O2.r.)

SIRIS, P. The Camilla. [London, 1709?]

1710

IX. RECUEIL de danses pour l'annee 1711. Paris:chez le Sr Dezais, 1709 [1710].

1710

FEUILLET, Raoul Auger. [Recueil de contredances.English]. For the furthur [sic] improvement ofdancing ... Translated from the French ... by JohnEssex. London: sold by I. Walsh S" P. Randall, I:Hare, I. Gulen, £5" by y' author [i.e. John Essex,the translator], 1710. (BL: 1042.d.45.)

ISAAC, Mr. The Gloucester a new dance...I7[blank]. London: printed for I. Walsh. I. Hare,and P. Randall, [1710.?]

2 2 0

ISAAC, Mr. The Mariborough a new dance...I7[blank]. London: printed for I. Walsh. I. Hare,and P. Randall, [1710?] (BL: h.993.(i7.))

ISAAC, Mr. The princess a new dance... i7[blank].London: printed for I. Walsh. I. Hare. And P.Randall, [1710?]

ISAAC, Mr. The royall gailliarde... 1710. London:printed for J. Walsh 6' P. Randall, 6 ' J. Hare,[1710]. (BL:h.993.(6.))

1711

AN ESSAY for the further improvement of dancing.London: printed, and sold by J. Walsh, J. Hare,and at the author's [i.e. Edmund Pemberton, thenotator], 1711. (BL: 556.e.16.)

ISAAC, Mr. The rigadoon royal... 1711. [London^:Printed for I. Walsh, ©' /. Hare, [1711]. (BL:

ISAAC, Mr. The Northumberland. [London, 1711?]ISAAC, Mr. The royall a new dance... i7[blank].

London: printed for I. Walsh. I. Hare, and P.Randall, [1711].

[SIRIS, P. The dutchess. London: Siris and Walsh,

1712

DEZAIS. I I . recueil de nouvelles contredances misesen choregraphie. Paris: chez Pauteur, 1712. (BL:C.ii9.a.3.)

X. RECUEIL de danses pour l'annee 1712. Paris: chezle Sr. Dezais, 1712

1712

ISAAC, Mr. The Britannia. [London]: Printed for I:Walsh. & I: Hare, [1712?] (BL: h.993.(9.))

ISAAC, Mr. The favorite. [London]: Printed for I:Walsh. (^ I: Hare, [1712?] (BL: h.9Q3.(ii.))

ISAAC, Mr. The Gloucester. [London]: Printed for I :Walsh. & I: Hare, [1712.?] (BL: h,993.(i6.))

ISAAC, Mr. The Northumberland. [London]: Printedforl: Walsh. £^/.-//ar^ [1712.?] (BL: h.993.(i9.))

ISAAC, Mr. The princess. [London]: Printed for I:Walsh. (^ I: Hare, [1712?] (BL: h.993.(i5.))

ISAAC, Mr. The Richmond. [London]: Printed for I:Walsh. C^ I: Hare, [1712?] (BL: h.993.(i2.))

ISAAC, Mr. The rigadoone. [London]: Printed for I:Walsh. iS I: Hare, [1712?] (BL: h.993.(i3.))

ISAAC, Mr. The rondeau. [London^. Printed for I:Walsh. ^ I: Hare, [1712.?] (BL: h.993.(i4.))

ISAAC, Mr. The royall. [London]: Printed for I:Walsh. 6 ' / ; Hare, [1712.?] (BL: h.993.(i8.))

ISAAC, Mr. The royall Ann... 1712. [London]:Printed for I: Walsh. (^ I: Hare, [1712]. (BL:h.993-(4))

ISAAC, Mr. The Spanheim. [London]: Printed for I:Walsh. ^ I: Hare, [1712?] (BL: h.993.(io.))

2 2 1

ISAAC, Mr. The union. [London]: Printed for I:Walsh. ©• / ; Hare, [1712?] (BL: h.993.(8.))

SIRIS, P. The new Englich [sic] passepied... For theyear 1712. [London]: Sold by Mr. Siris and I:Walsh, [1712]. (BL: f.5O2.s.)

WEAVER, John. An essay towards an history ofdancing. London: printed for ^acob Tonson, 1712.(BL: 1042.d.46.)

1713 1713

FEUILLET, Raoul Auger. Choregraphie ou l'art de ISAAC, Mr. The pastorall... 1713. [London]: Printedd'ecrire la dance par caracteres, figures et signesdemonstratifs. Pans: chez le Sr. Dezais, 1713(BL: 1570/798.(1.))

FEUILLET, Raoul Auger. Recueil de dances. Parts:chez I'auteur, 1709 [1713]. (BL: 1570/798.(2.))

PECOUR, Guillaume-Louis. Novueau [sic] recueil dcdance de bal et celle de ballet. Paris: chez le SieurGaudrau et Pierre Ribou, [1713?] (BL: K.8.k.ii.)

PECOUR, Guillaume-Louis. Recueil de dances. Pans:chez I'auteiir, 1709 [1713]. (BL: 1570/98.(3.))

X I E . RECUEIL de danses pour Tannee 1713. Paris:chez le Sr. Dezais, 1713.

for I: Walsh.M93-(3-))

And I: Hare, [1713]. (BL:

1714

[ X I I E . RECUEIL de danses pour l'annee 1714. Paris:chez le Sr. Dezais, [1714]]^^

1714

ISAAC, Mr. The Godolphin... 1714. [London]:Printed for I: Walsh. And I: Hare, [1714]. (BL:

SIRIS, P. The siciliana... new dance for the year1714. [London, 1714].

1715

XIII RECUEIEL [sic] de danses pour l'annee 1715.Paris: chez le Sr. Dezais, [1715].

PECOUR, Guillaume-Louis. Danses nouuellespresentees au Roy. Paris: chez Mr. Gaudrau,

1715

[BALON, Claude. The silvea. London: RichardShirley, 1715?]'^

FEUILLET, Raoul Auger. [Recueil de contredances.English]. For the further improvement of dancing... translated from the French... With a collectionof country dances, and a new French dance call'dthe Princess's Passpied compos'd and writt incharacters by John Essex. London: sold by I:Walsh. I: Hare. And by the author, [1715?] (BL:6o.h.28.)

ISAAC, Mr. The friendship... new dance for the year1715. [London]: Printed for I: Walsh. And I://«r^, [i7i5](BL:h.993.(i))

ISAAC, Mr. The morris a new dance for the year1716. [London]: Writ by Mr Pemberton ^ sold byhim, [1715]- (BL: h.8oi.c.(2.), imperfect.)'^

L'ABBE, Anthony. The Princess Royale a new dance

2 2 2

I7I6

XIIIIE. RECOEIL de danses pour Tannee 1716. Paris:chez le Sr. Dezais, [1716].

1717

XV. RECUEIL de danses pour I'annee 1717. Paris:chez le Sr. Dezais, [1717].

1718

RECUEIL de danses pour I'annee 1718. [Paris]:Dezais, [1718]].'^

... 1715. London: writ by Mr: Pemberton and soldby him, [1715J. (BL: h.8oi.b.(6.))

L'ABBE, Anthony. The Princess Royal a new dance... 1715. London: printed for I: Walsh. (^ I Hare,[i7i5]-(BL:h.8or.(2.))

PECOUR, Guillaume-Louis. Aimable vanqueur.[London: Richard Shirley, 1715?]

[SiRls, P. The Princess Anna. London: sold by J.Walsh, 1715]."

TOMLINSON, Kellom. The passepied round O a newdance... 1715. [London]: To be had at Mr.Walsh's, or the author's lodgings, [1715].

1716

L'ABBE, Anthony. The Princess Anna a new dance...1716 [London]: Writ by Mr: Pemberton andsold by him, [1716]. (BL: h.8oi.(i.); h.8or.b.(5.);

( ) )L'ABBE, Anthony. The Princess Anna... 1716.

London: printed for I: Walsh: and I: Hare,[1716]. (BL: h.8oi.a.(i.))

TOMLINSON, Kellom. The shepherdess a new dance,...1716. [London]: To be had at the author'slodgings; or at Mr. Walsh's, [1716].

1717

L'ABBE, Anthony. The royal George a new dance ...for the year 1717. [London]: Wnt by Mr.Pemberton and sold by him, [1717]. (BL:h.8oi.a.(2.), imperfect; h.8oi.b.(4.))

[TOMLINSON, Kellom. The submission, a new balldance,... 1717. [London]: To be had at theauthor's lodgings, or at Mr. Walsh's, [1717]].'^

1718

[ISAAC, Mr. The entree, a new dance... 1718.London: writ by Mr. Pemberton, and sold by him.

L'ABBE, Anthony. The Princess Amelia a new dance... 1718. [London]: Writ by Mr: Pemberton andsold by him, [1718]. (BL: h.8oi.b.(3.))

TOMLINSON, Kellom. The Prince Eugene, a newdance,... 1718. [London]: To be had at theauthor's, [1718].

1719

BALON, Claude. XVIL recueil de danses pour I'annee1719. Paris: chez le Sr. Dezais, [1719].

[PECOUR, Guillaume-Louis. XVII recueil de dances

1719

LA CYBELLINE, a new dance for a girl. [London]:Writtby Mr: Pemberton: and sold by(BL: h".8oi.c.(4.))

223

pour l'annee 1719. Paris: chez le Sr. Dezais, L'ABB^, Anthony. The Princess Ann's chacone a' ""'" new dance... 1719. [London]: Writ by Mr:

Pemberton, and sold by him, [1719]- (BL:h.8oi.b.(2.))

[TOMLINSON, Kellom. The address a new rigadooncompos'd for the year 1719. [London]: To be hadonly of the author.

1720

BALON, Claude. XVIII. recueil de dances pourl'annee 1720. Paris: chez le Sr. Dezais, 1720.

PECOUR, Guillaume-Louis. IIII recueils de dancesnouvelles pour l'annee 1720. Paris: chez le Sr.Dezais, [1720].

1720

[ToMLlNSON, Kellom. The gavot a new dancecompos'd for the year 1720. [London]: To be hadonly of the author, [1720]].®^

ToMLiNSON, Kellom. Six dances... Being a col-lection of all the yearly dances,... from the year1715 to the present year. [London]: To be hadonly of the author, [1720]. (BL: K.8.k.6.)

1721

[XIX. RECUEIL de dances pour l'annee 1721.Dezais, 1721].^'

1721

Paris: WEAVER, John. Anatomical and mechanical lecturesupon dancing. London: printed for J. Brotherton,and W. Meadows; J. Graves; and W. Chetwood,1721. (BL: 1042.1.20.)

L'ABBE, Anthony. Prince William a new dance for... 1721. [London]: Writt by Mr Pemberton: andsold by him, [1721]. (BL: h.8oi.a.(3.), imperfect;

MARCELLE, Mr. The prim rose. [London, 1721].[TOMLINSON, Kellom. The passacaille Diana.

London, ^

1722

XXE. ET VIE. RECUEIL de dances pour l'annee 1722.Paris: chez le Sr. Dezais, [i]722.

1722 ^

HOLT, William. Le rigadon renouvele. [London,1722.?] (BL: f5O2.t.)

WEAVER, John. Orchesography or the art of dancing.The 2d. edition. London: printed for (^ sold byIno. Walsh; £5" Ino. Hare, [1722?]

1723

[XXL RECUEIL de dances pour l'annee 1723. ParisDezais,

1723

L'ABBE, Anthony. The new rigadon ... for the year1723. [London, 1723]. (BL: h.8oi.a.(4.))

L'ABBE, Anthony. The new-rigodon a dance for theyear 1723. [London]: Writt by Mr Pemberton:and sold by him, [1723]- (BL: h.8oi.c.(9.))

[PECOUR, Guillaume-Louis."La royalle. London: soldby S. Bulkeley, ^

224

1724

BONNET. Histoire generate de la danse, sacree etprophane. Paris: chez d'Houry fits, 1724. (BL:1042.d.47.)

PECOUR, Guillaume-Louis. XXII recueil de dancespour l'annee 1724. Paris: chez le Sr. Dezais, 1724.(BL: d.64.p.)

1724

L'ABBE, Anthony. The canary a new dance for theyear 1724. [London]: Writt by Mr Pemberton: andsold by him, [1724]. (BL: h.8oi.c.(8.))

1725

[XXIII RECUEIL de dances pour l'annee 1725. Paris:chez le Sr Dezais, [1725]].^^

RA?VIEAU, Pierre. Abbrege de la nouvelle methode.Paris: chez Pauteur I. Villette jfacque Josse le Sr.Boivin le Sr. Des-Hayes, [1725]. (BL; C.3i.g.7.)

RAMEAU, Pierre. Le maitre a danser. Pans: chezJean Villette, 1725. (BL: 1042.I.21.)

1725

L'ABBE, Anthony. A new collection of dances.[London]: To be sold at Mr. Barreau's; and at Mr.Roussau's, [1725?] (BL: K.ii.c.5.)

L'ABBE, Anthony. Prince-Frederick. A new dancefor the year 1725. [London]: Writt by MrPemberton: and sold by him, [1725]. (BL:h.801.a.(5.), imperfect; h.8oi.c.(7.))

SIRIS, P. The Diana ... new dance for the year 1725.[London]: This book is given gratis to all thedancing masters in England at Mr: Siris's house,[1725]. (BL: f.5O2.w.)

1727 1727

L'ABBE, Anthony. The Prince of Wales, a new dancefor the year 1727. [London]: Writt by MrPemberton: and sold by him, [1727]. (BL:h.8oi.a.(6.); h.8oi.c.(5.))

1728

RAMEAU, Pierre. Abbrege de la nouvelle methode.Paris: chez Fauteur le Sr. Boivin. Le Sr. Le Clerc,[1728?]

1728

RAMEAU, Pierre. [Le maitre a danser. English]. Thedancing-master ... Done from the French ... by J.Essex. London: printed, and sold by him [i.e. J.Essex]; and J. Brotherton, 1728.

WEAVER, John. The history of the mimes andpantomimes. London: printed for J. Roberts, andA. Dod, 1728. (BL: i346.e.3i.; 64i.e.27.(3.))

L'ABBE, Anthony. Queen Caroline a new dance...1728. [London]: Writt by Mr Pemberton: and soldby him, [1728]. (BL: h.8oi.c.(6.))

LE ROUSSAU, F . A chacoon for a harlequin. London:sold by y" author and att Mr Barratt's Musik-Shop,[1728?] (BL: K.i.i.13.)

1729 1729

CAVERLEY, Thomas. Slow minuet. A new dance fora girl. [London]: Writt by Air: Pemberton: and soldby htm, [1729.?] (BL: h.8oi.c.(3.))

225

1730 1730WEAVER, John. Orchesography or the art of dancing.

The 2d [sic] edition. London: primed for, & sold byIno. Walsh, [1730?]

1731 1731RAMEAU, Pierre. [Le maitre a danser. English]. The

dancing-master... Done from the French... by J.Essex. The second edition. London: primed, andsold by him [i.e. J. Essex]; a « i / Broiherion, 1731.

(BL:C.i35-e.5-)L'ABBE, Anthony. The Prince of Wales's saraband a

new dance... 1731. [London]: Writi by MrPemberion: and sold by him, [1731]. {BL:h.8oi.(3.))

1732

RAMEAU, Pierre. Abbrege de la nouvelle methode.Paris: chez fauieur chez le Sr. Piiei, [1732?]

1732

1733 1733

L'ABBE, Anthony. The Prince of Orange a newdance, for the year 1733. [London]: Wriit by MrPemberion: and sold by him, [1733]. (BL:

h.8oi.(4.))RAMEAU, Pierre. [Le maitre a danser. English]. The

dancing-master... Done from the French... by J.Essex. The second edition. London: prinied, andsold by him [i.e. J. Essex]; andj. Broiherion, 1731

1734

RAMEAU, Pierre. Le maitre a danser. NouvelleII edition. Pans: ches [sic] Jean Villetie Fils,1734. {BL: Hirsch.I.483).

1734

173s 1735TOMLINSON, Kellom. The art of dancing. London:

prinied for ihe auihor, 1735. (BL: K.8.k.7.)

1738 1738BiCKHAM, George. An easy introduction to dancing.

London: prinied for T. Cooper and sold by iheMusick'Shops in iomn and couniry, 1738.

226

1740 1740

GLOVER, Leach. The Princess of Hesse. [London,1740?]

1744 1744

RAMEAU, Pierre. [Le maitre a danser. English]. Thedancing-master: ...Done from the French... byJ. Essex. The second edition. London: printed andsold by him [i.e. J. Essex]; andj. Brotherton, 1744.

ToMLiNSON, Kellom. The art of dancing. Thesecond edition. London: printed for the author,1744-

1746

BORIN. L'art de la danse. Paris: Jean BaptisteChristophe Ballard,

1746

1748 1748

RAMEAU, Pierre. Le maitre a danser. Paris: RollinFils, 1748.71

No works on dancing were published in 1749 or 1750.

1 'The Art of Dancing, Demonstrated byCharacters and Figures' are the opening wordsof the title of the translation by P. Siris of RaoulAuger Feuillet's Choregraphie ou Fart de de'crirela dance par caracteres (London, 1706).

2 Information on the life and career of PierreBeauchamp (1631 . -1719. } can be found inRegine Kunzle, 'Pierre Beauchamp: the Illus-trious Unknown Choreographer', Dance Scope,viii (1974), PP- 32-42, and ix (1974/5), PP-30-45-

3 The British Library copy is £.626.(7.).4 Isaac seems to have gone to France in 1684; a

visit by a dancing-master named Isaac wasrecorded by the Marquis de Dangeau in hisjournal for that year. In 1685, the Frenchdancing-master Andre Lorin journeyed toLondon to learn country dances. See Jean-Michel Guilcher, La Contredanse et lesrenouvellements de la danse franfaise (Paris, 1969),p. 16.

5 Many of the notated dances have been recon-structed for performance in recent years: in

Feuillet's own time the style and technique ofthe dances recorded was well known; in thetwentieth century it must be reconstructed withthe help of other sources, such as contemporarydance manuals and illustrations. See WendyHilton, Dance of Court and Theater: the FrenchNoble Style, i6go-ij2s (London, 1981).

6 Country dancing, except for the collections ofdances recorded in a modified form ofBeauchamp-Feuillet notation, is excluded fromconsideration.

7 The publication of the annual collections inFrance is summarized by Ingrid Brainard in'New Dances for the Ball', Early Music, xiv(1986), pp. 164-73; fo^ the English publicationssee Carol Marsh, ' French Court Dance inEngland, 1706-1740: a Study of the Sources',Ph.D. Dissertation, City University of NewYork, 1985.

8 BL copies: / / Ballarino (64.d.i7.; C.iO7.d.2.;558*.c. 17. (imperfect) and Hirsch.1.100.);Nobiltd di Dame, revised edn., Venice, 1605(C.77.d.i2. and Hirsch.Lroi.), and Rome, 1630

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(556-f.2.(i.)); Le Gratie d'Amore, Milan, 1602(K.7.e.9.) and Milan, 1604 (785.m.8.; 62.h.i8.,and Hirsch.1.429.).

9 BL copies: C.3i.b.3.; Hirsch.L569., andC.3i.b.3o. (imperfect).

10 BL copies: C.33.1.3., and Hirsch.in.629. Thelibretti of opera-ballets and ballets publishedbetween 1700 and 1750 are not included in thepresent study.

11 The dancing-master Pierre Rameau describesthe positions in detail in Le maitre a danser(Paris, 1725), making clear that they differedlittle from those used in ballet today. On p. 9 hewrote ' Ces positions ont ete mises au jour par lessoins de feu Monsieur de Beauchamp, qui s'etoitforme une idee de donner un arangement [sic]necessaire a cet Art.'

12 The BL has a copy of De Lauze (557*.d.io.) butnot of the work by Esquivel Navarro.

13 BL copies: De Pure, 840.a.6.; Menestrier,840.c.7.

14 A photocopy of Bray's collection, taken from theoriginal in the Vaughan Wilhams MemorialLibrary, Enghsh Folk Dance and Song Society,is BL, a.9.00.

15 The printing and publication history of Feuillet'sGhoregraphie and its associated collections ofdances is explored in Meredith Ellis Little andCarol G. Marsh, La Danse Noble: an Inventoryof Dances and Sources (Williamstown, Penn.,1992), p. 91.

16 The BL copy of the 1701 edition of Choregraphieis described as 'Seconde edition, augmentee',and bound with copies of the two collectionsdated 1700; the 1713 edition has no editionstatement and is bound with copies of the twocollections dated 1709. The reissue of notateddances from the original engraved plates is afeature of their publication, particularly inEngland. It is often diflticuit, if not impossible, todistinguish between editions and issues, unlessnew title-pages have been provided by thepublisher.

17 The ' privilege' is printed among the preliminarypages of Ghoregraphie (Paris, 1700).

18 Pierre Rameau, Le maitre a danser (Paris, 1725),

PP- 49-54-19 The Vile, recueil de dances pour Pannee ijog

(Paris, 1709), containing dances by Pecour andFeuillet, is dedicated to the Duchesse. Pecourwas her dancing-master.

20 See Appendix.

21 The end of his partnership with Brunet wassignalled in 1702 with VAllemande, whichFeuillet also published alone.

22 The life and career of Guillaume-Louis Pecour(1653-1729) are documented in Jerome de laGorce, 'Guillaume-Louis Pecour: a Biographi-cal Essay', Dance Research, viii, no. 2 (Autumn1990), pp. 3-26.

23 120 notations of dances by Pecour survive, manymore than for any other choreographer of theperiod.

24 The *Avertissement' included with the ninthcollection states that Feuillet had left his worksand his 'privilege' to 'S . Dezais Maistre deDanse, lun de ses Eleves'.

25 Claude Balon (referred to in most encyclopediasas 'Jean') is now better known as a dancer thanas a choreographer. Unfortunately there is noauthoritative study of his life and career.

26 The twelfth collection of 1714 and the sixteenthof 1718 are known only from manuscript copies,but were presumably available in printed form.

27 At the end of the preface to the collection is an'Extraix [sic] du Priuillege' giving Pecour theright 'de faire grauer ou imprimer touttes lesdanses de sa composition et meme celles qui sontdans les deux liures du feu sieur feuillet' for aperiod of twelve years. The extract confirms thatPecour transferred his 'priuillege' to Gaudrau in1712. The publication date of Gaudrau's col-lection is discussed in Little and Marsh, op. cit.(n. 15 above), p. 112.

28 The 'deux liures' referred to in the 'Extraix duPriuillege' are presumably Feuillet's collectionsof dances by Pecour published in 1700 and 1704.

29 It has been suggested that the difference incomplexity is due to the fact that Gaudrau wasrecording a later repertoire, but it seems morelikely that Feuillet simplified the theatre dancesin the 1704 collection for use by a wider audience.

30 Little and Marsh, op. cit., p. 112.31 The only known copy of the twenty-third

collection is in private hands; the present authorwas able to examine it by kind permission of thecurrent owner. Its existence was previouslyattested by an entry in Catalogue no. 153 of theantiquarian bookseller I. K. Fletcher, 1952. SeeLittle and Marsh, op. cit., p. 122.

32 The Due d'Orleans seems to have been a patronof dancing, for Feuillet had dedicated the 1704collection of theatre dances to him.

33 The relationship between the two translations.

228

and the rivalry between the dancing-mastersconcerned, has been discussed by JenniferThorp, 'P . Siris: an Early Eighteenth-CenturyDancing-Master', Dance Research, x, no. 2{Autumn 1992), pp. 73-6.

34 A copy of The Union in Glasgow UniversityLibrary is bound with a dedication from JohnWeaver to Mr Isaac, in which Weaver says ' Ishall speedily give the World...a Treatise ofDancing; as also an Explanation of this Art, witha Collection of all the Dances perform'd at theBalls at Court', clearly meaning Orchesography(published in April 1706) and the collection ofsix dances. The dedication does not belong withThe Union (published in 1707), and seems likelyto have been issued with another notated dancewhich predates the publications it refers to, sinceWeaver refers to 'this first Fruit of my Labours'.One candidate might be The Briiannia which,although it was included among the six dancespublished in 1706, is in a very different engravingstyle from the others.

35 The Union was danced at the Drury LaneTheatre on 8 March 1707, by Desbarques andHester Santlow. It was described in the advertise-ments as being 'as 'twas perform'd before herMajesty at St. James's' by the same two dancers.The dance was popular enough to be repeated on3 April. Emmet L. Avery (ed.). The LondonSiage 1660-1800. Pan 2: iyoo-ij2g(Carbondale, III., i960), p. 145.

36 In his translation of Rameau's Le maiire a danser{London, 1728), John Essex uses the descriptionof a ball at the time of Louis XIV withoutalteration - perhaps an indication that the cer-emonial of a grand royal ball under the firstHanoverian kings was not entirely dissimilarfrom that at Versailles. For an account of thedances published in Beauchamp-Feuillet no-tation in England see Moira Goff and JenniferThorp, 'Dance Notations Published in EnglandC.1700-1740 and related Manuscript Material',Dance Research, ix, no. 2 {1991), pp. 32-50.Information about the English notations in thepresent article is derived from the ongoingbibhographical study described there.

37 Pierre Rameau, The Dancing-Masier... Done fromihe French...by J. Essex (London, 1728), p. xi.Essex wrote that Isaac 'first gained the Characterand afterwards supported that reputation ofbeing the prime Master in England for fortyYears together'. There is no account of Isaac's

life or career, and very little is known about him.38 The description comes from the title-page for

the dance. The Saliarella was performed at theDrury Lane Theatre on 21 February 1708 byDelagarde and Hester Santlow. Emmet L.Avery, op. cit., p. 166.

39 Walsh's catalogue 18, c. 1730, advertises '20books of Figure Dances by Mr. Issacc [sic]' -presumably reissues of the dances he hadoriginally published between 1708 and 1715.William C. Smith and Charles Humphries, ABibliography of ihe Musical Works Published byihe Firm of John Walsh During ihe Yearsij2i-ij66 {London, 1968), p. 117 {no. 531).

40 L'Abbe's career is summarized by Carol Marshin her introduction to Anthony L'Abbe, A NewColleciion of Dances (London, 1991), a facsimilereprint of the collection pubhshed in about 1725.

41 Pemberton published Isaac's last known dances,The Morris {1716) and The Eniree (1718).

42 Pemberton's life and career, and his publishedoutput, are discussed in Moira Goff, 'EdmundPemberton, Dancing-Master and Publisher',Dance Research, ix, no. i (Spring 1993), pp.52-81.

43 An account of Siris's life and career is given byJennifer Thorp, 'P. Siris: an Early Eighteenth-Century Dancing-Master', pp. 71-92.

44 Six more of Tomlinson's dances, choreographedfor the theatre but apparently never published,survive in a manuscript now in New Zealand;see Kellom Tomlinson, A Work Book, ed.Jennifer Shennan (Stuyvesant, N. Y., 1992).

45 La Royalle was first published in Novueau reciieilde dance de bal ei celle de ballei {Paris, [1713?]).

46 A number of the English dances containdedications to members of the royal family,notably L'Abbe's ball dances of 1715 and 1716which are dedicated to Anne, the Princess Royal.It was also quite common for English dances tobe dedicated to another dancing-master; forexample, Kellom Tomlinson dedicated ThePassepied Round 0 to his teacher ThomasCaverley.

47 The only surviving printed copy of A Chacoonfor a Harlequin is in the British Library. Thedance also exists in a manuscript version, alongwith eight other dances notated by Le Roussau,in Edinburgh University Library.

48 The Copyright Act of 1710 had regulatedletterpress publishing following the lapse of thePrinting Act in 1695. The exclusion of

229

engravings was partially rectified by the En-graving Copyright Act of 1735, but music (andthus dance notations) had to wait until 1777 foran act curbing unauthorized publication.

49 Although on p. 270 of Z, maitre a danser PierreRameau promised 'je donnerai incessamment unautre Traite qui enseignera la maniere de fairetous les differens pas de Balets', i.e. a companionwork on dancing for the theatre, it seems neverto have appeared.

50 Rameau's failure can probably be attributedboth to the wide dissemination of dances inBeauchamp-Feuillet notation during the pre-ceding twenty-five years and to the cessation ofthe publication of new dances. In the 1725edition of Abbrege de la nouvelle methode Rameauincluded his own notated versions of twelvedances by Pecour, all of which had previouslybeen published in Beauchamp-Feuillet notation.The reissues of Abbrege de la nouvelle methode arediscussed in Little and Marsh, op. cit., p. 124.

51 Pierre Rameau, Le maitre a danser, p. vii.52 The editions and issues of The Dancing-Master

are discussed by Carol Marsh in 'French CourtDance in England, 1706-1740: a Study of theSources', pp. 79-110.

53 See Moira Goff, 'George Bickham Junior andthe Art of Dancing', Factotum, no. xxxvi (Feb.I993)> PP- 14-18.

54 'I advertised this Work of mine the first Time, asready for the Press, ... in Bertngton^s EveningPost, Oct. 1$, IJ26, and again in the same PaperOct. 22.', Kellom Tomlinson, The Art ofDancing, p. [3] of the preface.

55 Publication by subscription was rare in Francebefore the late eighteenth century; none of thesurviving French dance notations, manuals ortreatises were so published. Six works on dancingwere published by subscription in Englandduring the period. The other five were JohnWeaver, Orchesography (London, 1706), A Col-lection of Ball-Dances Performed at Court(London, 1706), and Anatomical and MechanicalLectures upon Dancing (London, 1721); EdmundPemberton, An Essay for the Further Improve-ment of Dancing (London, 1711); AnthonyL'Abbe, A New Collection of Dances (London,

[1725?])-56 It has not been possible to consult copies of the

1748 edition of Le maitre a danser and the 1744edition of The Dancing-Master, to see if theirtexts have been re-set. The 1744 edition of

Kellom Tomlinson's The Art of Dancing is areissue of the 1735 edition, with a cancel title-page, and it is possible that it was again reissuedas late as 1754; see Little and Marsh, op. cit., pp.127-8.

57 This edition seems to have been reissued at anunknown date, for a comparison of the BL'scopy with one owned by the National Trustreveals alterations to the dedication in the latter.I am indebted to Yvonne Lewis of the NationalTrust for allowing me to examine this copy.

58 A catalogue of Queen Caroline's library lists acopy of this edition among the books on'Musick'; Add. MS. 11511, f. 203.

59 John Weaver is one of the very few dancers ordancing-masters of this period who has been thesubject of a modern scholarly work: RichardRalph, The Life and Works of John Weaver(London, 1985).

60 Borin's treatise was not readily available forconsultation. Information about its contents hasbeen taken from Judith L. Schwartz andChristena L. Schlundt, French Court Dance andDance Music: a Guide to Primary Source Writingsi643-i78g (Stuyvesant, N.Y., 1987), p. 19.

61 Survives only in manuscript but was presumablyalso printed. Little and Marsh, op. cit., p. 91.

62 Survives only as part of Illme. recUeil de dansesde bal (Paris, 1704), but its pagination and thepresence of an individual title-page suggest thatit was also issued separately. Ibid., p. 97.

63 See n. i.64 Survives only in manuscript but was presumably

also printed. Little and Marsh, op. cit., p. 113.65 Survives only in manuscript but was presumably

also printed. Ibid., p. 118.66 Survives only in manuscript but was presumably

also printed. Ibid., p. 119.67 No copy survives, and there is no evidence

(except for the gap in the numbering of theannual collections) that it was ever published.

68 Ibid.69 Survives only in manuscript but was presumably

also printed. Little and Marsh, op. cit., p. 122.70 It was not possible to consult a copy of this

work; bibliographical details have been takenfrom Judith L. Schwartz and Christena L.Schlundt, French Court Dance and Dance Music,p. 19.

71 It was not possible to consult a copy of thiswork; bibliographical details have been takenfrom ibid., p. 65.

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72 Lacks the title-page and other preliminarieswhich would identify it, so all sources refer to itas a set of the individually issued dances.However, the imposition pattern and the water-marks in the paper match those of the copy nowin the Theatre Collection, Harvard UniversityLibrary, and the imposition pattern is the sameas the copy now in the Library of Congress,which indicates that it is a mutilated copy ofIsaac's A Collection of Ball-dances (London,1706).

73 Unless indicated otherwise, uncertain dates aretaken from Little and Marsh, op. cit.

74 Advertised in The Posi Man, 10 Feb. 1711.75 Aimable vanqueur and The Silvea were zdvevtiscd

in The Brtiish Weekly Mercury, 5—12 Mar. 1715.76 The Morris was advertised in The Evening Posi of

29 Nov. 1715 for publication on 2 Dec. 1715.77 Advertised in The Posi Man of 29 Jan. 1715.78 The only known copies of this dance form part

of the collection of six dances published in 1720,

79

80

but the inclusion of a separate title-page indicatesthat the dance was also issued singly. Little andMarsh, op. cit, p. 116.Advertised in The Evening Posi, 15-17 July1718.Advertised in The Evening Posi, 31 Oct. 1719.

81 The only known copies of this dance form partof the collection of six dances published in 1720,but the inclusion of a separate title-page indicatesthat it was also issued singly. Little and Marsh,op. cit., pp. 118-19.

82 The only known copies of this dance form partof the collection of six dances published in 1720,but the inclusion of a separate title-page indi-cates that is was also issued singly. Ibid., p. 119.

8;^ No copy of this dance survives, but it is referredto in Kellom Tomlinson, The An of Dancing(London, 1735), preface, p. [5].Advertised in The Evening Post, 14-16 Feb.1723-

84

231