'THE ART OF DANCING, DEMONSTRATED BY CHARACTERS AND FIGURES': FRENCH AND ENGLISH SOURCES FOR COURT AND THEATRE , 1700-1750

MOIRA GOFF

IN 1700 Raoul Auger Feuillet published in Choregraphie ou Part de de'crire la dance,^ and revolutionized the art of dancing. His treatise made available, for the first time, a system of notation whereby could be recorded in symbols - allovi^ing them to 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 to that of its sister art music. Feuillet's work did not appear by chance, nor was his system the product of a single stroke of genius. Rather, it was the culmination of a long series of developments in the art of dancing throughout the seventeenth century, inspired in part by the interest of Louis XIII of and his son Louis XIV in court . These lavish and extremely costly entertainments had a political as well as an artistic purpose: they were meant to enhance the prestige of the monarch at home, and to demonstrate the political and cultural hegemony of France abroad. In pursuit of these aims Louis XIV founded the Academie Royale de Danse in 1661, followed by the Academie Royale de Musique in 1669; the latter became the , providing a public stage for the presentation of works hitherto performed within the confines of the court. One of the earliest of the dancing-masters associated with both academies was Pierre Beauchamp, who taught Louis XIV, and it was to him that Feuillet owed the invention of the system of notation which he published.^ Feuillet was also helped by the increasing use in the late seventeenth century of engraving as a means of printing music; the flexibility of the process, in terms of the quality of the image that could be produced and the freedom with which copies could be revised and reprinted, was of inestimable value to the production of dances recorded in Beauchamp-Feuillet notation. In the early seventeenth century, during the reigns of James I and Charles I, England developed its own court entertainment in the masque - many of them devised by the dramatist and poet Ben Jonson in collaboration with the architect and designer Inigo Jones. Like the court ballets of Louis XIII, the masques were costly and elaborate

202 (dancing was an integral part of the spectacle), and were intended to enhance the glory of the King. The Civil War and Commonwealth put an end to such entertainments, so that when Charles II returned in 1660 there was no native tradition of court upon which to draw. His own tastes, formed during his long exile, were predominantly French, so it is hardly surprising that French dancers were among the foreign artists and performers encouraged to visit London. However, England did manage one export to its French neighbours - English country dancing, which kept its popularity during the Commonwealth. The first collection of country dances. The English Dancing Master, was published by John Playford in London in 1651,^ and several more collections appeared before 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 perform them.' As far as modern scholars are concerned, the most important result of Feuillet's publication was the stream of notated dances and works on dancing which followed it, which today allow eighteenth-century dancing to be researched both practically and academically.^ This article is concerned with the dance notations and treatises relating to court and theatre dance which were published, in France and England, between 1700 and 1750.^ The relationship between dancing in France and in England is complex, that between dance publishing in the two countries is scarcely less so. They influenced one another, but they also differed significantly. There are no readily available studies of dance publishing in the eighteenth century, and no comparison between France and England has yet been attempted.' This article represents a first approach to a subject which deserves close and extensive study. A chronological list of dance works published between 1700 and 1750 in the two countries, with details of copies held by the British Library, 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 dealing specifically with dancing date from the fifteenth century: from about 1420 onwards manuscripts survive which preserve the compositions of such dancing-masters as Domenico da Piacenza, Guglielmo Ebreo da Pesaro, and Antonio Cornazano. For this period Italian sources predominate, although manuscripts describing French and Burgundian dances also exist. The repertoire of dances which they record were for performance at royal and ducal courts, either for the private entertainment of the courtiers or as part of the lavish public spectacles of the time. Sources from the first half of the sixteenth century are few, but around the end of the century a number of important treatises were published. Best known among these are three works in Italian: // Ballarino by Fabritio Caroso, which was first published in Venice in 1581 and appeared in a second edition under the title of Nobilta di Dame (Venice, 1600); and Le Gratie d'Amore by Cesare Negri, which was published in Milan in 1602.^ French sources for this period include Orchesographie by Thoinot Arbeau, which was published at

203 Chacon,e jpcr

F,g. ,. The opening plate of the ' Chacone of Galathee' from Anthony L'Abbe, A New Collection of Dances (London, [1725?])

204 Lengres in 1588 and remained influential well into the seventeenth century.^ Mention should also be made of the Balet comique de la Royne (Paris, 1582) by Baldassarino de Belgiojoso - the libretto of a court entertainment universally referred to as the first ''.^'* Despite the French additions to the literature of dance, Italy went on setting 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 executing the steps, advise on performance style, and prescribe the correct etiquette for social occasions 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 became widely available in 1700, all the descriptions are verbal (although abbreviations were used, for example to refer to individual steps). Nevertheless, these sources of the fifteenth, sixteenth and seventeenth centuries allow the dances of the period to be reconstructed with a fair degree of certainty. During the seventeenth century many changes in dancing took place. The initiative for dance developments passed to France, as her political and cultural dominance increased while that of Italy waned. Dance technique itself underwent fundamental changes. Dancers began to turn their legs out from the hip, which increased the range and variety of movements possible and allowed the step vocabulary of the older Italian dance to develop into a greater number of steps of different types, and the arms began to 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 the Romantic and Classical ballet of the nineteenth and twentieth centuries. At the same time the composition of individual dances was developing new aesthetic rules, which can be 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-century repertoire. Despite all this activity, the only manuals which survive from the period are Apologie de la danse by F. de Lauze published (probably in Paris) in 1623, and Discursos sobre el arte del danfado by Juan de Esquivel Navarro dating from 1642.^^ Neither work adequately documents the important developments which were taking place in dancing during this period. Two works published in Paris during the second half of the seventeenth century considered 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-Francois Menestrier, in Des ballets anciens et modernes selon les regies du theatre (1682),^^ discussed every aspect of the court ballets - including their subject matter, libretti, choreography, music and design. They attempted a critical evaluation of those ballets they had themselves 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 which would 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 The English Dancing-Master^ its subsequent editions, and other similar collections - the best 205 known of which is probably Thomas Bray's Country Dances published in London in 1699. 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 in 1700, dance publication in England was to change significantly. Indeed, during the early eighteenth century, England's contribution to the art of dancing both theoretically and practically 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 dances recorded in Beauchamp-Feuillet notation - the three works are usually found bound together, and appear to have been intended to be issued in this way.^^ One was the Recueil de Dances, Compose'es par M. Feuillet, a collection of fifteen of Feuillet's own dances, some of which may have been intended for performance in the theatre. The other was 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 edition was published which was entirely engraved, and this was reissued in 1713 (the 1700 edition had had letterpress text with engraved illustrations of the notation symbols, both on the text sheets and as separate plates). The two collections of dances were reissued on each occasion, with the date on the title-page amended for the 1709 edition but no alterations to the plates of notation.^^ In 1699 Feuillet had been granted a 'privilege' for a period of six years to publish dances in notation;^' these two collections marked the beginning of a series of annual collections of ball dances recorded in Beauchamp-Feuillet notation which would continue to be published until 1725. The publication of these dances was intimately associated with the status and popularity of dancing at the court of Louis XIV. The King had been a fine dancer in his youth 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 contributed to the decline of the court ballet but great formal balls continued to be held, at which courtiers were expected to display their ability in a variety of dances including specially composed danses a deux. The order and ceremony of such occasions was described in a treatise on dancing published in 1725, ten years after the King's death, in a chapter entitled 'Du Ceremonial que Ton observe au grand Bal du Roy'.^^ Dancing as a pastime enjoyed 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 she was an active patron of dancing, for one of Pecour's dances in the 1700 collection is named 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 annual collections, 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 the imprints as 'dans la grande Salle du Palais au Mercure galand'), but from the Illme. 206 recueilde danses de bal. Pour Pannee 1705 (Paris, 1704) he appeared alone in the ip All of these collections contained dances by Guillaume-Louis Pecour, who was arguably the most famous dancing-master of the early eighteenth century.^^ Indeed, Pecour's fame in his time as well as our own owes much to Feuillet's work in recording and publishing his dances. ^^ Feuillet did not neglect his own interests as a choreographer, for he included his own dances alongside Pecour's in the collections from the fourth onwards. Feuillet died in 1710, but his series of annual collections was continued by his student Dezais with the IX. recueil de danses pour Pannee ijii (Paris, [1710]).^^ This collection again comprised dances by Pecour and Feuillet, but the X. recueil de danses pour Pannee 1712 (Paris, 1712) was devoted to dances by Claude Balon and Dezais himself ^^ Dezais continued this pattern until the XVII. recueil de dances pour Pannee ijig (Paris, [1719]);^^ the XVIII. recueil de dances pour Pannee ij20 (Paris, 1720) consisted exclusively of dances by Balon, but unfortunately no copy of the nineteenth collection (which was presumably published in 1721) survives to provide information about its contents. The reasons for Dezais's neglect of Pecour are not evident. It is possible that Pecour had been overtaken in popularity by the younger Balon, but the change probably had more to do with Pecour's transfer of his 'privilege' to the dancing-master Gaudrau, who published a collection of both ball and theatre dances entitled Novueau [sic] reciieil de dance 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 of Pecour's theatre dances as early as 1704, the Recueil de dances contenant un tres grand nombres des meillieures entrees de ballet de Mr. Pecour, which included a supplement to Choregraphie called Traite de la cadance which dealt with the timing of dance steps to the music. Gaudrau's collection was in two parts, the first containing nine ball dances and the second thirty theatre dances; this arrangement may have been specifically chosen to emulate both the 1700 and 1704 collections published by Feuillet. ^^ For the theatre dances, both Feuillet and Gaudrau give as part of the head-title the dancers and the operas in which each dance was performed (thereby providing much useful information for later researchers), but Gaudrau's notations are very much more complex than Feuillet's.^® Gaudrau published his collection with Pierre Ribou 'Libraire au bout du pont neuf', and they went on to publish two more of Pecour's ball dances in Danses nouuelles presentees au Roy (Paris, 1715). This was the last collaboration between Pecour and Gaudrau, who appears to have left Paris for Madrid in 1715, to take up his appointment as dancing-master to the Spanish Crown Prince.^*' Dezais resumed his collaboration with Pecour by publishing a second XVII recueil de dances pour Pannee ijig (Paris, [1719]) devoted to two dances by Pecour notated by Maker, to accompany the one which had contained dances by Balon. In 1722 Dezais, following the publication of two or possibly three separate collections of dances by Pecour and Balon respectively, brought together dances by the two 207 choreographers in the XXe. et Vie. recueil de dances pour Panne'e 1722 (Paris, 1722). The twenty-first collection does not survive (presumably it was published in 1723), and the twenty-second contains dances by Pecour, Blondy and Marcel. The XXUl recueil de dances pour Panne'e 1725 (Paris, [1725]), which seems to have been the last collection to be published, has dances by Pecour and Dezais only - a return to the pattern established by 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 series of 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 perhaps be due to the retirement or death of Dezais. Other important works on dancing would be published in France later, and Beauchamp-Feuillet notation continued to be used until late in the eighteenth century, but virtually no new dances or collections of dances seem to have appeared in notation after 1725. The collections of dances published in France followed an orderly pattern: publication was strictly governed by the privileges accorded to Feuillet and Pecour and later assigned to Dezais and Gaudrau, which meant that only a handful of men was ever involved in the notation and publication of dances - there was no problem of unauthorized publication or 'piracy'. Feuillet appears to have himself undertaken the notation of all tbe dances he published, as did his successor Dezais (with the exception of the two dances by Pecour published in 1719, mentioned above). The only other notator and publisher was Gaudrau, who worked with Pecour between 1712 and 1715. Collaborations with other printers, publishers or booksellers appear to have been limited to those between Feuillet and Brunet and Gaudrau and Ribou, which were of short duration. The collections (of two to four dances) appeared regularly, according to an annual pattern set by Feuillet which Dezais tried to follow. The publication of the series, which was tightly controlled by the dancing-masters concerned, appears to have been designed principally to make ball dances available to a small readership composed mainly of dancing masters and their pupils among the French aristocracy and bourgeoisie. The same control was exercised over the publication of the two collections of theatrical dances, which were notated and published by the same men. The intended audienee for these collections is harder to define: the dances in both are of types and levels of difficulty which would seem to preclude their performance in the context of a ball, however magnificent, and by the early eighteenth century large-scale court ballets with aristocratic participants able to perform alongside professional dancers were no longer an important feature of court life. Although the publication of dances was ultimately sanctioned by the King, the appearance of these two collections of theatre dances may have owed rather more to the aspirations of his dancing-master, Guillaume-Louis Pecour. No other dancing-master working in France (not even Claude Balon) seems to have attained the status of Pecour, which accounts for his overwhelming presence among the choreographers whose dances were chosen for publication.

208 ISAAC, WEAVER, WALSH AND THE ENGLISH DANCES The situation in England was very different. In 1706 two translations of Feuillet's Choregraphie were published, virtually simultaneously, in London. The first to appear was The Art of Dancing., Demonstrated by Characters and Figures by P. Siris, which was closer to an adaptation than a translation; the second, which became much more influential in England, was Orchesography, or, the Art of Dancing.^ by Characters and Demonstrative 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, and The French Bretagne by Pecour. Weaver quickly issued A Collection of Ball-Dances performed at Court: ...All Composed by Mr. Isaac (London, 1706), which contained six dances in Beauchamp-Feuillet notation. Weaver also published A Small Treatise on Time and Cadence in Dancing (London, 1706), his translation of Feuillet's Traite' de la Cadance of 1704. Both men were obviously well aware of the French publication of dance treatises and dances in notation, and were eager to emulate it in England. It is possible that the English publication of dances in notation had begun before 1706,^^ but in 1707 a series of annual dances began with The Union by Mr Isaac, notated and published by John Weaver. This had been choreographed to celebrate the pohtical union between England and Scotland which took place in that year, and was performed at court by professional dancers during the celebrations for Queen Anne's birthday on 6 February.^^ During the Queen's reign the birthnight balls, held in honour of the sovereign's birthday, were an established part of the social calendar. The custom of choreographing a dance for the occasion, which was then published in notation, began with Queen Anne and continued under both George I and George II. No detailed descriptions of the birthnight balls survive, although they were mentioned in the newspapers, but the notated dances performed at them do - in a series that runs from 1707 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 that he was a gifted choreographer. By 1708 Isaac had entered into an agreement with the well-known music publisher John Walsh and his partners Joseph Hare and P. Randall for the publication of his annual dances. Walsh, Hare and Randall immediately republished the six dances in Weaver's 1706 collection, issuing them individually rather than as a collection. They also began their own series of singly issued dances with Isaac's The Saltarella, a 'new Dance made for Her Majesty's BirthDay', possibly performed at the 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 The Friendship of 1715. John Walsh was an enterprising man of business and quickly saw that profits were to be made from the publication of dances in notation. In addition to the new dances which 209 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 was Edmund Pemberton. In 1711 Walsh, Hare and Pemberton had collaborated in the publication 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 for women, by Isaac, Anthony L'Abbe and Pecour respectively. The three of Isaac's dances later notated for Walsh by Pemberton, The Pastorall (1713), The Godolphm (1714) and The 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 the attention of Anthony L'Abbe. On the accession of George I in 1714, Isaac lost his place at court and was replaced by the Frenchman Anthony L'Abbe, who was given the post of dancing-master to the King's three young granddaughters.^*' It became L'Abbe's task to compose annual dances for the King's birthday, and he turned to Edmund Pemberton not only to notate but also to publish them. Despite his loss of royal favour, Isaac continued to choreograph dances, and he too turned to Pemberton as his notator and publisher.^^ There followed an unseemly wrangle between Walsh and Pemberton over the right to publish these dances. Walsh went so far as to publish his own versions of Pemberton's notations for L'Abbe, and Pemberton retaliated with an advertisement in The Evening Post of 14 June 1716, 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 day Dance, compos'd by Mr. Labbe. The main Reason he gives for it, is, he Loves to be Doing, and by the same Rule, a Highwayman may exclaim against the heinous sin of Idleness, and plead that for following his Vocation: ... L'Abbe (and possibly the King) supported Pemberton and Walsh had to give way; by 1717 Pemberton had established a monopoly over the publication of L'Abbe's birthday dances which continued until he died in 1733.*^ John Walsh and Edmund Pemberton were by no means the only publishers of dance notations, for the dancing-masters working in England were notably more independent and 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.*^ He began 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 working with Walsh - their partnership endured until at least 1715 - but Siris produced his last known dance The Diana (London, 1725) alone, declaring in the imprint 'This Book is given 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 say only 'T'o be had at the author's'. Tomlinson published six dances in all, and in 1720 brought them together under a collective title-page as Six Dances ...a Collection of all the

210 Yearly Dances with himself as sole publisher and seller.'*'* Walsh's attempts to oust Pemberton from the publication of dance notations badly affected his professional relations 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 Mr Shirley who advertised The Silvea 'a new dance of three movements, compos'd by the famous Mr. Baton' in The British Weekly Mercury for 5-12 March 1715; this was his notated version of Balon's La Silvie which had originally appeared in the X. recueil de danses pour Pannee 1712 (Paris, 1712). No copy survives of The Silvea, nor is there one of Pecour's La Royalle advertised in The Evening Post of 14-16 February 1723 as 'sold by S. Bulkeley', who declared that 'This dance is done in a character smaller, and more curious than usual, and may be had on one sheet, for the convenience of sending by post.'^^ 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 his own composition 'put in characters in a less compass than any hitherto done and engrav'd'. The only remaining copy of this dance consists of a title-page and two leaves of , each of which has four couplets of the dance crowded on to it. Only one collection of theatre dances was ever published in England, Anthony L'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 the head-title for each dance, and Le Roussau's collection for L'Abbe seems to have been inspired by Gaudrau's collection of Pecour's theatre dances. L'Abbe dedicated the collection to the King, presumably George I since it is generally agreed to date to about 1725.^^ 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 it incorporates illustrations of some of Harlequin's actions within the dance. Although far fewer notations were published in England than in France, many more people were involved in their production. There was virtually no regulation of their publication: although there was an English equivalent of the French 'privilege' system it was rarely used, and there is no indication that it was exercised on behalf of any dancing-masters. There was no copyright protection for engraved notations, so sharp practice and printing piracy occurred more than once.^^ The English preferred to publish dances singly rather than in collections, but a number of dancing-masters followed the French practice of annual publication. The presence of several important French dancing-masters in London doubtless affected English dancing - although the influence was not all one way. The English market for dance notations is less easy to define 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 is possible that the notations of the birthday dances were also sold more widely, as keepsakes. In England, judging by the advertisements in the newspapers and the commercial rivalry between publishers, dance notations were a lucrative line of business.

211 Uo/nme ct Femme prest afazre la premier Acverence av 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 manual of dancing appeared - Le maitre a danser by Pierre Rameau. This work complemented Feuillet's Choregraphie by explaining how many of the steps he had notated should be performed. It also returned to the earlier pattern of works on dancing by including discussions of deportment, correct etiquette in the ballroom, and a detailed verbal description 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 sought to revise Feuillet's work to produce a more consistent and easily-read notation for dances. Despite the reissue oi Abbrege de la nouvelle methode in about 1728, and again in about 1732, Rameau's notation was never successful and Beauchamp-Feuillet notation continued 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 seems to have engraved as well as drawn (fig. 2). He referred to the importance of the illustrations in his preface:

212 j'ai fait graver plusieurs Planches qui representent le Danseur en diverses positions: les preceptes qui 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 positions and movements better than a professional artist. The results are naive, if charming, and have been the source of much confusion and disagreement among modern scholars concerned with the reconstruction of early eighteenth-century dance technique. Where France led England continued to follow. The English dancing-master John Essex translated Rameau's manual within three years, calling his version The Dancing- Master (London, 1728). He included Rameau's preface, which praised the virtues of French dancing, dancing-masters and dancers, but added his own on behalf of the English - pointing out that 'Dancing here in England has been very much advanced within this twenty Years', and adding that 'our English Masters and Performers, ... bear an 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 doing them himself, with more professional results. Essex issued a second edition of The Dancing-Master in 1731, and reissued this with many new illustrations by George Bickham junior in about 1733.^^ Bickham subsequently plagiarized Essex's work to publish An Easy Introduction to Dancing (London, 1738).^^ Rameau issued a 'nouvelle edition' of Le maitre a danser in 1734, and what appears to be his final edition of the manual in 1748. John Essex reissued the 'second edition* of his translation of Rameau's manual in 1744, the year of his death. Essex's reissues of The Dancing-Master may well have been influenced by the impending 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 to point out that his was an original work owing nothing to either Rameau's manual or Essex's translation and had been in preparation as early as 1726.^^ Although his work inevitably covers many of the same topics as Le maitre a danser, it includes much material not found in the latter and is clearly an independent work. Like Rameau, Tomlinson preferred his own drawing skills to those of a professional artist, but he entrusted his illustrations to a number of the best engravers of the day. The result was a series of plates, each dedicated to a different pupil, which are among the most beautiful dance illustrations of the early eighteenth century (fig. 3). Unlike Rameau and Essex, Tomlinson published his manual by subscription; his list of subscribers includes many patrons 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 another for eight years covering not only the Abbrege de la nouvelle methode but also dances recorded in his revised notation. Essex and Tomlinson had to rely on the protection of the 1710 Copyright Act. Tomlinson published The Art of Dancing alone, but Rameau and Essex both took the more usual course of collaborating with printers and booksellers for the publication of their manuals. An examination of the first and second editions of

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

if - BrowniowLordBurleig'li MargaretSophia Cecil/^/cAifefec-f^^

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

214 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 of both works were originally printed than could be sold, and sales were encouraged by the usual expedient of reissue under a new title-page.^^ Manuals of dancing may not have been as popular with the public as their authors claimed, and certainly did not match the appeal of published dance notations.

COUNTRY DANCES IN BEAUCHAMP-FEUILLET NOTATION The popularity of English country dances in France encouraged Feuillet to devise a simplified 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 Recueil de contredances. Dezais followed this with a //. reciieil de contredances (Paris, 1712), which contained twenty-seven dances. Country dances were also included in some of the annual collections. The links with England are shown by the titles of some of the dances. For example, Feuillet's 1706 collection includes Le Carillon d'Oxfort, while Dezais's has Le Rigaudon d'Angleterre and Les Foiies d'Isac. Notwithstanding the well-established series of country-dance collections published by the Playford family and others, John Essex translated Feuillet's work into English and added his own collection of ten country dances (which included some of those notated by 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 dances and 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 of this work is part of the King's Library in the British Library and was at one time in the Princess's own library.^^ Unlike the first edition, which was duodecimo, this copy is handsomely printed in folio with the original small plates reprinted four to a page and full-sized plates for the new dances. It is likely that it was a presentation copy for Princess Caroline, 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 introduce notation for the publication of country dances ~ presumably because verbal descriptions were a popular and successful method for recording country dances. The only other work which used the simplified Beauchamp-Feuillet notation was Edmund Pemberton's An Essay for the Further Improvement of Dancing (London, 1711), since the simplified notation 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 were published 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.''^ The first 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 history of dancing from antiquity to his own day. He looked particularly at mime and pantomime among 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 discussed the elements of good dancing. He published a shortened, popular version of the treatise in 1728, under the title The History of the Mimes and Pantomimes. In 1721 Weaver made another important contribution to the literature of dancing, when he published Anatomical and Mechanical Lectures upon Dancing, in which he explored in great detail the physical basis of the art and gave 'Rules and Institutions for Dancing' which united his studies of anatomy and physiology with aesthetic precepts. Weaver was both a theorist and a practical man of the theatre, and put his theories on mime and dancing into 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 of Paris in 1733. He can fairly be described as one of the most important writers on dance during the eighteenth century. French treatises on dancing in this period were limited to Jacques Bonnet's Histoire generale 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 an History of Dancing - discussing dancing in the ancient world before describing and commenting on dancing in France in his own time. His work was predominantly moral and theoretical, lacking the practical concerns of Weaver's. Borin's work was derived from Rameau's Le maitre a danser, but in a much smaller compass and without illustrations.^^ 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 English in both the theory and practice of what John Weaver called ' dramatick entertainments of dancing'.

FRANCE, ENGLAND AND PUBLICATIONS ON DANCING From the detailed listing given in the Appendix below an interesting overall pattern of dance publishing in France and England between 1700 and 1750 emerges. From 1700 to 1705 the only works to appear were French: Feuillet's Choregraphie and its second edition were published in 1700 and 1701 respectively, and at least one collection and usually one single dance appeared each year (1700 and 1704 saw the publication of four and three single dances respectively, while in 1705 there were none). Between 1705 and 1725 no more dances were issued singly in France, but at least one collection appeared each year and in 1709 and 1713 there were as many as four, because of the reissue of the Feuillet and Pecour collections which had originally been published in 1700. No dances seem to have been published in 1708 or 1711 and none survive for 1721 or 1723. In England, once the two translations of Choregraphie had appeared in 1706 dance publishing quickly gathered pace. At least two or three dances were published singly almost 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 the publication of eight dances; this was the year when the rivalry between Walsh and Edmund Pemberton was at its height, and several other dancing-masters were also publishing. From the 1720s the number of dances appearing began to faU off, with at most one each year and none at all in 1726, 1730 and 1732. English collections, whether of court or theatre dances, appeared sporadically. In both countries manuals and treatises were published infrequently, and were subject to periodic reissue. By the 1730s dance publications of all sorts were rare, as the impetus provided in 1700 by the publication of Choregraphie lost its force. The bibliographical history of dance notations, the manuals of dancing and dance treatises is only just beginning to be studied in detail, and the social and political background to dancing and dance publishing in France and England between 1700 and 1750 is stiU to be explored. By 1750 the publication of new dances in Beauchamp-Feuillet notation 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 used in manuals published later in the century, and in its simplified form survived into the early 1800s, but virtuaUy no new dances were published and the old ones were seldom revived. Dancing and dance publishing in France and England changed in many respects during the second half of the century, establishing new patterns which have been equally overlooked and are as well worth investigating, but the phenomenal rate of publishing of the early eighteenth century was not repeated. The flood of works published between 1700 and 1750 form a unique resource which has to be the starting point for any serious study of dance in the eighteenth century.

APPENDIX

A CHRONOLOGICAL LIST OF WORKS ON DANCE PUBLISHED IN FRANCE AND ENGLAND I7OO - I75O Works for which there are copies in the British Library are indicated by BL followed by the pressmark in parentheses at the end of the entry. Details of those works not in the collections 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 de de'crire la dance par caracteres, figures et signes demonstratifs. Paris: chez Fauteur , et chez Michel Brunet, 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 nouvelle marie'e. Paris: chez le Sr. Feuillet. Ei chez Michel Brunei, 1700. PECOUR, Guillaume-Louis. Recueil de dances. Paris: chez rauieur, ei chez Michel Brunei, 1700.

1701 1701 FEUILLET, Raoul Auger. Choregraphie ou Tart de de'crire la dance par caracteres, figures et signes de'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 Michel Brunei, 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 de bal pour Tannee 1703. Paris: chez le Sieur Feuillei. Ei chez Michel Brunei., 1702.

1703 1703

FEUILLET, Raoul Auger. La Madalena. Pans: chez fauieur. Ei chez Michel Brunei, 1703. PECOUR, Guillaume-Louis. lime, reciieil de danses de bal pour Tannee 1704. Paris: chez le Sieur Feuillet. Et Michel Brunei, 1703.

1704 1704

[PECOUR, Guillaume-Louis. La babeth. Paris: chez le 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 meillieures entrees 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 danses de bal. Pour Tannee 1705. Paris: chez le Sr. Feiiillet, 1704.

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

1706 1706

FEUILLET, Raoul Auger. Recueil de contredances. FEUILLET, Raoul Auger. [Choregraphie. English]. Paris: chez fauteur, 1706. (BL: C119.a.5.; The art of dancing, demonstrated by characters Hirsch.1.172.) and figures; ...Done from the French... by P. VME. RECUEIL de danses de bal pour Tannee 1707. Siris. London: printed for the author [i.e. P. Siris, Paris: chez fauteur [i.e. Raoul Auger Feuillet, the the translator], and may be had of him, 1706. notator], 1706. (BL: d.64.n.) (BL: 797.dd.20.) FEUILLET, Raoul Auger. [Choregraphie. English]. Orchesography. Or, the art of dancing, by characters and demonstrative figures...an exact and just translation ... By John Weaver. London: printed by H. Meere, for the author [i.e. John Weaver, the translator], and are to be sold by P. Vaillant, 1706. (BL: 558*.c.39.) ISAAC, Mr. A collection of ball-dances perform'd at court. London: printed for the author [i.e. John Weaver, 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 in dancing,... by John Weaver. London: printed by H. Meere, for the author [i.e. John Weaver, the translator], and are to be sold by Isaac Vaillant, 1706.

1707 1707 VIME. RECUEIL de danses et de contredanses pour ISAAC, Mr. The union a new dance... 1707. [London, l'annee 1708, Paris: chez I'auteur [i.e. Raoul 1707]. Auger Feuillet, the notator], 1707. (BL; d.64.0.)

1708 1708

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

219 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 by I. 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. Et a Amsterdam, chez le Sieur Etienne Roger, 1708. (BL: K.5.C.10.)

1709 1709 FEUILLET, Raoul Auger. Choregraphie ou Tart de ISA,\c, Mr. The royal Portuguez... 1709. London: decrire la dance par caracteres, figures et signes printed for I. Walsh 6" P. Randall 5" /. Hare, demonstratifs. Paris: chez lauteur, et chez Michel [1709]. {BL: d.64.h.(i.)) Brunet, 1709. SIRIS, P. The brawl of Audenarde... new dance for FEUILLET, Raoul Auger. Recueil de dances. Paris: the year 1709. [London]: Sold by Mr. Siris. And chez Fauteur, 1709. I\ Walsh, [1709]. (BL: f5O2.r.) PECOUR, Guillaume-Louis. Recueil de dances. Paris: SIRIS, P. The Camilla. [London, 1709?] chez lauteur, 1709. VIIE. RECUEIL de dances pour l'annee 1709. Paris: chez Pauteur [i.e. Raoul Auger Feuillet, the notator], 1709. VIIIN4E. RECUEIL de danses pour l'annee 1710. Paris: chez fauteur [i.e. Raoul Auger Feuillet, the notator], 1709.

1710 1710 IX. RECUEIL de danses pour l'annee 1711. Paris: FEUILLET, Raoul Auger. [Recueil de contredances. chez le Sr Dezais, 1709 [1710]. English]. For the furthur [sic] improvement of dancing ... Translated from the French ... by John Essex. 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.?]

220 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, the notator], 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 1712 DEZAIS. II. recueil de nouvelles contredances mises ISAAC, Mr. The Britannia. [London]: Printed for I: en choregraphie. Paris: chez Pauteur, 1712. (BL: Walsh. & I: Hare, [1712?] (BL: h.993.(9.)) C.ii9.a.3.) ISAAC, Mr. The favorite. [London]: Printed for I: X. RECUEIL de danses pour l'annee 1712. Paris: chez Walsh. (^ I: Hare, [1712?] (BL: h.9Q3.(ii.)) le Sr. Dezais, 1712 ISAAC, Mr. The Gloucester. [London]: Printed for I : Walsh. & I: Hare, [1712.?] (BL: h,993.(i6.)) ISAAC, Mr. The Northumberland. [London]: Printed forl: 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.))

221 ISAAC, Mr. The union. [London]: Printed for I: Walsh. ©• /; Hare, [1712?] (BL: h.993.(8.)) SIRIS, P. The new Englich [sic] passepied... For the year 1712. [London]: Sold by Mr. Siris and I: Walsh, [1712]. (BL: f.5O2.s.) WEAVER, John. An essay towards an history of dancing. 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]: Printed d'ecrire la dance par caracteres, figures et signes for I: Walsh. And I: Hare, [1713]. (BL: demonstratifs. Pans: chez le Sr. Dezais, 1713 M93-(3-)) (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 dc dance de bal et celle de ballet. Paris: chez le Sieur Gaudrau 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.)) XIE. RECUEIL de danses pour Tannee 1713. Paris: chez le Sr. Dezais, 1713.

1714 1714

[XIIE. RECUEIL de danses pour l'annee 1714. Paris: ISAAC, Mr. The Godolphin... 1714. [London]: chez le Sr. Dezais, [1714]]^^ Printed for I: Walsh. And I: Hare, [1714]. (BL:

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

1715 1715 XIII RECUEIEL [sic] de danses pour l'annee 1715. [BALON, Claude. The silvea. London: Richard Paris: chez le Sr. Dezais, [1715]. Shirley, 1715?]'^ PECOUR, Guillaume-Louis. Danses nouuelles FEUILLET, Raoul Auger. [Recueil de contredances. presentees au Roy. Paris: chez Mr. Gaudrau, English]. For the further improvement of dancing ... translated from the French... With a collection of country dances, and a new French dance call'd the Princess's Passpied compos'd and writt in characters 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 year 1715. [London]: Printed for I: Walsh. And I: //«r^, [i7i5](BL:h.993.(i)) ISAAC, Mr. The morris a new dance for the year 1716. [London]: Writ by Mr Pemberton ^ sold by him, [1715]- (BL: h.8oi.c.(2.), imperfect.)'^ L'ABBE, Anthony. The Princess Royale a new dance

222 ... 1715. London: writ by Mr: Pemberton and sold by 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 new dance... 1715. [London]: To be had at Mr. Walsh's, or the author's lodgings, [1715].

I7I6 1716

XIIIIE. RECOEIL de danses pour Tannee 1716. Paris: L'ABBE, Anthony. The Princess Anna a new dance chez le Sr. Dezais, [1716]. ...1716 [London]: Writ by Mr: Pemberton and sold 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's lodgings; or at Mr. Walsh's, [1716].

1717 1717

XV. RECUEIL de danses pour I'annee 1717. Paris: L'ABBE, Anthony. The royal George a new dance ... chez le Sr. Dezais, [1717]. 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 ball dance,... 1717. [London]: To be had at the author's lodgings, or at Mr. Walsh's, [1717]].'^

1718 1718

RECUEIL de danses pour I'annee 1718. [Paris]: [ISAAC, Mr. The entree, a new dance... 1718. Dezais, [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 and sold by him, [1718]. (BL: h.8oi.b.(3.)) TOMLINSON, Kellom. The Prince Eugene, a new dance,... 1718. [London]: To be had at the author's, [1718].

1719 1719 BALON, Claude. XVIL recueil de danses pour I'annee LA CYBELLINE, a new dance for a girl. [London]: 1719. Paris: chez le Sr. Dezais, [1719]. Writtby Mr: Pemberton: and sold by [PECOUR, Guillaume-Louis. XVII recueil de dances (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 rigadoon compos'd for the year 1719. [London]: To be had only of the author.

1720 1720 BALON, Claude. XVIII. recueil de dances pour [ToMLlNSON, Kellom. The gavot a new dance l'annee 1720. Paris: chez le Sr. Dezais, 1720. compos'd for the year 1720. [London]: To be had PECOUR, Guillaume-Louis. IIII recueils de dances only of the author, [1720]].®^ nouvelles pour l'annee 1720. Paris: chez le Sr. ToMLiNSON, Kellom. Six dances... Being a col- Dezais, [1720]. lection of all the yearly dances,... from the year 1715 to the present year. [London]: To be had only of the author, [1720]. (BL: K.8.k.6.)

1721 1721

[XIX. RECUEIL de dances pour l'annee 1721. Paris: WEAVER, John. Anatomical and mechanical lectures Dezais, 1721].^' upon 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: and sold by him, [1721]. (BL: h.8oi.a.(3.), imperfect;

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

1722 1722 ^

XXE. ET VIE. RECUEIL de dances pour l'annee 1722. HOLT, William. Le rigadon renouvele. [London, Paris: chez le Sr. Dezais, [i]722. 1722.?] (BL: f5O2.t.) WEAVER, John. Orchesography or the art of dancing. The 2d. edition. London: printed for (^ sold by Ino. Walsh; £5" Ino. Hare, [1722?]

1723 1723 [XXL RECUEIL de dances pour l'annee 1723. Paris L'ABBE, Anthony. The new rigadon ... for the year Dezais, 1723. [London, 1723]. (BL: h.8oi.a.(4.)) L'ABBE, Anthony. The new-rigodon a dance for the year 1723. [London]: Writt by Mr Pemberton: and sold by him, [1723]- (BL: h.8oi.c.(9.)) [PECOUR, Guillaume-Louis."La royalle. London: sold by S. Bulkeley, ^^

224 1724 1724 BONNET. Histoire generate de la danse, sacree et L'ABBE, Anthony. The canary a new dance for the prophane. Paris: chez d'Houry fits, 1724. (BL: year 1724. [London]: Writt by Mr Pemberton: and 1042.d.47.) sold by him, [1724]. (BL: h.8oi.c.(8.)) PECOUR, Guillaume-Louis. XXII recueil de dances pour l'annee 1724. Paris: chez le Sr. Dezais, 1724. (BL: d.64.p.)

1725 1725 [XXIII RECUEIL de dances pour l'annee 1725. Paris: L'ABBE, Anthony. A new collection of dances. chez le Sr Dezais, [1725]].^^ [London]: To be sold at Mr. Barreau's; and at Mr. RA?VIEAU, Pierre. Abbrege de la nouvelle methode. Roussau's, [1725?] (BL: K.ii.c.5.) Paris: chez Pauteur I. Villette jfacque Josse le Sr. L'ABBE, Anthony. Prince-Frederick. A new dance Boivin le Sr. Des-Hayes, [1725]. (BL; C.3i.g.7.) for the year 1725. [London]: Writt by Mr RAMEAU, Pierre. Le maitre a danser. Pans: chez Pemberton: and sold by him, [1725]. (BL: Jean Villette, 1725. (BL: 1042.I.21.) 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 the dancing masters in England at Mr: Siris's house, [1725]. (BL: f.5O2.w.)

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

1728 1728

RAMEAU, Pierre. Abbrege de la nouvelle methode. RAMEAU, Pierre. [Le maitre a danser. English]. The Paris: chez Fauteur le Sr. Boivin. Le Sr. Le Clerc, dancing-master ... Done from the French ... by J. [1728?] Essex. London: printed, and sold by him [i.e. J. Essex]; and J. Brotherton, 1728. WEAVER, John. The history of the mimes and pantomimes. London: printed for J. Roberts, and A. 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 sold by 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 for a girl. [London]: Writt by Air: Pemberton: and sold by htm, [1729.?] (BL: h.8oi.c.(3.))

225 1730 1730 WEAVER, John. Orchesography or the art of dancing. The 2d [sic] edition. London: primed for, & sold by Ino. Walsh, [1730?]

1731 1731 RAMEAU, Pierre. [Le maitre a danser. English]. The dancing-master... Done from the French... by J. Essex. The second edition. London: primed, and sold 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 Mr Pemberion: and sold by him, [1731]. {BL: h.8oi.(3.))

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

1733 1733 L'ABBE, Anthony. The Prince of Orange a new dance, for the year 1733. [London]: Wriit by Mr Pemberion: 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, and sold by him [i.e. J. Essex]; andj. Broiherion, 1731

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

173s 1735 TOMLINSON, Kellom. The art of dancing. London: prinied for ihe auihor, 1735. (BL: K.8.k.7.)

1738 1738 BiCKHAM, George. An easy introduction to dancing. London: prinied for T. Cooper and sold by ihe Musick'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]. The dancing-master: ...Done from the French... by J. Essex. The second edition. London: printed and sold by him [i.e. J. Essex]; andj. Brotherton, 1744. ToMLiNSON, Kellom. The art of dancing. The second edition. London: printed for the author, 1744-

1746 1746 BORIN. L'art de la danse. Paris: Jean Baptiste Christophe Ballard,

1748 1748 RAMEAU, Pierre. Le maitre a danser. Paris: Rollin Fils, 1748.71

No works on dancing were published in 1749 or 1750.

1 'The Art of Dancing, Demonstrated by Feuillet's own time the style and technique of Characters and Figures' are the opening words the dances recorded was well known; in the of the title of the translation by P. Siris of Raoul twentieth century it must be reconstructed with Auger Feuillet's Choregraphie ou Fart de de'crire the help of other sources, such as contemporary la dance par caracteres (London, 1706). dance manuals and illustrations. See Wendy 2 Information on the life and career of Pierre Hilton, Dance of Court and Theater: the French Beauchamp (1631 .^-1719.^} can be found in Noble Style, i6go-ij2s (London, 1981). Regine Kunzle, 'Pierre Beauchamp: the Illus- 6 Country dancing, except for the collections of trious Unknown Choreographer', Dance Scope, dances recorded in a modified form of viii (1974), PP- 32-42, and ix (1974/5), PP- Beauchamp-Feuillet notation, is excluded from 30-45- consideration. 3 The British Library copy is £.626.(7.). 7 The publication of the annual collections in 4 Isaac seems to have gone to France in 1684; a France is summarized by Ingrid Brainard in visit by a dancing-master named Isaac was 'New Dances for the Ball', Early Music, xiv recorded by the Marquis de Dangeau in his (1986), pp. 164-73; fo^ the English publications journal for that year. In 1685, the French see Carol Marsh, ' French Court Dance in dancing-master Andre Lorin journeyed to England, 1706-1740: a Study of the Sources', London to learn country dances. See Jean- Ph.D. Dissertation, City University of New Michel Guilcher, La Contredanse et les York, 1985. renouvellements de la danse franfaise (Paris, 1969), 8 BL copies: // Ballarino (64.d.i7.; C.iO7.d.2.; p. 16. 558*.c. 17. (imperfect) and Hirsch.1.100.); 5 Many of the notated dances have been recon- Nobiltd di Dame, revised edn., Venice, 1605 structed for performance in recent years: in (C.77.d.i2. and Hirsch.Lroi.), and Rome, 1630

227 (556-f.2.(i.)); Le Gratie d'Amore, Milan, 1602 21 The end of his partnership with Brunet was (K.7.e.9.) and Milan, 1604 (785.m.8.; 62.h.i8., signalled in 1702 with VAllemande, which and Hirsch.1.429.). Feuillet also published alone. 9 BL copies: C.3i.b.3.; Hirsch.L569., and 22 The life and career of Guillaume-Louis Pecour C.3i.b.3o. (imperfect). (1653-1729) are documented in Jerome de la 10 BL copies: C.33.1.3., and Hirsch.in.629. The Gorce, 'Guillaume-Louis Pecour: a Biographi- libretti of opera-ballets and ballets published cal Essay', Dance Research, viii, no. 2 (Autumn between 1700 and 1750 are not included in the 1990), pp. 3-26. present study. 23 120 notations of dances by Pecour survive, many 11 The dancing-master Pierre Rameau describes more than for any other choreographer of the the positions in detail in Le maitre a danser period. (Paris, 1725), making clear that they differed 24 The *Avertissement' included with the ninth little from those used in ballet today. On p. 9 he collection states that Feuillet had left his works wrote ' Ces positions ont ete mises au jour par les and his 'privilege' to 'S. Dezais Maistre de soins de feu Monsieur de Beauchamp, qui s'etoit Danse, lun de ses Eleves'. forme une idee de donner un arangement [sic] 25 Claude Balon (referred to in most encyclopedias necessaire a cet Art.' as 'Jean') is now better known as a dancer than 12 The BL has a copy of De Lauze (557*.d.io.) but as a choreographer. Unfortunately there is no not of the work by Esquivel Navarro. authoritative study of his life and career. 13 BL copies: De Pure, 840.a.6.; Menestrier, 26 The twelfth collection of 1714 and the sixteenth 840.c.7. of 1718 are known only from manuscript copies, 14 A photocopy of Bray's collection, taken from the but were presumably available in printed form. original in the Vaughan Wilhams Memorial 27 At the end of the preface to the collection is an Library, Enghsh Folk Dance and Song Society, 'Extraix [sic] du Priuillege' giving Pecour the is BL, a.9.00. right 'de faire grauer ou imprimer touttes les 15 The printing and publication history of Feuillet's danses de sa composition et meme celles qui sont Ghoregraphie and its associated collections of dans les deux liures du feu sieur feuillet' for a dances is explored in Meredith Ellis Little and period of twelve years. The extract confirms that Carol G. Marsh, La Danse Noble: an Inventory Pecour transferred his 'priuillege' to Gaudrau in of Dances and Sources (Williamstown, Penn., 1712. The publication date of Gaudrau's col- 1992), p. 91. lection is discussed in Little and Marsh, op. cit. 16 The BL copy of the 1701 edition of Choregraphie (n. 15 above), p. 112. is described as 'Seconde edition, augmentee', 28 The 'deux liures' referred to in the 'Extraix du and bound with copies of the two collections Priuillege' are presumably Feuillet's collections dated 1700; the 1713 edition has no edition of dances by Pecour published in 1700 and 1704. statement and is bound with copies of the two 29 It has been suggested that the difference in collections dated 1709. The reissue of notated complexity is due to the fact that Gaudrau was dances from the original engraved plates is a recording a later repertoire, but it seems more feature of their publication, particularly in likely that Feuillet simplified the theatre dances England. It is often diflticuit, if not impossible, to in the 1704 collection for use by a wider audience. distinguish between editions and issues, unless 30 Little and Marsh, op. cit., p. 112. new title-pages have been provided by the 31 The only known copy of the twenty-third publisher. collection is in private hands; the present author 17 The ' privilege' is printed among the preliminary was able to examine it by kind permission of the pages of Ghoregraphie (Paris, 1700). current owner. Its existence was previously 18 Pierre Rameau, Le maitre a danser (Paris, 1725), attested by an entry in Catalogue no. 153 of the PP- 49-54- antiquarian bookseller I. K. Fletcher, 1952. See 19 The Vile, recueil de dances pour Pannee ijog Little and Marsh, op. cit., p. 122. (Paris, 1709), containing dances by Pecour and 32 The Due d'Orleans seems to have been a patron Feuillet, is dedicated to the Duchesse. Pecour of dancing, for Feuillet had dedicated the 1704 was her dancing-master. collection of theatre dances to him. 20 See Appendix. 33 The relationship between the two translations. 228 and the rivalry between the dancing-masters life or career, and very little is known about him. concerned, has been discussed by Jennifer 38 The description comes from the title-page for Thorp, 'P. Siris: an Early Eighteenth-Century the dance. The Saliarella was performed at the Dancing-Master', Dance Research, x, no. 2 Drury Lane Theatre on 21 February 1708 by {Autumn 1992), pp. 73-6. Delagarde and Hester Santlow. Emmet L. 34 A copy of The Union in Glasgow University Avery, op. cit., p. 166. Library is bound with a dedication from John 39 Walsh's catalogue 18, c. 1730, advertises '20 Weaver to Mr Isaac, in which Weaver says 'I books of Figure Dances by Mr. Issacc [sic]' - shall speedily give the World...a Treatise of presumably reissues of the dances he had Dancing; as also an Explanation of this Art, with originally published between 1708 and 1715. a Collection of all the Dances perform'd at the William C. Smith and Charles Humphries, A Balls at Court', clearly meaning Orchesography Bibliography of ihe Musical Works Published by (published in April 1706) and the collection of ihe Firm of John Walsh During ihe Years six dances. The dedication does not belong with ij2i-ij66 {London, 1968), p. 117 {no. 531). The Union (published in 1707), and seems likely 40 L'Abbe's career is summarized by Carol Marsh to have been issued with another notated dance in her introduction to Anthony L'Abbe, A New which predates the publications it refers to, since Colleciion of Dances (London, 1991), a facsimile Weaver refers to 'this first Fruit of my Labours'. reprint of the collection pubhshed in about 1725. One candidate might be The Briiannia which, 41 Pemberton published Isaac's last known dances, although it was included among the six dances The Morris {1716) and The Eniree (1718). published in 1706, is in a very different engraving 42 Pemberton's life and career, and his published style from the others. output, are discussed in Moira Goff, 'Edmund 35 The Union was danced at the Drury Lane Pemberton, Dancing-Master and Publisher', Theatre on 8 March 1707, by Desbarques and Dance Research, ix, no. i (Spring 1993), pp. Hester Santlow. It was described in the advertise- 52-81. ments as being 'as 'twas perform'd before her 43 An account of Siris's life and career is given by Majesty at St. James's' by the same two dancers. Jennifer Thorp, 'P. Siris: an Early Eighteenth- The dance was popular enough to be repeated on Century Dancing-Master', pp. 71-92. 3 April. Emmet L. Avery (ed.). The London 44 Six more of Tomlinson's dances, choreographed Siage 1660-1800. Pan 2: iyoo-ij2g for the theatre but apparently never published, (Carbondale, III., i960), p. 145. survive in a manuscript now in New Zealand; 36 In his translation of Rameau's Le maiire a danser see Kellom Tomlinson, A Work Book, ed. {London, 1728), John Essex uses the description Jennifer Shennan (Stuyvesant, N. Y., 1992). of a ball at the time of Louis XIV without 45 La Royalle was first published in Novueau reciieil alteration - perhaps an indication that the cer- de dance de bal ei celle de ballei {Paris, [1713?]). emonial of a grand royal ball under the first 46 A number of the English dances contain Hanoverian kings was not entirely dissimilar dedications to members of the royal family, from that at Versailles. For an account of the notably L'Abbe's ball dances of 1715 and 1716 dances published in Beauchamp-Feuillet no- which are dedicated to Anne, the Princess Royal. tation in England see Moira Goff and Jennifer It was also quite common for English dances to Thorp, 'Dance Notations Published in England be dedicated to another dancing-master; for C.1700-1740 and related Manuscript Material', example, Kellom Tomlinson dedicated The Dance Research, ix, no. 2 {1991), pp. 32-50. Passepied Round 0 to his teacher Thomas Information about the English notations in the Caverley. present article is derived from the ongoing 47 The only surviving printed copy of A Chacoon bibhographical study described there. for a Harlequin is in the British Library. The 37 Pierre Rameau, The Dancing-Masier... Done from dance also exists in a manuscript version, along ihe French...by J. Essex (London, 1728), p. xi. with eight other dances notated by Le Roussau, Essex wrote that Isaac 'first gained the Character in Edinburgh University Library. and afterwards supported that reputation of 48 The Copyright Act of 1710 had regulated being the prime Master in England for forty letterpress publishing following the lapse of the Years together'. There is no account of Isaac's Printing Act in 1695. The exclusion of

229 engravings was partially rectified by the En- Kellom Tomlinson's The Art of Dancing is a graving Copyright Act of 1735, but music (and reissue of the 1735 edition, with a cancel title- thus dance notations) had to wait until 1777 for page, and it is possible that it was again reissued an act curbing unauthorized publication. as late as 1754; see Little and Marsh, op. cit., pp. 49 Although on p. 270 of Z,^ maitre a danser Pierre 127-8. Rameau promised 'je donnerai incessamment un 57 This edition seems to have been reissued at an autre Traite qui enseignera la maniere de faire unknown date, for a comparison of the BL's tous les differens pas de Balets', i.e. a companion copy with one owned by the National Trust work on dancing for the theatre, it seems never reveals alterations to the dedication in the latter. to have appeared. I am indebted to Yvonne Lewis of the National 50 Rameau's failure can probably be attributed Trust for allowing me to examine this copy. both to the wide dissemination of dances in 58 A catalogue of Queen Caroline's library lists a Beauchamp-Feuillet notation during the pre- copy of this edition among the books on ceding twenty-five years and to the cessation of 'Musick'; Add. MS. 11511, f. 203. the publication of new dances. In the 1725 59 John Weaver is one of the very few dancers or edition of Abbrege de la nouvelle methode Rameau dancing-masters of this period who has been the included his own notated versions of twelve subject of a modern scholarly work: Richard dances by Pecour, all of which had previously Ralph, The Life and Works of John Weaver been published in Beauchamp-Feuillet notation. (London, 1985). The reissues of Abbrege de la nouvelle methode are 60 Borin's treatise was not readily available for discussed in Little and Marsh, op. cit., p. 124. consultation. Information about its contents has 51 Pierre Rameau, Le maitre a danser, p. vii. been taken from Judith L. Schwartz and 52 The editions and issues of The Dancing-Master Christena L. Schlundt, French Court Dance and are discussed by Carol Marsh in 'French Court Dance Music: a Guide to Primary Source Writings Dance in England, 1706-1740: a Study of the i643-i78g (Stuyvesant, N.Y., 1987), p. 19. Sources', pp. 79-110. 61 Survives only in manuscript but was presumably 53 See Moira Goff, 'George Bickham Junior and also printed. Little and Marsh, op. cit., p. 91. the Art of Dancing', Factotum, no. xxxvi (Feb. 62 Survives only as part of Illme. recUeil de danses I993)> PP- 14-18. de bal (Paris, 1704), but its pagination and the 54 'I advertised this Work of mine the first Time, as presence of an individual title-page suggest that ready for the Press, ... in Bertngton^s Evening it was also issued separately. Ibid., p. 97. Post, Oct. 1$, IJ26, and again in the same Paper 63 See n. i. Oct. 22.', Kellom Tomlinson, The Art of 64 Survives only in manuscript but was presumably Dancing, p. [3] of the preface. also printed. Little and Marsh, op. cit., p. 113. 55 Publication by subscription was rare in France 65 Survives only in manuscript but was presumably before the late eighteenth century; none of the also printed. Ibid., p. 118. surviving French dance notations, manuals or 66 Survives only in manuscript but was presumably treatises were so published. Six works on dancing also printed. Ibid., p. 119. were published by subscription in England 67 No copy survives, and there is no evidence during the period. The other five were John (except for the gap in the numbering of the Weaver, Orchesography (London, 1706), A Col- annual collections) that it was ever published. lection of Ball-Dances Performed at Court 68 Ibid. (London, 1706), and Anatomical and Mechanical 69 Survives only in manuscript but was presumably Lectures upon Dancing (London, 1721); Edmund also printed. Little and Marsh, op. cit., p. 122. Pemberton, An Essay for the Further Improve- 70 It was not possible to consult a copy of this ment of Dancing (London, 1711); Anthony work; bibliographical details have been taken L'Abbe, A New Collection of Dances (London, from Judith L. Schwartz and Christena L. [1725?])- Schlundt, French Court Dance and Dance Music, 56 It has not been possible to consult copies of the p. 19. 1748 edition of Le maitre a danser and the 1744 71 It was not possible to consult a copy of this edition of The Dancing-Master, to see if their work; bibliographical details have been taken texts have been re-set. The 1744 edition of from ibid., p. 65. 230 72 Lacks the title-page and other preliminaries but the inclusion of a separate title-page indicates which would identify it, so all sources refer to it that the dance was also issued singly. Little and as a set of the individually issued dances. Marsh, op. cit, p. 116. However, the imposition pattern and the water- 79 Advertised in The Evening Posi, 15-17 July marks in the paper match those of the copy now 1718. in the Theatre Collection, Harvard University 80 Advertised in The Evening Posi, 31 Oct. 1719. Library, and the imposition pattern is the same 81 The only known copies of this dance form part as the copy now in the Library of Congress, of the collection of six dances published in 1720, which indicates that it is a mutilated copy of but the inclusion of a separate title-page indicates Isaac's A Collection of Ball-dances (London, that it was also issued singly. Little and Marsh, 1706). op. cit., pp. 118-19. 73 Unless indicated otherwise, uncertain dates are 82 The only known copies of this dance form part taken from Little and Marsh, op. cit. of the collection of six dances published in 1720, 74 Advertised in The Posi Man, 10 Feb. 1711. but the inclusion of a separate title-page indi- 75 Aimable vanqueur and The Silvea were zdvevtiscd cates that is was also issued singly. Ibid., p. 119. in The Brtiish Weekly Mercury, 5—12 Mar. 1715. 8;^ No copy of this dance survives, but it is referred 76 The Morris was advertised in The Evening Posi of to in Kellom Tomlinson, The An of Dancing 29 Nov. 1715 for publication on 2 Dec. 1715. (London, 1735), preface, p. [5]. 77 Advertised in The Posi Man of 29 Jan. 1715. 84 Advertised in The Evening Post, 14-16 Feb. 78 The only known copies of this dance form part 1723- of the collection of six dances published in 1720,

231