Circassia is (or was) a region on the northeastern shore of the Black Sea.

In Baltimore in 1820 George Willig Jr. published a dance called "The Circassian" in a pamphlet called Admired Cotillions (in the US the distinction between Quadrilles and Cotillions was often lost, and I think this is actually one set of a quadrille. It isn't in a circle and it is not progressive.

Forward two cross over. Chasse. cross. to place. Balance and turn partner. Ladies Chain. promenade and half right and left to place.

The figure for this dance is said to come from Le Pantalon in Payne's 1st Set of Quadrilles. The first 24 bars match and the last 8 have been changed to make the dance progressive. The idea of dancing in a circle, and the name "Circassian" come from G.M.S. Chivers.

In 1822 in his book The Modern Dancing Master, G.M.S. Chivers introduces a style of dancing he calls "Circassian Circle". He then publishes four dances to be done in this style, none of which is called "Circassian Circle" itself.

Chivers's version is different from the modern way of dancing. At the time, in longways sets, only the top two couples would start dancing, in this circle dance only the two couples closest to the music would start, they would pass each other, and then each would dance with the next couple in their direction of motion. And so on.

Any number of persons can join in the Dance, observing that there is an even number of couples; the odd numbers stand on one side, and the even numbers on the other, forming a circle, thus:

The 1st and 2nd couples face each other, who perform the Figure and exchange places: then the 1st and 4th couples, and at the same time, the 2nd and 3rd couples do the same, and so continued all round. Each Dance terminates when all have been through it.

Each lady to stand on the right of her partner throughout the Dance. All the odd numbers face the same as No. 1, and the even numbers face the same as No. 2.

— The Bodleian Libraries, University of Oxford, Harding Mus F 346

Note this is simply a general description of how to dance in a circle. It is followed by four figures for this format. the one which most closely matches the modern version is called "La Daphne":

Right and left set and turn partners ladies chain half pousette into each others place, and turn partners under the arm

— The Bodleian Libraries, University of Oxford, Harding Mus F 346

The next version I can find is Lowes' Ball-Conductor and Assembly Guide (Edinbourgh, ~1831) where they write:

The Circassian Circle

Is a circular Country Dance, for which the party is arranged, as for Quadrilles, across the room; the four at the top commence first, and change sides at the end of the figures, they continue to repeat them with all the couples down the opposite sides of the room, crossing over at the bottom, and continuing till they arrive at their original places; all the other couples must also continue, after they commence, till they make the circuit of the room; and when all have regained their places, the dance is finished

First Circassian Circle

Ladies chain, set and turn partners, right and left, hands four half round, and turn partners, changing places.

I think the Lowes are describing a hall full of two couple quadrille sets (that is improper duple minor lines), lined up along each side wall of a building. As with Chivers, and in keeping with the staggered start in use for country dances at the time, only one set start dancing, the one at the top, they pass each other, and one moves down the right wall, and one down the left, as they move down the lines the dancers behind them will also start, then when they reach the bottom instead of becoming 2s and working their way up, the cross over to the other line, and work their way up. When they reach the top of the other line they stop and wait until everyone else has reached their original position.

In ~1842 Tilt & Bogue published The Ball-Room Preceptor (Third Edition) containing a description of the Circassian Circle very like Chivers's. Only two couples dance at the start, and no specific figure is provided. (In ~1844 Coulon (London), in 1848 George Appleton, Philadelphia, and in ~1850 Kent & Co., Nottingham copy their description word for word)

The next version I've found is Wilson, 1852.

Wilson writes:

Couples vis-a-vis; form a circle round the room; figure, right and left or hands across; set and turn partners; ladies chain; waltz pass on to next couple; repeat.

Wilson defines "Right and Left" on page 15 of The Art of Dancing and it involves no hand clasps.

Sometime between 1850 and 1853 in Lowe's Selection of Popular Country Dances:

Any number of Couples can join in this Dance, the Couples arranging themselves along each side of the room, (the Ladies standing on the right of their partners) and all facing the top of the room, except the first Couples who face each other across the dance.

FIGURE

Ladies chain by top couples. (8 Bars) Balancez and turn partners. (8 bars) Right and left. (8 bars) Hands four half round, then turn parners and face the next couples on the sides of the dance (8 Bars) This figure is repeated with every couple, all down the sides of the dance across the bottom, and up the other sides to places, every couple after they commence keep going on till all have regained their own places.

Courtesy of National Library of Scotland, licensed under:

Joseph Lowe is still recommending the old style progression where only the top couples start. But he now calls this dance "Circassian Circle" rather than one of several dances in that style.

In 1897 in D. Anderson's Ball-Room and Solo Dance Guide, (Dundee)

The couples stand in a circle round the room, two and two, couples facing each other, and backs to other couples. Gentlement have partners always on right hand.

Rights and lefts to places.

Set and turn partners.

Ladies' chain.

Pousette into opposite places.

Repeat figure with next couple round the room.

Courtesy of National Library of Scotland, licensed under:

Given the way he sets up the dance, Anderson must have everyone starting at once.

Note that in Le Pantalon of Payne's 1st Set of Quadrilles the four bars of setting to partner (which come after the rights and lefts) are two different setting steps: Balancé and Sissone Balotté Jetté and Assemblé. The first is an advance and retire movement (toward and away from partner) and the second a side to side movement (to the right, and back to the left).

In 1790 Longman & Broderip published a dance named Duke of Perth's Reel, but it has a different figure.

Rutherford published a dance named "Keep the Country, Bonny Lassie" in 1775, but with a different figure.

Pease Straw has an even longer history with Johnson publishing a dance of that name in 1744, but again with a different figure.

According to the Fletts (Traditional Dancing in Scotland, 1964, p. 247) William Boag was the first to publish this figure under the title "Keep the Country, Bonny Lassie".

First Cu Swing the Right hand and cast off one Cu: Swing the Left hand round Swing the Corners and your Partner each time Set Corners and turn lead outsides.

The Fletts also quote the Blantyre MS. (~1805), titled "Duke of Perth":

Hook right hand with partner — turn round — throw off a couple. Hook with partner with left turn round downmost Ladies with right partner with left uppermost Lady with right partner with left twice round, Sett cross p^r reels.

The (R)SCDS claims this dance comes from J. P. Boulogne's The Ball-Room, or the Juvenile Pupil's Assistant; Containing the Most Fashionable Quadrilles, with Les Lanciers of Sixteen, As Danced in the Public & Private Assemblies in Paris, Glasgow, 1827, titled "Duke of Perth" or "Keep the Country, Bonnie Lassie".

1. The first couple turn by the right hand and pass one couple, they turn left hands, the lady turns the second gentleman, and the gentleman the third lady; the first couple turn again with the left hand, the gentleman the second lady, and the lady the third gentleman, they turn half round. (16)
2. Set at corners and turn. (8)
3. Reel of three. (8)

Kate Hughes (in Ireland) recorded a slightly different version in 1867:

1. The top couple turn by the right hand and pass one couple turn with the left hand
2. The lady turns the seceaond gent and the top gent turn the seceaond ladie
3. The first couple turn agin with the left hand
   The gent turns the seceaond ladie and the top ladie turns third gent
4. Set to corners and turn
5. Reell of three

J. F. Wallace, in ~1872, published:

1. The first couple turn by the right hand and pass one couple; they turn with left hand, the lady turns the second gentleman, and the gentleman the third lady. The first couple turn again with the left hand, the gentleman the second lady, and the lady the third gentleman, turn half round, (16)
2. Set at corners and turn, (8)
3. Reel of three, (8)

D. Anderson, 1897 published something almost word for word from Wallace:

1. The first couple turn by the right hand and pass one couple; they turn with left hands, the lady turns the second gentleman, and the gentleman the third lady. The first couple turn again with the left hand, the gentleman the second lady, and the lady the third gentleman—turn half round. (16)
2. Set at corners and turn. (8)
3. Reel of three. (8)

Note that by Blantyre's time the "lead out sides" has become a reel.

In 1781 Longman & Broderip published a dance with this name but a different figure. Book 1 attributes this to Nathaniel Gow, but I have been unable to find any choreographies published by him (though lots of music). The earliest source I can find is from the Lowes who write:

Down the middle, and up again; reel three and three across the dance, the Lady with the first couple, and the Gentleman with the second; set and turn corners; then set, and turn partners.

The earliest source I can find is Wilcock, 1868, who writes (on page 73):

1. First lady passes behind the second and third ladies, crosses between the third and fourth ladies to the gentleman's side, passes behind the second and third gentlemen to the first gentleman's place, and set. The first gentleman follows the lady, but leads up the centre.
2. The first gentleman repeats the above, the lady following and set.
3. Lead down the middle and up again.
4. Pousette

The RSCDS's choreography is the same as Wilcock's except for the standard problem that the RSCDS poussette is progressive and no one else's is (and lead down the middle and up is progressive to Wilcock but not to the RSCDS).

Also in Kate Hughes's manuscript, Dancing Book, Ireland, 1867.

The tune is a traditional Scottish one. It was synthesized using Colin Hume's software.

Longman & Broderip, and Preston both published dances with this name but their figures do not match.

In Scottish Country Dances, Books 1-6 the RSCDS published a facsimily of the Boulogne's original:

1. The first couple turn right hands and cast off, turn left hands and cast off, (8)
2. Lead down the middle and up again, (8)
3. Set at corners and reel, (16)

Wilcock's figure appears to match, but the scan I have is missing half the dance.

In The Excelsior Manual of Dancing, Glasgow, ~1872 Wallace writes:

1. The first couple turn with right hands and cast off, turn with left hands and cast off, (8 bars)
2. Down the middle and up again, (8 bars)
3. Set at corners and reel, (16 bars)

Also found in Kate Hughes's manuscript, Dancing Book, Ireland, 1867.

1. The top couple turn with rights and cast of a couple turn with left hands (8 bars)
2. Lead down the centre up (8)
3. Set at corners and reell (16)

RSCDS Book 2 says "Walsh's Caledonian Country Dances 1748-1760.

The crib diagram says this comes from Walsh, 1760.

Both Walsh and Jackson published collections entitled Caledonian Country Dances around this time, but I can't find anything by either from 1760. The collections I can search do not contain a dance with this name.

The RSCDS says this dance was "Collected in the town of Lanark", and also states it is found in A Companion to the Reticule, published, London, ~1840 (for young Ladies and Gentlemen, whose birth, connexions, or society, can lay claim to any district NORTH of the TWEED. While the Companion claims this was danced all over Scotland prior to the year 1815.

The SCDDB says the dance was devised by Walsh in 1754, and Book 2 says the dance was published in Walsh's Caledonian Country Dances 1748-1760. As far as I can tell Walsh did not publish a dance called "The Bumpkin", but he did publish "The Country Bumkin" in ~1750, but the figure is nothing like this one.

Walsh writes:

Two Cu. fall back•foot it and change over the like again cross over twice to below lead to the top•foot it and cast off•

However, William Campbell did publish The Country Bumpkin in his 14th Book (~1799), and he writes:

Six Ladies and 3 Gentlemen in 3 Lines — the middle Gentleman dances with his Hat on — all nine foot up the Room to the top in 3 Lines and turn and foot back again to their places — then the Gentleman in the middle sets to the Lady at the right hand corner, turn her the set to the Lady on the left hand corner and turn her and Hey:— the other two Gentlemen do the same with their corners and Hey at the same time then fall back to their places and foot up the Room as Before and then down again then the Gentleman in the middle foots to the other right hand corner turn round and Hey the other two Gentlemen do the same with their other corner and turn round and hey all at the same time then fall back to their places foot up as before and back again then the three Gentlemen foot to the three Ladies on their right hand turn then to the three Ladies on their Left turn and all Hey then foot up as before and back again then the middle line set to the bottom line turn round and set to the top line then turn round and all Hey up and down the room the Gentleman in the bottom line takes the Hat off the Gentleman of the middle line then falls into the middle line with his two Ladies repeats all the Figure over again the Gentleman of the top line then takes the Hat off the Gentleman of the middle line and with his two Ladies falls in the middle line and repeats all the figure over again — then finish with a threesom Reel across the Room.

Is Campbell making a distinction between "heys" (in the first parts of the dance) and "reels" in the last line, or is he just careless?

As written in the Companion to the Reticule:

4	3	8
9	5	1
2	7	6

This favourite SCOTCH DANCE is performed by six Ladies and three Gentlemen, arranged as the annexed figure, with their backs near the extremity of the room. The centre Gentleman (King), wearing a hat is represented by the figure 5, and the other two by 3 and 7, while the six outside figures represent the Ladies; and it may be remarked, that by adding these figures up or down, across or by the corners, the result will always amount to FIFTEEN.

It is necessary to premise, that the figure of the BUMPKIN consists of three separate parts, viz.,

THE (DANCING) PROMENADE, THE SETTING, AND THE REELING;

that the Bumpkin tunes consist also of three Parts, and that each of these must be played TWICE over. When the "Old Country Bumpkin" (p. 30) begins, the whole nine promenade to the further end of the room, the Gentlemen holding each of their partners by the hand;— they then all turn round by the right, join hands again, and return promenading to their starting place during the first part of the tune. While the second part is played, 5 sets to and turns 8 & 2 — 3 do 4 & 9 — 7 do 6 & 1; and so soon as the third part begins 3, 5, 7 reel with those they had set , and then return to their places as before. The tune is now begun for the third time, and the whole start again, turn and return as formerly, during the first part • When the second part begins, 5 sets to 9 & 1 — 3 do to 8 & 4 — 7 do to 6 & 2 and the gentlemen (3 5 7) now reel with their own partners during the third part of the tune, and return to their original places as before. The same tune being begun a fourth time, 5 sets to 3 & 7 — 9 do. to 2 & 4 — 1 do. 6 & 8 and after reeling during the third part, 4, 3, 8, exchange places with 9, 5, 1; and 3 (now King) taking the Hat, the Bumpkin is now danced over again in the very same manner to the tune of "Ailsey Marley" (p.30). Upon 4, 3, 8 then exchanging places with 2, 7, 6, and 7 (now King) taking the Hat, the Dance is repeated to the tune of the "New Bumpkin," (p.30), and carried on as formerly to where the second part of the Old Bumpkin tune has begun for the third time, viz., at this mark • 5 now sets to 9 — 3 do. to 4, — 7 do. to 2; and at that moment there additional Gentlemen join the Dance by setting to the unoccupied Ladies, 8, 1, 6, the music omitting the third part of the tune, and changing to the common time reel of Tullochgorum, which is played three times over; and thus concludes the BUMPKIN, as danced all over Scotland prior to the year 1815.

D. Anderson's Ball-Room and Solo Dance Guide, Dundee, ~1900 calls it simply "The Reel of Nine":

This Dance is done with either a majority of ladies or gentlemen, but ladies are more suitable.

Stand in three lines of three, each gentleman facing down the hall between two ladies; Reel of three across (i.e. each gentleman with his two partners) finishing in places — This occupies 8 bars.

All set and turn both partners, one after the other — other 8 bars.

Reel of three at corners, at same time the other three at the corners go hands round to left and back to right — other 8 bars.

All set and turn both partners, one after the other — other 8 bars.

These movements are repeated round the whole square, occupying 96 bars.

All join hands and go round to left, with the exception of the gentleman between the middle three (or where the gentlemen form a majority, the lady between the middle three) who sets to the others as they go round to the left.

The SCDDB says that the reels are left shoulder reels, though I can find no indication of this in RSCDS Book 2, nor in any of the original sources.

Campbell's 15th book does contain a dance with this name, but I have been unable to find more than a table of contents and can't verify the choreography.

My copy of Book 2 claims this was devised by the Earl of Dunmore, but later sources seem unsure. The The Thistle has an article on its origins.

The RSCDS numbers couples clockwise (while modern square dance numbers them counter clockwise).

Arthur Miller, Leeds, 1900 writes:

1. All join hands in circle, and turn round to places.
2. Gentlemen take hold of partner's hand, and ladies give hands across and round, gentlemen give left hands across and back to places.
3. All set and turn partners.
4. Grand chain

Please see SCDDB for a discussion of the provenance of this dance.

An early version of this dance may be found in D. Anderson's Ball-Room and Solo Dance Guide, from ~1897:

16 Bars of Music 2-4 Time, and 16 Bars of Music, Strathspey Time.

The top couple going down the dance commence always at the gent's side. Each gent, in turn crosses over to partner, and always have partners on right hand before commencing.

Top lady cross over to partner.

Second Gent. cross over to partner.

First and second couples rights and lefts.

Second gent. down the centre with the two ladies arm-in-arm, top gent. following behind.

Ladies change to top gent., lead up to top of dance arm-in-arm, with ladies, second gent, following behind.

Gents. face partners, ladies outside gents inside, back to back.

Set to partners (eight bars of music, Strathspey), then reel four across the dance, second gent, finishing at the gent.'s side, second lady at ladies' side, and pass up 1 couple.

Top couple repeat with third couple, etc.

On a second chord before the dance begins, the first lady moves into the second man's place. The second man into the second lady's place, and the second lady into the first lady's place. This is like a counter-clockwise becket dance with everyone standing on the same side of the set as his/her partner (ladies on their partner's right).

At the end of the first iteration (bars 31-32), during the reel, the first lady moves into the third man's place. The third man into the third lady's place and the third lady into where you'd expect the first lady to be (the original place of the second lady).

The step suggest for the setting is Forward on right, hop; back on left, hop; step behind with right, step left, right and hop.

I can't track down Boag's publication, but I have found it in Lowes' Ball-Conductor and Assembly Guide in ~1830 published by the Messrs. Lowe who write:

First couple turn by the right hand, and the Gentleman passes one couple down the middle; then turn quite round by the left hand, and set, three and three, in lines across the dance; turn round with both hands; then the Lady goes between the second and third Gentlemen, and the Gentleman between the second and third Ladies; set, holding the hands; set corners, and reel.

The Lowes title it Greig's Pipes, or the Cameronian Rant.

Common name for dances; Wright, Walsh, Straight, Campbell, Howe and Wilcock all have figures for it, but I have found none which seems to match this one.

Lowe writes:

First couple turn round to the right, and set opposite to each other in the middle of the Dance (4 Bars) Again round to the right, the Lady going between the second and third Gentlemen, and the Gentlemen between the second and third Ladies (4 Bars) Six hands round and back again (8 Bars) The Lady between the two Gentlemen, and the Gentleman between the two Ladies, advance and retire. (4 Bars) The Gentleman who commenced the Dance, then turns his partner to her own side. (2 Bars) And all clap their hands, counting 1, 2, 3, 1, 2, 3 (2 Bars) Then the three Ladies on their own side, and the three Gentlemen on theirs go three hands round. (4 Bars) Then commence the Figure again.

Courtesy of National Library of Scotland, licensed under:

Common tune for dancing in both the UK and the US; Wilson, Preston, Cahusac, Bland & Weller, Smyth, Hill, Howe, Washburn, Squire, and Schell all have figures set to it, but most do not seem to match this figure.

However Joseph Lowe's version seems a good match.

First and second couples, giving right hands across, chassie round. (4 Bars) Back again giving left hands. (4 Bars) First couple down the middle and up again. (8 Bars) Set and turn corners. (8 Bars) Set to partners in the middle and turn around. (8 Bars)

Courtesy of National Library of Scotland, licensed under:

The couples stand in fours across the room, all facing the top, except the first two couples, who face down. Women on the right of their partners (See Fig.)

MUSIC	DESCRIPTION
Bars.
1-4	Couples 1 and 4 dance four hands across with right hands.
5-8	And back again with left hands.
9-12	Couples 2 and 3 dance four hands across with right hands.
13-16	And back again with left hands.
17-24	All four couples set twice and turn partners with both hands.
25-28	All four couples, partners facing each other and joining both hands, slip across to one another's places, men passing back to back.
29-32	Slip across back to places, women passing back to back.
33-36	{ First and third couples dance four hands round to the left. Second and fourth couples dance four hands round to the left.
37-40	The same couples giving left hands, dance four hands across back to places.
41-43	All four couples advance (two steps) and retire (one step).
44	Give three claps with the hands.
45-48	Couples 1 and 2 dancing down the dance, pass under the arms of couples 3 and 4, who are dancing up.
	Repeat, with next two couples, and do the same figures with every line until they arrive at the bottom of the dance. As each line reaches top or bottom of the set, change to correct side of partners and stand during one turn of the dance.
	NOTE.— This dance can also be done in groups of four in a circle in which case bars 9-16 are omitted.

Collected locally.

(I believe this to be the original text as printed in 1925, subsequent revisions of the book use different words but describe the same figure.)

If you look at the Scottish Country Dance Database and Dictionary they both claim the four face four version of the dance should be done round the room as well, but the book shows a longways dance with four lines of two couples each, not a round the room dance. In his The Modern Dancing Master, Chivers, London, 1822 describes dancing four face four dances round the room. He calls this a Chivonian Circle.

The (R)SCDS did not say how many times the dance should be repeated. For a four line dance the traditional number would be nine repetitions leaving everyone where they started, but the SCDS is more likely to follow their own methods and only repeat the dance 8 times (leaving the bottom two lines in the wrong places).

In it's 2008 revision of Book 2, the RSCDS attributes this dance to Lowe's Selection of Popular Country Dances, ~1850. Lowe actually publishes two different figures, one which he teaches and which he claims to be the original version, and one which everyone else in Edinburgh dances. Lowe's "Original" version is unlike any other version I've found (nobody else has the dancers clapping, ever), while the other version seems more like the other contemporary versions I've found. The (R)SCDS chose Lowe's "Original" as the basis for their dance.

Lowe writes:

ANY number of couples can join in this Dance, arranging themselves four and four across the room, and all facing the top except the first couple, who face the other way, the Ladies standing on the right of their partners, thus-

1st Couple,	L. G. L. G. 0 + 0 +
2nd Couple,	G. L. G. L. + 0 + 0
3rd Couple,	G. L. G. L. + 0 + 0

Each line as they arrive at the top, face about to be ready to commence.

---

Original Figure, as danced by Mr. Lowe's Pupils.

The couples on the right of each line, at angular corners, do hands across and back again to places (8 bar); the couples on the left of each line do the same (8 bars); all eight set and turn partners (8 bars); all eight gallopade across each other, the couples on the right of each line passing in front (4 bars) back again, the other couple passing in front (4 bars). The couples opposite to each other go hands four round (4 bars), all giving left hands, do hands across back again (4 bars); all eight advance and retire, and give three claps with the hands (4 bars); then the couples dancing down the dance pass under the arms of those dancing up (4 bars); then commence the figure with the next couples; then do the same figure with every line till they arrive at the end of the dance, then face about and dance up again.

Courtesy of National Library of Scotland, licensed under:

I think Lowe wants the top couples to pass under the arches made by the bottom as couples, rather than passing by the right, as is the modern method. Lowe also has people do a couples mad robin along their own line, rather than a couples do-si-do with the people opposite.

Joseph Lowe did not suggest dancing it as a round the room dance. The earliest source I have for that is in Albert W. Newman's A Complete Practical Guide to Modern Society Dancing, Philadelphia, 1903 who wrote:

NOTE. — This waiting, however, can be avoided by placing the couples in a complete circle. It is then advisable to arrange but two couples in each set facing each other.

`,

He, like the (R)SCDS, only recommends the round the room format when the set is a standard improper duple minor rather than a four face four.

Despite the RSCDS's claims, this dance, and the idea of dancing in a four face four (Mescolanze) formation, predate Mr. Lowe.

The earliest version I have found was published by Kattfuß in Germany in 1802.

According to The Regency Dance site Joseph Binns Hart published "Hart's 2nd Set of Quadrilles" sometime between 1818 and 1820. In this work he has a dance called Hart's Tempete Dance which was a dance with two couples facing two other couples (a rare formation for cotillions, but not unknown), however unlike cotilions (or quadrilles) Hart's dance progresses.

In his Hart's Second Set of Quadrilles, Hart writes:

Form a line of 4, the 2 Ladies on the 2 Gentlemens right, 4 more opposite to the first 4, form lines of 4 behind the 2^d. line as many as intend to dance.

---

FIGURE

The first 2 lines right and left, chassez across to the right and left with your partner, dechassez, in returning you go behind the 2^d. Couple The Center 4 hands round, the outside couple's turn and back all 8 Set quite round to the right re set to your places, the top four lead through the 2^d. line and begin the same figure with the 3^d. line & so on to the bottom of the dance.

Then in ~1825 GMS Chivers published a dance called La Tempête in his "Dancing Master in Miniature".

The Contrafusion site says the dance was originally European and dates it back to 1802.

In the US, the earliest source I can lay my hands on is from New York in the US in 1851, which was a mescolanze (but not a round the room dance) Mr. Whale & Daughter published La Tempète, as danced at the Queen's Last Ball

This popular Dance is danced by any number of double couples standing as above at commencement. All begin together, — Advance and retire twice, — Partners together gallop across eight steps each way, — Advance and retire twice, — Hand four round in the centre, (as above) Sides the same turning with both hands, — Hands across, (as above) Sides the same, — Advance and retire once, — Go forward to dance with next vis a vis.

Also in 1851, also in New York, Burnton published The Original Tampete

This popular dance is dance by any number of double couples, standing as above at commencement, all begin at once.

1. All forward and back, (4 bars) half right and left, (4 bars) forward and back, (4 bars) half right and left to place (4 bars)
2. Couples Galop eight steps to the left, (4 bars) then eight steps to the right, (4 bars)
3. Small stars (Each double couple form a star, Ladies cross hands, Gents also, round eight steps to the left (4 bars) change eight steps to the right (4 bars)
4. Grand star (Four couples. Ladies take Gents arms & cross hands in centre, eight steps round to the left, (4 bars) change Gentlemen swing in centre and cross hands, Ladies remain on Gents arms outside. eight steps round to the right. (4 bars)
5. Circles (Each double couple form a circle, hands round, eight steps to the left, (4 bars) eight steps to the right (4 bars)

All advance first couple holding hands up, others passing quick through and advance to the new couples. This forms the first figure again, and must therefore be no time lost, when passing through to the next.

These are the original and true figures, as danced in Europe

I have a page devoted to a more complete history of this dance.

The tune was composed around 1820 by Sir Henry Rowley Bishop.

The RSCDS has trios alternately of 1 man and two women facing 1 woman and two men.

This is (intended to be) the official RSCDS version, according to The SCD Dictionary at Ceilidhs it is danced slightly differently, with right hand turns instead of two hand turns, a right shoulder reel (or chain) rather than a left, and in the final pass through the 2s make arches while the 1s dive through.

Note: J.P. Boulogne published a very different dance (standard duple minor formation) in 1827 in his book The Ballroom.

Note: this is completely different from the traditional contra dance with the same name.

The RSCDS attributes this dance to Neil Stewart's A Collection of the Newest and best Reels or Country Dances, c. 1761-1763. The only work with this name and author at the National Library of Scotland was published ~1775 and contains only tunes with no figures. The RSCDS goes on to say that the tune comes from Caledonian Country Dances ~1754 (which Book 10 says was published by Johnson). This work seems to have disappeared. In any case, the tune was published earlier, by Rutherford (in Rutherford's Choice Collection of Sixty of the most Celebrated Country Dances, 1750) and Johnson (in A Choice Collection of 200 Favourite Country Dances, Vol. 8, 1753). (Neither of those dances matches this figure).

The RSCDS attributes this to Mozart Allan's Allan's Reference Guide to the Ball-Room, Glasgow, ~1895, and a dance with this name is in that work, and also to J. P. Boulogue, 1827, but it occurred elsewhere earlier.

Skillern & Challoner in 1807 write:

Hands 3 on the Gentlemens side, the same on the Ladys side, down the middle up again, and All'mand.

The Lowes in ~1831 write:

Three hands round on the Ladies' side; ditto on the Gentlemen's; down the middle, up again; set, and turn corners; set, and turn partners.

(Allan copies the Lowes word for word)

This dance was probably danced for about a hundred years before anyone bothered to publish it. The earliest Scottish source I can find is Smyth in 1830 who writes:

At the commencement, the Gentlemen place their partners at the end of the room, and stand either before or beside them.— If before them, all four begin at once, but if otherwise the Ladies must begin first, each person describing the figure eight, and the Gentlemen set to the Ladies alternately.

The Lowes in ~1831 write:

Before commencing the Reel of Four, the Gentlemen place their partners upon opposite sides of the room, or at the ends, and stand either before or beside them; if before them, all the four must begin at once; but if otherwise, the Ladies ought to begin first; each person describes the figure of eight, and the Gentlemen set to the Ladies alternately.

Arthur Miller, Leeds, 1900 writes:

In commencing the Reel of Four, the gentlemen stand back to back, with their partners opposite them, all commence at the one time. Each person describes the figure 8. The gentlemen pass the ladies on the right hand; gentlemen pass each other in the centre, pass on the left; the ladies always return to their first places, gentlemen change places every time with each other, eight bars.

All set to each other, eight bars.

Unfortunately this description is misleading. The figure of a reel for four people is not a figure eight, it's a figure eight with an extra loop. The Fletts kindly point this out.

The Fletts also mention that the reel should be performed "giving shoulders", that is when passing someone of the opposite sex in the reel the shoulder closest to that person should lead (so the dancers are almost back to back), while when passing someone of the same sex the outside shoulder should lead (so the dancers are almost face to face). The RSCDS says nothing of this, but doesn't say not to do it either...

Although the glory of the dance is in the various setting steps used, the arms were also involved. The Fletts say that the most common position was for the dancers to hold their arms akimbo. Though the gentlemen often raised their arms (one, or both, or alternating), and the ladies sometimes raised theirs, and sometimes used them to hold their skirts out.

The earliest written description of the dance actually comes from Thomas Wilson's Analysis of Country Dancing, London, 1808 (page 120). His version is rather different. It starts with two facing couples, each couple turns (I presume a two hand turn), and then everyone turns their opposite, that repeats (turn partner, turn opposite), then the 1st couple crosses in between the second and hey with them. On the second iteration the 2nd couple cross to hey with the 1st.

The Register of Dances at Castle Menzies, 1749 contains a dance of this name (also called The Mighty Pretty Valley, but it was a triple minor and so a very different figure.

Bride, 1770, and later Longman & Broderip also published dances with this name, again triple minors with different figures.

The Fletts say that the dance first appeared in 1819 in Edinburgh, and the first printed description was in The Ball Room Annual, London, 1844, but I can't find this.

The Tullock Hold is defined here. To me it looks like the hold in one of the old Regency Linked Arm Allemande figures.

In Wallace's Ball-Room Guide, Glasgow, ~1900, he writes:

Stand as for Reel of Four, as shown in Diagram see page 68, all use Reel step throughout.

1. Ladies and Gentlemen put their right arm under their partner's right arm and left behind their own back, join hands in said position, use four steps round, now reverse the arms, putting left under the left and right behind your own back, turning round other way; finish by Ladies facing each other in the centre,
2. Ladies dance to each other,
3. Ladies put their right arm under each other's as they did with the Gentlemen, and left behind their own back. Use four steps round; now reverse direction and arms, finish facing each other's partner,
4. All use second Reel step,
5. All turn again as in No. 1, Gentlemen finish facing each other,
6. Gentlemen dance to each other,
7. Gentlemen turn each other, by locking right arms, left hand raised over own head, using four steps round, reversing direction and arms, finish opposite own partners,
8. All use third Reel Step,
9. Again turn as in No. 1, with hands behind the back, finish Ladies facing each other,
10. Ladies dance to each other, and turn again, finish opposite each other's partner,
11. All set, using fourth Reel step,
12. All turn again, Gentlemen finish facing each other,
13. Gentlemen dance to each other, finish facing own partners,
14. All set again, using fifth Reel step,
15. All finish by turning, having regained partners and places.

Note Usually there is a nice showy step used by Ladies as well as Gentlemen when dancing to their own sex in the centre.

Frequently Hullachan is substituted for the last quick part in Reel of Four.

The RSCDS credits Bremner for publishing the tune.

The Register of Dances at Castle Menzies, 1749 contains a dance of this name (also called The Mighty Pretty Valley, but it was a triple minor and had a different figure.

Bride, 1770, and later Longman & Broderip also published dances with this name, again triple minors with different figures.

The Tullock Hold is defined here.

In Wallace's Ball-Room Guide, Glasgow, ~1900, he writes:

Stand as for Reel of Four, as shown in Diagram see page 68, all use Reel step throughout.

1. Ladies and Gentlemen put their right arm under their partner's right arm and left behind their own back, join hands in said position, use four steps round, now reverse the arms, putting left under the left and right behind your own back, turning round other way; finish by Ladies facing each other in the centre,
2. Ladies dance to each other,
3. Ladies put their right arm under each other's as they did with the Gentlemen, and left behind their own back. Use four steps round; now reverse direction and arms, finish facing each other's partner,
4. All use second Reel step,
5. All turn again as in No. 1, Gentlemen finish facing each other,
6. Gentlemen dance to each other,
7. Gentlemen turn each other, by locking right arms, left hand raised over own head, using four steps round, reversing direction and arms, finish opposite own partners,
8. All use third Reel Step,
9. Again turn as in No. 1, with hands behind the back, finish Ladies facing each other,
10. Ladies dance to each other, and turn again, finish opposite each other's partner,
11. All set, using fourth Reel step,
12. All turn again, Gentlemen finish facing each other,
13. Gentlemen dance to each other, finish facing own partners,
14. All set again, using fifth Reel step,
15. All finish by turning, having regained partners and places.

Note Usually there is a nice showy step used by Ladies as well as Gentlemen when dancing to their own sex in the centre.

Frequently Hullachan is substituted for the last quick part in Reel of Four.

The RSCDS attributes this dance to Wilson, but I have my doubts.

In 1816 Wilson in A Companion to the Ball Room, London, gives three figures to this tune, in 1830 Smyth in A Pocket Companion... gives a figure, as do Anderson (1897) and Allan (~1900). But none of those figures seems to match the RSCDS figure.

The RSCDS claims this is "from the Border Country".

The Lowes write:

The first Lady crosses over, and sets between the second and third Gentlemen; the first Gentleman the same, and sets between the second and third Ladies; the six in hand advance and retire, and hands three round on the sides; pousette by the first and second couples.

A dance named Highland Laddie was published by Walsh, Wright and also Johnson in 1740. Its figure is unlike this dance.

The RSCDS attributes this dance to Wilson, 1816, but I have my doubts. Wilson

Wilson did publish dances called Highland Laddie in both 1809 and 1816. Two of those dances start with a cast down two couples followed by a lead back to the top.

In The Treasures of Terpischore, Wilson, on page 43, writes:

Single Figure
Hands across, and back again down the middle, p again, and right and left
Double Figure
Cast off two couple and up again set and change sides , down the middle, up again, allemande , and foot contrary corners .

While in Companion to the Ball Room, Wilson, on page 36, writes:

SINGLE FIGURE (Tune played straight thro')
Set & hands across with 2^d. Cu: set and back again lead down the middle up again & right & left

OR THUS Hands 3 round on the ladies side & the 2^d. lady passes under to her own place hands 3 round on the gent: side & the 2^d. gent: passes under to his place & whole poussette

DOUBLE FIGURE (Each strain repeated)
Cast off 2 Cu: & back again promenade 3 Cu: lead down the middle up again allemande & the double triangle
* Note there is another Highland Laddie but it could not be admitted into this collⁿ. as it savours to much on the song style to be useful as a coun^y. dance. promenade 3 Cu: & whole poussette

Campbell did publish a dance with this title in his 19th Book, but I do not know whether its figure matches that of the RSCDS dance.

On the other hand, in Thompson's Compleat Collection of 200 Fashionable Country Dances, Vol. III", ~1773, Charles and Samuel Thompson write:

Cast off two Cu. and clap hands cast up and do the same cross over two Cu. lead up to the top and clap hands lead down two Cu. up again and cast off and clap hands

It has some resemblance to a dance of the same name in Skillern's Twenty Four Country Dances for the Year 1788. Which begins with cast, turn, cast, turn, circle. But that is followed by rights and lefts rather than reels.

It does appear in Kate Hughes's manuscript (Dancing Book) Dundalk Ireland, ~1867, (only she calls it "Merry Dance" (not "Dancers")) where she writes:

1. Top couple turn with right hands cast of(f) one couple turn with left hands cast of(f) a seceaond (second) couple (8 bars)
2. Six hands round (4 bars)
3. Lead up to places (4 bars)
4. Set at corners and turn (8 bars)
5. Reell of three (8 bars)

		Bars
1.	Turn right hands and cast off one couple, turn left hands and cast off a second couple,	8
2.	Six hands round,	4
3.	Lead up to places	4
4.	Set at corners and turn,	8
5.	Reel of three,	8

Courtesy of the RSCDS archives
(and Mary Nisbet who went there for me)

The RSCDS attributes this to Wallace, ~1880. The Library of Dance dates Wallace's work to ~1900. Perhaps there were multiple publications, or just uncertainty. In any event it appears earlier, in Kate Hughes's manuscript from Dundalk Ireland, 1867:

1. The tow top couples swing (8 bars)
2. First couple down the centre and up (8)
3. Rights and lefts (8)
4. Pousett

At this time the word "swing" was used for almost any circular movement, and could certainly have meant a right hands across/left hands back.

In Wallace's Ball-Room Guide, Glasgow, ~1900, he writes:

1. First and second couples give right hands across and turn round, back to places with left, (Gentleman No. 2 remains beside his partner), 8 bars
2. First couple down the centre and back bringing the Lady into second Gentleman's place, 8 bars
3. First and second couples right and left, 8 bars
4. Pousette, 8 bars

The RSCDS says this was collected in Perthshire and was also found in Allan's Reference Guide to the Ballroom, ~1895, but it appeared elsewhere earlier.

An early version of the dance appears in Kate Hughes's manuscript, the Dancing Book, Dundalk Ireland, 1867. She calls the dance "Torrayburn Lassies".

1. The top gent swing the tow ladies (8 bars)
2. Top gent and his partner swing the second gent (8)
3. Down the centre and up (8)
4. Swing four (8)
5. Pousett (8)

At this time "swing" meant almost any circular movement. The first swing could certainly match the "circle three" of the RSCDS, though presumably followed by a "and back to the right". The "swing four" could be a circle four, or a hands across, or who knows what.

Wallace in his The Excelsior Manual of Dancing, ~1872, calls the dance simply "Torryburn"

1. First couple set and three hands round with second lady, (8 bars)
2. Repeat the same with second gentleman, (8 bars)
3. First couple down the centre and back, (8 bars)
4. Couples No. 1 and 2 Pousette (8 bars)

But in Allan's Reference Guide to the Ball-Room, Glasgow, ~1895, the dance has become Torryburn Lassies.

1. Top couple set, and then three hands round with second lady.
2. Repeat the same with second gentleman.
3. Down the centre and up.
4. Pousette first and second couples.

Courtesy of National Library of Scotland, licensed under:

In (Glasgow, ~1868) Wilcock presents dance with a simpler but vaguely similar figure.

RSCDS Book 5 attributes this to "Caledonian Country Dances, c. 1754". Both Johnson (1750) and Walsh (1748, 1751, 1755) published books called "Caledonian Country Dances" around the 1750s, but none of those books has a dance with a name like "Culloden's Fancy". There may, of course, be other publishers or publications of which I'm not aware.

Note: RSCDS Book 10, for the dance The Lady's Breist Knot has a more nearly complete attribution: "Jno Johnson Caledonian Country Dances Vol. II, c. 1754" but I still can't find it.

Note: RSCDS Book 28, for the dance Not I contains the comment "The source given is Caledonian Country Dances, 1754 but attempts to trace this manuscript have been unsuccessful.

However in ~1756, Thomas Collett in Twenty Four New Country Dances. Published by Subscription published a dance with that name, and according Robert Keller's site, that dance has the following figures: Foot it/ Turn/ Hands across half/ Partner Change/ Lead up and Cast down. Which is a pretty got match to the RSCDS figures (the only differences being that the "hands across half" becomes a "right and left half", and the partner change becomes a two hand turn once and a half, in both cases people end in the same places).

The RSCDS attributes this to "Caledonian Country Dances, c. 1754". Both Johnson and Walsh published books with "Caledonian" in the title in the 1750s, but none of those books has a dance with a name like "Duke of Hamilton's Reel". There may, of course, be other publishers or publications of which I'm not aware.

Note: RSCDS Book 10, for the dance The Lady's Breist Knot has a more nearly complete attribution: "Jno Johnson Caledonian Country Dances Vol. II, c. 1754" but I still can't find it.

Note: RSCDS Book 28, for the dance Not I contains the comment "The source given is Caledonian Country Dances, 1754 but attempts to trace this manuscript have been unsuccessful.

Rutherford (1750 & 1759), Bride (1770), and Longman & Broderip (1781) all published dances with this name, but none matches the RSCDS figure.

Wilson writes (on page 40):

SINGLE FIGURE (Tune played straight thro')
Hey on your own sides lead down the middle up again & set to top Cu:

OR THUS Set & change sides with the 2^d. Cu: set & back again lead down the middle up again & right & left with the top Cu:

DOUBLE FIGURE (Each strain repeated)
The 3 ladies lead round the 3 gent: the 3 gent: lead round the 3 ladies lead down the middle up again allemande & set 3 across & set 3 in your places

Wilson usually gives multiple figures for a tune, the (R)SCDS appears to have conflated the first figure and the last. They seem to have taken the first 8 bars from the first figure (the hey), and added the last 16 bars of the final figure, except these have been reinterpreted to take up 24 bars.

The music consists of two 8 bar strains.

Wilson defines most of his figures in his An Analysis of Country Dancing.
Hey on your own sides is only defined as part of "Hey Contrary Sides, and Hey of your own Sides" on page 83 and he shows a mirror/reflection hey.
The 3 ladies lead round the 3 gent: may be found on pages 48-49 and means: "all the ladies take hands, lady 1 leads counter-clockwise above, and then behind the men, at bottom looping back to original places."
lead down the middle up again may be found on pages 10-11 and means: "lead down two couples, turn, lead up to the place of the couple who were below (who move up)" Wilson does not specify a hand hold for the lead, nor whether the 2s take hands.
allemande may be found on page 7 and appears to mean going about your partner in a circle. In a later edition of Analysis Wilson adds the phrase "back to back".
This is an unusual meaning for "allemande", but, as best as I can understand, that is what Wilson describes.
set 3 across & set 3 in your places is only described as "set three in their places and set three across" (opposite order) and is found on pages 76-77, and means: "Two lines of three across set, the ones move to their own places, everyone sets again." Wilson does not say whether they take hands when setting. Wilson does not indicate whether the corners set when the 1s move.

A "bawbee" is not, as I had assumed, a baby, but according to Wikipedia it is a small coin, a Scottish sixpence, worth about an English half-penny.

Wilson writes (on page 67):

SINGLE FIGURE (Each strain repeated)
Set & half right and left with 2^d.Cu: set & back again lead down the middle up again & allemande
OR THUS Hands 6 quite round & back again lead down the middle up again & set to top Cu:
DOUBLE FIGURE (Tune played twice thro' with repeats)
Set & change sides with 2^d.Cu: set & back again promenade 3 Cu: whole poussette & whole figure contary corners

Wilson usually gives multiple figures for each tune, the RSCDS appears to be following the first SINGLE FIGURE.

The music consists of two 4 bar strains. I assume the music should be played at 2 beats per bar and that "" indicates two repetitions of each strain.

Wilson defines all his figures in his An Analysis of Country Dancing.
right and left may be found on pages 39-44 and does not mean what I expect, instead: "2nd corners change by left shoulders, 1st corners right, 2nd corners change back by left, 1st corners by right."
lead down the middle up again may be found on pages 10-11 and means: "lead down two couples, turn, lead up to the place of the couple who were below (who move up)" Wilson does not specify a hand hold for the lead, nor whether the 2s take hands.
allemande may be found on page 7 and appears to mean going about your partner in a circle. In a later edition of Analysis Wilson adds the phrase "back to back". Wilson does not define a "back to back" figure. His allemande is a bit rounder than a normal back to back but perhaps that is the closest equivalent.
This is an unusual meaning for "allemande", but, as best as I can understand, that is what Wilson describes.

The RSCDS attributes this to "Caledonian Country Dances, c. 1754". Both Johnson (1750) and Walsh (1748, 1751, 1755) published books called "Caledonian Country Dances" around the 1750s, but none of those books has a dance with a name like "Lady Susan Stewart's Reel". There may, of course, be other publishers or publications of which I'm not aware.

Note: RSCDS Book 10, for the dance The Lady's Breist Knot has a more nearly complete attribution: "Jno Johnson Caledonian Country Dances Vol. II, c. 1754" but I still can't find it.

Note: RSCDS Book 28, for the dance Not I contains the comment "The source given is Caledonian Country Dances, 1754 but attempts to trace this manuscript have been unsuccessful.

The RSCDS says "collected in Perthshire," and attributes the tune to Bremner.

RSCDS Book 5 attributes this to Caledonian Country Dances, ~1754. Several people were publishing works with that title around that time, but I can't find this dance in any of them (or none that I have access to).

Note: RSCDS Book 10, for the dance The Lady's Breist Knot has a more nearly complete attribution: "Jno Johnson Caledonian Country Dances Vol. II, c. 1754" but I still can't find it.

Note: RSCDS Book 28, for the dance Not I contains the comment "The source given is Caledonian Country Dances, 1754 but attempts to trace this manuscript have been unsuccessful.

Johnson calls the dance The Scotch Ramble and writes:

First Cu. cast off two Cu. Lead up to the Top and cast off Hands 4 round with the 3^d. Cu. Right hands and Left with the 2^d. Cu. foot it at both Corners & turn Lead out on both sides and turn

The websites attribute this to Preston and he did publish two dances with this name, the first published in 1790 does not match this figure, the second published in Preston's Selection of the most favorite Country-Dances, Reels, 1798 does match this figure.

However, Campbell published that same figure earlier, in about 1788, and Longman & Broderip did so in 1790.

All of these seem to start the dance with partner changes without setting, but otherwise they match.

The Lowes published a dance with this name, but the figure does not match.

Cooke writes:

1^st. La. turn 2^d Gent. 1^st. Gent. do the same. fall in at top & bottom & at the sides 6 hands round back again & turn your Part.

I can't track down Boag's publication, but it appears (as "I'll Make You Be Fain To Follow Me") in J.P. Boulogne's The Ballroom from 1827:

		Bars
1.	The first Gentleman follows his partner two couples half round, the same back to their places,	8
2.	The cross over, giving the right hand, cast off one couple, then cross over again, giving the left hand, and cast off a second couple, and lead up to top,	8
3.	Set at the corners and turn,	8
4.	Reel of three,	8

Courtesy of the RSCDS archives
(and Mary Nisbet who went there for me)

Lowes' Ball-Conductor and Assembly Guide in ~1830 published by the Messrs. Lowe who write:

The first Gentleman follows his partner round two couples; the first Lady goes down backs two couples, while the Gentlemaan goes down the middle; The Lady then goes up the middle; and the Gentleman up behind the back, passing in between the second and third couples; six hands round; swing corners.

From the Holmain MS (dated sometime between 1710 and 1750):

First Cross hands and go 3/4 round and cast down below the first pair then Cross hands with the third pair set below them and cast up one pair, then right & left, then sett to the 2d woman, She to the first man & turn them then to the 1st woman She to the 2d man & then reel the man with the two women & the woman with the two men then Sett to their partner & turn her.

Originally spelled "Lennons Love to Blanter".

According to The Regency Dance site Campbell wrote:

Foot it & cast off 2 Cu Foot it & cast up again lead down 2 Cu up again & cast off Sett Corners & turn lead outsides

Wallace published a dance with this name, but it has a different figure.

		Bars
1.	Four hands across and back,	8
2.	Down the middle and up again,	8
3.	Set and corners and turn,	8
4.	Reels of three,	8

Courtesy of the RSCDS archives
(and Mary Nisbet who went there for me)

It seems pretty clear here that Down the middle and up again is a progressive move.

It is also present in Smyth's A Pocket Companion for Young Ladies and Gentlemen Containing Directions for the Performance of Quadrilles, Scotch, English, Irish, French, and Spanish Country Dances, Reels, &c., Edinburgh, 1830, and in the Lowes's Lowes' Ball-Conductor and Assembly Guide, Edinburgh, ~1831. Like Boulogne, both of them call it "Mrs. McLeod" though. Smyth writes:

Four hands across and back again. Down the middle and up again, Set corners, and turn round, Set opposite corners and turn round, a reel of three on each side.

RSCDS Book 6 claims this was "collected in Oxton, Berwickshire."

RSCDS Book 6 claims this was "collected in Rothesay, Isle of Bute."

Clearly based on The Eightsome Reel just as in quadrilles where The Lancers for 16 was based on The Lancers.

RSCDS Book 6 claims this was "collected in Perthshire and Angus."

This is not the traditional version recorded by the Fletts, nor the versions found in Wilson, 1808.

Often the center dancer holds a ribbon in each hand, with the side dancers holding the ribbon rather than the center dancer's hands.

The RSCDS instructions say that after the circling motion the dancers end where they started. All the example videos show the dancers advancing, and then only circling half, facing the opposite direction and on opposite sides of the center dancer. The dance repeats advancing in the back where they came from and turning.

Quoted from The Register of Dances at Castle Menzies (as transcribed by Jim Healy):

1^st pair goes cross hands round with the 2^d pair then back again & casts off, then the 1^st woman and the 1^st man leads up and sets to the 2^d pair then leads down and sets to the 3^d pair; then the 1st woman turns the 2^d man & sets to her partner, then turns the 3^d man and sets again to her partner who was doing the same on the woman's side: then reels at the sides, & falls into their places.

Quoted from The Register of Dances at Castle Menzies (as transcribed by Jim Healy):

1^st man turns 2^d woman & casts off, then the 1^st woman does the same then the 1^st pair goes figure of eight through the 2^d pair; then the 1^st man sets to the 2^d woman & turns her, then the 1^st woman the same; then the 1^st pair goes four hands round with the 2^d pair & right & left

Playford writes:

The 1. cu. meet and set, and cast off into the 2. cu. place Then meet and set again, and cast off into their own places The 1. man cast off below the 2. man, and go above the 2. wo. into the 2. man's place, his wo. folloing him at the same time Then the 2. wo. cast up above the 1. wo. and go below the 1. man into her own place, the 1. man following her at the same time Then the 1. cu. and 2. man go the Hey till they come into their own places Then the 1. cu. and 2. wo. go the Hey on the other side, and so cast off into the 2. cu. place

The Castle Menzies manuscript entitles this "He'll Aye Be Welcome Back Again".

Quoted from The Register of Dances at Castle Menzies (as transcribed by Jim Healy):

1^st man sets to the 2^d woman & turns her the 1^st woman does the same then the 1^st pair dances down two couple & up again (the woman going down the midle the man behind backs, & returning the contrary way) then casts off; then the 1^st man turns the 3^d woman, then his own partner half round, then turns the 2^d woman, the 1^st woman does the same on the man's side att the same time; then the 1^st pair leads out at the sides

The Castle Menzies manuscript entitles this "You'r Wellcome Charly Stuart".

Quoted from The Register of Dances at Castle Menzies (as transcribed by Jim Healy):

1^st pair sets to each other & casts off then the 2^d pair does the same then goes cross hands, back again & casts off, then sets cross, & reels att the sides

Quoted from The Register of Dances at Castle Menzies (as transcribed by Jim Healy):

1^st man goes figure eight round the 2^d man & the 3^d woman the 1^st woman does the same round the 2^d woman & 3^d man then the 1^st pair leads forward to the 2^d pair then leads up & casts off, then does the same below and casts up; then the 1^st woman goes round the 2^d man & turns her partner, who was doing the same round the 3^rd woman then she goes round the 2^d woman then the 1^st pair leads out att the sides

Walsh writes:

The 1st Cu. foots it and cast off The 1st Cu. foots it again, 1st Man casts down and the 1st Wo. cast up The 1st Man Heys with the 2d and 3d Wo. 1st Wo. Heys at the same Time with the 2d and 3d Men First Man Heys with the 2d and 3d Men, 1st Wo at the same Time Heys with the 2d and 3d We. The 1st Man foots it with the 3d Wo. and turns her, the 1st Wo. does the same at the same Time with the 2d Man Then the 1st Man foots it with the 2d Wo. and turns her, the 1st Wo. does the same at the same Time with the 3d Man The 1st Cu. leads through the 2d and 3d Men, and turn in the 2d Cu. Place Then the 1st Cu. leads through the 2d and 3d We. and turn in the 2d Cu. Place.

Walsh's music consists of four 4 bar strains, each repeated.

Walsh spells the title "Athol Brays".

The RSCDS attributes this dance to David Rutherford, but John Johnson published the same figure a few years earlier.

The first Couple casts of two Couple cast up again Cross over & half figure right hand and Left quite round with the second Couple foot it Corners and turn foot it the other Corners and turn Lead through the Mens side and turn your Partner Lead through the Womens side and turn it out

RSCDS Book 8 says this was "collected in Galloway."

William Campbell published a dance of this name in his 19th book, but I do not know if the figure matches.

RSCDS Book 8 says this was "collected in Moray."

Wilson, on page 54, writes:

SINGLE FIGURE 1^st strain repeated 2^d. played straight thro' & D.C.
Swing with right hands round 2^d. Cu: then with left lead down the middle up again & right & left with top Cu:

OR THUS Set & hands across with 2^d. Cu: set & back again lead down the middle up again & set to the top Cu:

DOUBLE FIGURE (Tune played played twice thro as marked)
The 1^st. Cu: cast off at the same the 3^d. Cu: set & lead up then the 3^d. Cu: cast off & the 1^st. Cu: set & lead up to places cross over 1 Cu: half figure round the 3^d. Cu: set contrary corners lead thro the bottom hal pou^e.

Wilson usually gives multiple figures for each tune, the RSCDS appears to be following the DOUBLE FIGURE.

Wilson defines most of his figures in his An Analysis of Country Dancing.
Except that the first figure is not explicitly defined.
Cross over 1 Cu: is not defined either, but Cross over 2 Cu: may be found on page 22 and means "cross go below 2s, cross again, go below 3s". (so presumably crossing 1 Cu: means stopping below 2s.)
half figure may be found on page 54 and means "the active lady loops around the man below ending in her partner's place, as the active man loops the woman below ending in his partner's place. set contrary corners may be found on pages 55-57 and means "move to 1st corner and set, pass partner right moving to 2nd corner, set, return to places the easiest way". Wilson does not show the corners setting back.
lead thro the bottom is half of through bottom and top on page 23 and means "the active couple take hands, lead down below the bottom, drop hands, and cast up to their own places.
half poussette not defined. A full poussette is defined on page 53 going once and a half around the neighbor couple. But half of once and a half doesn't make sense here. Dancers have already progressed so going a full circle is probably what he wants to happen.

From the Holmain MS (dated sometime between 1710 and 1750):

First sett & cast down, sett & cast down again, then lead up & cast down one pair, then right & left, then sett to the 2d woman, she to the 1st man, & turn them, then set to the 1st woman, she to the 2d man, & turn your partner, then lead down & cast up & turn your partner, lead up & cast down & turn your partner.

Skillern (1776), Longman & Broderip (1790), Bartholomew Cooke (1796), Bland & Weller (1800), and Wilson (1809, 1816) published dances with this name, but their figures do not match that of the RSCDS.

RSCDS Book 9 says "collected in the Border Country."

Longman & Broderip published a dance called The Braes of Bushbie in 1795, but its figure does not match this one.

RSCDS Book 9 says that Walsh published this in Caledonian Country Dances, ~1748, but the earliest I have been able to find is ~1760.

Walsh writes:

First Cu. hey contrary sides then on your own sides the 1st Cu. foot it to the 2d Wo. and turn her the same to the 2d Man the 1st and 2d Cu. foot it and Right hands across Foot it and Left hands across back again cross over one Cu. and turn Right and Left at top

Walsh spells "Canongate" as "Conongate".

Cannongate is a major street in historic Edinburgh (gate=street), and a "cadger" is a carter who brings produce to market.

From the Holmain MS (dated sometime between 1710 and 1750):

1st Part.

Cross right hands & go round all four; cross left hands & go back to your place, then sett to your partner, & cast off one pair, the right and left.

2nd Part.

First go down on the Woman's right side then come back to her left, & again to the right, then sett round & clap hands, & then go to the next woman.

Originally spelled "Cald Kale".

RSCDS Book 9 says "collected in the Border Country."

RSCDS Book 9 says "collected in the Border Country."

Longman & Boroderip first published a dance called "The Duchess's Slipper" in 1790, and republished it in 1796 (with the same figure) in Twenty Four Country Dances for the Year 1796.

The 1^st. Lady hay with her partner and the 2^d. Gent: The 1^st. Gent: hay with his partner and the 2^d. Lady Lead down two Cou: up again one Cou: Allemande

The music consists of a four bar strain and an eight bar strain, both repeated.

As always, note the lead down and back is progress in the original, while the allemande is not.

The instructions say the 1s should lead down, but dancing down with nearer hands joined flows more easily from the two hand turn, and that's what the videos I've watched show, so that's what I'm doing here.

RSCDS Book 9 says "collected in the Border Country."

On the second cord the 1s cross down as the 2s move up.

Quoted from The Register of Dances at Castle Menzies (as transcribed by Jim Healy):

[1^st man] casts off & turns the 3^d woman then the 1^st woman the same, then cross hands above & below, the 1^st pair sets cross & reels at the sides.

Longman & Boroderip this dance in 1790, and according to Robert Keller's coded notes, the RSCDS figure matches the original.

Campbell (~1795), Bland & Weller (~1800), Preston (1804), Wilson (1809 & 1816) and Tegg (1825) all published dances with this name, but none matches this figure.

RSCDS Book 9 attributes the dance to Blantyre MS, 1805. A claim I cannot verify.

Wilson writes (on page 76):

SINGLE FIGURE Each strain repeated
Set & change sides with the 2^d. Cu: set & back again lead down the middle up again allemande & set contrary corners

OR THUS The 1^st. Lady lead down the 2^d. gent: the 1^t. gent: lead down the 2^d Lady lead your partner down the middle up again & right & left with top Cu: & the double triangle

The music consists of three 4 bar strains. I assume the music should be played at 2 beats per bar and that "" indicates two repetitions of each strain.

Wilson usually gives multiple figures for a tune, the RSCDS has interpreted the first figure he describes.

Wilson defines most of his figures in his An Analysis of Country Dancing.
Set & change sides with the 2^d. Cu: may be found on pages 26-27 and means: set to neighbor, and change sides with partner (ladies between the men), set to neighbor again, and change back (ladies between men). Wilson does not say that hands should be taken.
lead down the middle up again may be found on pages 10-11 and means: "lead down two couples, turn, lead up to the place of the couple who were below (who move up)" Wilson does not specify a hand hold for the lead, nor whether the 2s take hands.
allemande may be found on page 7 and appears to mean a gypsy (or perhaps a back-to-back). This is an unusual meaning for "allemande", but, as best as I can understand, that is what Wilson describes.
set contrary corners may be found on pages 55-57 and means "move to 1st corner and set, pass partner right moving to 2nd corner, set, return to places the easiest way". Wilson does not show the corners setting back, but I expect modern dancers would want to.

Quoted from The Register of Dances at Castle Menzies (as transcribed by Jim Healy):

1^st man sets to the 2^d woman, & casts off, then the 1^st woman does the same, then the 1^st man turns the 3^d woman by the right hand & goes half round his partner, who was turning the 2^d man by the right hand then the 1^st man turns the 2^d woman by the left hand, while the 1^st woman turns the 3^d by the left hand; then the 1^st pair setts cross, & then to each other, & reels att the side.

The Register spells the sub-title "Will Ye Marry Kitty".

Quoted from The Register of Dances at Castle Menzies (as transcribed by Jim Healy):

1^st man sets to the 2^d woman & turns his partner with cross'd hands as in Jamaica then the 1^st woman sets to the 2^d man & then turns her own partner as above, then the 1^st pair casts down one couple & turns each other half round as before; then the 1^st woman goes round the 3^d woman & comes into her own place; the 1^st man does the same round the 3^d man at the same time

The only dance called Jamaica that I know is from Playford's 4th (and subsequent) editions of The Dancing Master, and it does indeed have a crossed hand turn.

The first man take his wo. by the right hand, then the left, ans so holding hands change places, then do the same to the 2. wo. ...

Note that in Jamaica, the turn is only half. From the comment here on the third turn I assume that is intended in this dance too — however, that leaves the 1s on the wrong sides, however the description, the 1^st woman goes round the 3^d woman & comes into her own place; the 1^st man does the same round the 3^d man at the same time sounds more like a half figure eight than it does like a lead down, and that would fix things.

Jamaica gives four bars for the half turn. Modern interpretations spend those four bars thus: 1 bar to take right hands, 1 bar to take left, 2 bars to turn half. In a strathspey you could achieve the same effect in half the number of bars.

In his Rutherford's compleat Collection of 200 of the most celebrated Country Dances both Old and New, Vol. 2, ~1759, David Rutherford published The Isle of Skie, and dance which begins with "set, cross, set, cross", but the rest of the dance is different. His music consists of 2 four bar strains.

In his Treasures of Terpsichore, 1809, Thomas Wilson published Isle of Sky:

Set and change sides down the middle, up again, and turn your partner

In his A Companion to the Ball Room, 1816, Thomas Wilson published a different Isle of Sky:

SINGLE FIGURE 1^st. strain repeated 2^d. played straight thro
The 1^st. lady turns the 2^d. gent: the 1^st. gent: turns the 2^d. lady lead down the middle up again & half poussette with the top Cu:

OR THUS The 3 ladies join hands the 3 gent: join hands set and lead thro set & back again lead down the middle up again & set to the top Cu:

Wilson's music consists of a four bar strain (repeated) and an eight bar strain (not repeated).

Wilson defines his lead down the middle up again may be found on pages 10-11 of his An Analysis of Country Dancing, and it means: "lead down two couples, turn, lead up to the place of the couple who were below (who move up)" Wilson does not specify a hand hold for the lead, nor whether the 2s take hands.

Some sources show a two hand turn with the 2s at the end, some a right hand turn. (Wilson's original has no turn).

Rutherford spells the title "Lady Jane Murray's Rant".

Rutherford writes (in dance 139)

The first Man casts off, & the 2^d Woman casts up at the same time & turns The first Wo. and 2^d Man does the same Hands a cross with the 2^d Couple & back again Foot to your Partner & right Hands & Left

The music consists of 2 four bar phrases, each presumably played at 4 counts per bar.

In his A Companion to the Ball Room, page 41, 1816, Thomas Wilson published several versions of Maggie Lauder:

SINGLE FIGURE
Hands 3 round on the ladies side hands 3 round on the gent^s. side. lead down the middle up again & allemande

SINGLE FIGURE (Tune played straight thro')
The 1st. lady leads down the 2d. gent: the 1st. gent: leads down the 2d. lady lead down the middle with your partner up again & set to the top Cu:

OR THUS Set & hands across quite round with the 2d. Cu: set & back again lead down the middle up again & right & left with the top Cu:

DOUBLE FIGURE (Each strain repeated)
Swing with right hands round 2d. Cu: then with left set 3 across set 3 in your places hands 6 round & back again lead thro' the bottom & half poussette with the top Cu:

TRIPLE FIGURE Tune repeated & then played straight thro
The 3 ladies lead round the gent: the 3 gent: lead round the 3 ladies lead down the middle up again half poussette with top Cu: set contrary corners swing corners & the double triangle

The music consists of 2 eight bar strains, each potentially repeated.

The RSCDS has chosen the third figure (the one labelled "OR THUS") which Wilson intends as a 16 bar reel, but the RSCDS decided on a 32 bar strathspey.

Wilson says the hands across should be "quite round", but the RSCDS has them be half round. I would concur with this when trying to fit the dance into 16 bars, but am confused by it in the 32 bar strathspey case.

Quoted from The Register of Dances at Castle Menzies (as transcribed by Jim Healy):

The 1^st pair goes back to back & casts off then back to back again & 2^d woman casts up, & the man down, then reels above & below then the 1^st pair sets hand in hand to the 2^d woman then to the 3^d man then to the 3^d woman & then to the 2^d man; then leads out att the sides.

In his A Companion to the Ball Room, 1816, Thomas Wilson published There's Nae Luck About the House:, wherein he writes:

SINGLE FIGURE (Each strain repeated)
Hands 3 round on the ladies side hands 3 round on the gent: side lead down the middle up again & right & left at top

OR THUS Set & change sides with 2^d. Cu: set & back again lead down the middle up again & hands four round at top

DOUBLE FIGURE (Tune played twice thro' with repeats)
Cast off 2 Cu: & back again swing with right hands top & bottom set contrary corners & the double triangle.

The music consists of 2 four bar strains, both repeated. The RSCDS has picked the third figure (the one marked "DOUBLE FIGURE") which means the music should be played AABBAABB. "" indicates two repetitions of a strain.

Wilson defines his figures in his An Analysis of Country Dancing.

• Cast off 2 Cu: (& back again) is defined on pages 8-9 and means: "active couple cast down, go outside the set, passing two other couples, then turn away from each other to face up, and return to places."
• swing with right hands top and bottom this is defined on pages 87-88: "Partner right turn half, using the momentum to loop round your partner's place, and cast down below the 2s to meet in the middle between them and the 3s, again right turn half casting up on their own sides back to original places.
• set contrary corners may be found on pages 55-57 and means "move to 1st corner and set, pass partner right moving to 2nd corner, set, return to places the easiest way". Wilson does not show the corners setting back.
• the double triangle does not appear until the 3rd edition of the Analysis on page 113 and means: the middle couple loop first corner right shoulder pass outside partner's place, then loop 2nd corner right shoulder and return to place.
  This is completely different from the RSCDS version of double triangles.

The RSCDS attributes this dance to Alexander Bowman. Hugh Thurston's Scotland's Dances, 1954 refers to something called the Bowman MS (held in the Laing Collection at the University of Edinburgh) dated somewhere between 1750 and 1800.

Anderson published a dance called Perth Inch in 1897 but the figure is different.

The RSCDS attributes this dance to Alexander Bowman. Hugh Thurston's Scotland's Dances, 1954 refers to something called the Bowman MS (held in the Laing Collection at the University of Edinburgh) dated somewhere between 1750 and 1800.

According to Hugh Thurston's Scotland's Dances, 1954 (on page 98) this dance was taught by Mr. William Seymour for Kilbride in 1805.

I do not have a description of the figure so I can't check that it matches the modern one.

In many ways this is a three couple dance in a four couple set with the 1s progressing one space down, but there are a number of whole set figures.

John Bowie calls the dance Miss Murray   Ochtertyre, and writes:

Four hands half round then make two Cross Jumps then go the other half: the same back again: down the middle & cast up round the third Couple: up the middle & Cast of round the 2^d. Couple.

William Campbell published M^rs Murray of Auchtentyre in his Campbell's 12th Book of New and Favorite Country Dances & Strathspey Reels in about 1797, but his figure does not match this one.

Preston's Twenty four Country Dances for the Year 1798 he published a dance called Mrs Murray of Archentyres Reel but, again, the figure does not match this one.

Monymusk is an estate in Aberdeenshire is Scotland.

Cracking Chestnuts says the tune was written by Daniel Dow and published in Thirty Seven New Reels and Strathspeys in 1776. Francis Werner set figures to the tune in his 8 Cotillions, 6 Favorite Contry Dances and two Minuets, with their proper Figures for the Harp, Harpsichord and Violin Book xvii for the year 1785. John Preston in 1786 published a different set of figures in 1786 and this version of the dance appears to be based on those.

Hugh Thurston in Scotland's Dances (1954) claims: "'Monymusk' is not a traditional Scottish dance. It was resurrected in 1934 (out of a book published in England in 1786) and there is no evidence that it was ever danced in Scotland before that date." (as quoted in Cracking Chestnuts)

Werner Book XVIII For the Year 1785 (London, 1785) writes:

Turn your partner with the right hand; quite round, and cast off one Cu. Turn with the left quite round, Set three and three top and bottom, and turn your Partner, Set three and three sideways and turn your Partner. Hands six quite round and back again Lead out sides and turn your Partner with both hands.

John Griffiths in The Gentleman & Lady's Companion (Norwich, CT, 1798) has a different figure:

Six hands half way round and back, first and second gentlemen balance together and turn round, the 1st and 2nd ladies do the same, down the middle, up again, cast off, right and left

In A Treatise on Dancing (Boston, 1802) Saltator writes:

First couple cross over, down the out side, promenade round the gentleman, fall between the second couple, the lady between the third, six dance address, first couple promenade and fall below the second, six demicircinate, right and left atop.

Wilson Treasures of Terpsichore, page 80 (London, 1809)

Single Figure

Whole figure at top down the middle, up again, and foot it to the top couple .

Double Figure

The top couple swing with right hands round one couple, then with the left set three across and three in your places hands six round and back again , and lead through bottom and top .

Howe Complete Ball-room Hand Book, page 82 (Boston, 1858)

First couple join right hands and swing once and a half round, go below second couple (the first lady goes below second gentleman on the outside) (first gentleman at the same time goes below and between second and third ladies) — forward and back six, first couple swing three quarters round — first gentleman goes between second couple (on the inside) first lady goes between third couple (on the indside) forward and back six, first couple swing three quarters.

Burchenal American Country-dances, page 55 (New York/Boston, 1912)

Swing Once and a Half Around
Cast
Forward and Back Six
Swing Three-Quarters Around
Forward and Back Six
Swing Three-Quarters Around to Place
Right and Left

The RSCDS attributes this dance to Alexander Bowman. Hugh Thurston's Scotland's Dances, 1954 refers to something called the Bowman MS (held in the Laing Collection at the University of Edinburgh) dated somewhere between 1750 and 1800.

The RSCDS attributes this dance to Alexander Bowman. Hugh Thurston's Scotland's Dances, 1954 refers to something called the Bowman MS (held in the Laing Collection at the University of Edinburgh) dated somewhere between 1750 and 1800.

RSCDS Book 12 says "collected in the Border Country."

RSCDS Book 12 attributes this to Johnson's Caledonian Country Dances of 1748 but it appears earlier.

According to Robert Keller's site this appeared in Walsh's 2nd Edition of Caledonian Country Dances, but I only have access to the 3rd wherein Walsh writes:

The 1st Cu. foots it and casts off then foot it again, and the Man casts off, and the Wo. casts up figure contrary sides figure on your own sides Foot it corners and turn ∴ foot it other corners and turn ∵ Hey contrary sides foot it to your Partner and turn it out.

Johnson published the same figure in about 1742.

The music consists of four 4 bar strains.

There are 8 sub-figures with a mark between them, suggesting that each strain should be repeated. Unfortunately the figures seem take different amounts of time. I'd expect The 1st Cu. foots it and casts off to take 4 bars, but I'd expect figure contrary sides to take 8.

So perhaps Walsh means only half of a figure of eight. That would take 4 bars.

But we still have Hey contrary sides. That takes 8 bars (or maybe 6, but not 4). Could we do half a hey? No, that leaves the corners in the wrong place. Could the 1s do half a hey while everyone else does a full hey? Then we need to make sure the 1s don't bump into the 2s+3s as the 1s set and the corners finish.

This solution does not seem a good one, but I can't think of a better. I doubt it's what Walsh intended.

Could the final strain be played 3 times? Walsh does use a pecular mark at the end of this sub-figure. That just seems worse.

Does Walsh intend the music to be played at four counts per bar rather than two? But most of the sub-figures fit into 4 bars...

The RSCDS attributes this dance to Rutherford (1775), but the figure is nothing like Rutherford's figure. Thompson (1770) published the same figure as Rutherford, and Bride (1775) published yet another figure (none matching the RSCDS figure).

Hands four quite round back again cross over two Cu. lead up to the top and cast off hands four at bottom right and left at top

The RSCDS attributes this dance to Johnson (who published it in ~1748), but Walsh published it first.

Walsh writes:

Hey on the Men's side Then foot it to Partners then to sides turn single after Each then the 1st Man turn 3d. Cu. half round and cast up into the 2d Place The Wo. do the same back again change sides and foot it cast up change sides and foot it cast off

The music consists of two 4 bar strains.

RSCDS Book 12 attributes this to Johnson's Caledonian Country Dances of 1748 but it appears earlier.

Walsh published Kiss Quick Mother's A'Comeing (sic) in his The Compleat Country Dancing-Master Book 2, 3rd Ed. ~1740 Given that this is the third edition, the dance may well have appeared earlier but I don't have access to the earlier editions.

Johnson republished it a few years later in his Caledonian Country Dances of ~1748.

In 1735 Walsh a different figure named Kiss me fast my Mother's coming. The Merry Medley, 1749 published yet another figure named Kiss me quick my Mother's coming.

Anyway in 1740 Walsh writes:

Each strain twice

First Man kiss quick the 2d Wo. and cast off and go the whole figure round the 3d Cu. and stand in 2d Cu. place And the 1st Wo. do the same 1st man heys with 3d Cu. at the Bottom and the 1st Wo. heys at top with 2d Cu. at the same time Then 1st Cu. cast up to top and go the whole Figure and cast off into the 2d Cu. place

Music consists of two 8 bar strains both repeated.

Note the kiss has been replaced by a bow

The 1^st. Cu. cast off one Cu. right hands across with the 3^d. Cu cast up and left hands across with the 2^d. Cu. lead down between the 3^d. Cu. the 2^d. Cu. follows cast up into your own places cross over one Cu. right & left

RSCDS Book 12 attributes this to Johnson's Caledonian Country Dances of 1748 but it appears earlier.

According to Robert Keller's site in Walsh's Caledonian Country Dances, 2d Edition he published a dance called The Reel of Glames with essentially this figure. Then in his The Second Book of the Compleat Country Dancing-Master, The 3d. Edition, ~1736, he published a dance called The Cleaver Lad, or The Gin I was a Bonny Lad with the same figure.

In Wright's Compleat Collection of Celebrated Country-Dances, Vol. 1 he published a dance called The Reel of Glamis with the same figure. And this one I can find online.

Later Johnson published the same figure and called the dance The Reel of Glamis.

Wright writes:

Each Strain twice

The 1st Man turns the 2^d Wo. and fall back and turn S. the 1st Wo. sett to the 2^d Man, and fall back and turn S. the 1st Man change places with the 2^d Wo. then the 1st Wo. change places with the 2^d Man, then all four meet and turn S. then the 1st Cu. being in the 2^d Cu. place, lead thro' and cast off

The music consists of 2 four bar strains, both repeated. Given that they need to be played at four counts per bar to fill out the figure.

There is one big problem with this description of the figure: both the 1s and the 2s end the corner changes progressed by improper, and there is nothing in the description to get them proper. But the description doesn't quite fill up the music, and there is easily room to throw in hole in the wall cross with partner.

The RSCDS attributes this to Bremner's work: A Second Collection of Scots Reels or Country Dances, which they date variously to ~1757 and ~1765. In ~1765 Bremner published A Collection of Scots Reels or Country Dances; a work which only contains tunes with no figures. According to Hugh Thurston the second collection was published in London in 1769. As far as I can tell, what was published in London was actually titled: For the Year 1769. A Collection of Scots Reels or Country Dances. At any rate, that work contains this dance.

Cast off two couples lead up to the Top and cast off set cross corners swing corners and swing your partner and lead outsides

The RSCDS attributes this to Bremner's work: A Second Collection of Scots Reels or Country Dances, which they date variously to ~1757 and ~1765. In ~1765 Bremner published A Collection of Scots Reels or Country Dances; a work which only contains tunes with no figures. According to Hugh Thurston the second collection was published in London in 1769. As far as I can tell, what was published in London was actually titled: For the Year 1769. A Collection of Scots Reels or Country Dances. At any rate, that work contains this dance.

Robert Bremner writes:

The 1^st Cu: cast off one Cu: hands four round with the 3^d. Cu: cast up and hands four round with the 2^d. Cu: cross over two couples lead up to the Top, foot it and cast off turn corners with your right hands and turn Partner with your left the other corners the same Hey contrary sides then your own sides

The RSCDS claims this comes from A Collection of Scots Reels or Country Dances and it may be in that, but I know it is in For the Year 1769. A Collection of Scots Reels or Country Dances (both by Bremner).

The RSCDS attributes this to Bremner's work: A Second Collection of Scots Reels or Country Dances, which they date variously to ~1757 and ~1765. In ~1765 Bremner published A Collection of Scots Reels or Country Dances; a work which only contains tunes with no figures. According to Hugh Thurston the second collection was published in London in 1769. As far as I can tell, what was published in London was actually titled: For the Year 1769. A Collection of Scots Reels or Country Dances. At any rate, that work contains this dance.

Robert Bremner writes:

The first Cu: foot it to the 2^d. Wo: and hands round 3 the same to the 2^d. Man lead down one Cu: up again and cast off foot it ℵ hands round 4 with the 3^d. Cu: foot it and hands round 4 with the 2^d Cu: lead up to the Top ℵ cast off right ℵ left at top

The RSCDS claims this comes from A Collection of Scots Reels or Country Dances and it may be in that, but I know it is in For the Year 1769. A Collection of Scots Reels or Country Dances (both by Bremner).

The RSCDS attributes this to Bremner's work: A Second Collection of Scots Reels or Country Dances, which they date variously to ~1757 and ~1765. In ~1765 Bremner published A Collection of Scots Reels or Country Dances; a work which only contains tunes with no figures. According to Hugh Thurston the second collection was published in London in 1769. As far as I can tell, what was published in London was actually titled: For the Year 1769. A Collection of Scots Reels or Country Dances. At any rate, that work contains this dance.

Robert Keller Bremner titled this dance Straglass House - Strathspey.

Robert Bremner writes:

The 1^st, 2^d, and 3^d Cu: foot it and hands round Six the same back again cross over two Cu: lead up to the Top and cast off Turn corners with your right hands ℵ turn partner with your Left the other corners the same lead outsides and turn

The RSCDS claims this comes from A Collection of Scots Reels or Country Dances and it may be in that, but I know it is in For the Year 1769. A Collection of Scots Reels or Country Dances (both by Bremner).

Thompson writes:

The 1^st. Cu. Foot it and turn then Foot it sides and turn then lead down two Cu. cast up one and Foot it and Right hands and Left at top The 1^st. Man hands 3 round with the 3^rd. Cu. and the 1^st. Wo. hands 3 round with the 2^nd. Cu. then the Man hands round with the 2^nd. Cu. and the Wo. with the 3^rd. Cu. lead out sides and turn

There seems to be some doubt as to the turns in the first 8 bars, some sources say they are right hand turns, some say both hand turns.

RSCDS Book 14 attributes this to Dale, in 1799, but I cannot find the original. However it was published by Cahusac in Cahusac's Annual Collection of Twelve favorite Country Dances With their Basses for the Year 1801 as The Devil among the Taylors., and he writes:

The 1^t. & 2^d. sett all four & right hands across do the same back again lead down the middle up again & allemand hands 6 round

The RSCDS attributes this dance to David Rutherford, but John Johnson published the same figure a few years earlier. He and Rutherford used the same words, and Rutherford is online. Rutherford writes:

The first Man sets to the 2^d. Wo. & turn her His Partner does the same with the 2^d. Man Cross over 2 Cu. Lead up to the Top foot it & cast off · Back to Back with your Partner Right Hand and Left Quite round with the 2^d. Couple ··

The instructions as printed by Rutherford do not work, they end with the 1s improper.

To avoid this I have changed the cast off at the end of B1 to a cross and cast.

The threes are idle. And the "cross 2 couple, lead to top" seems too much to fit in four bars. The dance cries out to be a duple minor (as is done in the Scottish interpretation).

Thompson writes:

The 1^st. and 2^nd. Cu. hands across Left hands back again 1^st. Cu. cast off. the Man hands round with the 3^rd. and the Wo. with the 2^nd. the 1^st. Man heys with the 3^rd. Cu. and the Wo. with the 2^nd. Cu. Set contrary corners and turn lead thro' Bottom & Top and turn

Thompson writes:

The 1^st. Cu. cast off half Figure with the 2^nd. Cu. cast off half Figure with the 3^rd. Cu. lead up to the Top Foot it cast off Right and Left

May be found in the Vaughan Williams Memorial Library online collection: Johnson Vol. 8.

Johnson writes:

First and 2^d. Cu. foot Partners then foot sideways Cross over 2 Cu. Lead up to the Top and cast off the Man whole figure at Bottom and Wo. the same at top at the same time Hands across at Bottom Right and Left at Top

The original music consists of a 4 bar A strain and an 8 bar B strain. The A music appears to be repeated 4 times, the B twice.

Johnson's book is undated, Robert Keller provides 1752 as a date. The RSCDS attributes this dance to Thompson, 1755, but Johnson probably published the figure (the same words even) earlier.

The RSCDS has changed Cross over 2 Cu. Lead up to the Top and cast off (which means, 1s cross by right, go below 2s, cross by left, go below 3s, then lead up and cast down) into a weaving pattern through the other couples which catches the spirit of the movement if not the exact nature of it.

They also changed the figure of eights into reels, which basically follow the same tracks for the 1s but give the others something to do.

Finally they have changed Right and Left at Top to a "left hands across". The right and left would have needed to fit into four bars, instead of the normal 8, and 70% of the time Johnson follows a right hands across with a left hands back, so RSCDS may be right to consider this a misprint.

The RSCDS attributes this dance to Skillern, but Bride published the figure first, then Skillern, Longman & Broderip, and Thompson published it as well. The only one I can find is Thompson, who writes:

The 1^st. Lady turns the 3^d. Gent 1^st. Gent. turns the 3^d. 1^st. Lady Allemand Right & Left with the 2^d Gent. at the same time the 1^st. Gent. Allemands with the 2^d Lady Sett 3 & 3 top & bottom the same sideways hands six round back again lead out sides

The original music consisted of 3 eight bar strains, all repeated.

Thompson writes:

The 1^st. Cu. Foot it to the 2^nd Wo. hands three round Foot it to the 2^nd Man hands all four round lead down two Cu. and the 2^nd. and 3^rd. follows cross over and turn your Partner

Rutherford published an earlier version of this dance:

Foot it all four & Hands across quite Round Foot it and the same back again Gallop down the Middle & up again & Cast off Right Hand & Left

RSCDS Book 14 attributes this to Preston, ~1800, but Longman & Broderip published it in 1790.

Longman & Broderip named the dance What a Beau Your Granny Was. As did Bland & Weber in 1797, Preston in 1798 and Dale in 1800.

I can't find Longman & Broderip, but in ~1800, in Dale's Selection of the Most Favorite Country Dances and Reels (dance 17), Joseph Dale writes:

The three Ladies lead round the three Gent: at the same time the three Gent: set and hands three round.
The three Gentlemen lead round the three Ladies, at the same time the Ladies set and hands three round.
The first Cu: Poussette with the second Cu: into 2^d. Cu^s. place and turn there Part^rs. half round with both hands.
Right and Left at top.

Johnson published this in his 5th volume of Country Dances (1750), and Rutherford published essentially the same figure in 1759. Both Johnson and Rutherford spell this dance as "Willie with his tartan Trues". The RSCDS credits this dance to Rutherford

Hey Contrary sides Hey on your Own sides Cross over two Couple Lead up to Top, foot it And Cast off Foot it Corners & turn Foot it the Other Corners & turn Lead out Each side & turn your Partner

From the Holmain MS (dated sometime between 1710 and 1750):

First sett to your partner, & cast off one pair, sett again, & she turns up & he turns down betwixt the third pair, she betwixt the 2d pair, then leads up joining three hands & meets, then 3 hands round, & reels, then he setts to the 2d woman she to the 1st man & turns them, then he setts to the 1st woman, she to the 2d man, & turn your partner, then 4 hands round with the 1st pair, & cast off, then meet and turn your partner.

Originally spelled "Argiles Bouling Green".

Johnson published this in his 6th volume of Country Dances (1751), and Rutherford copied him word for word in 1756. The RSCDS credits this dance to Rutherford.

Both Johnson and Rutherford spell this dance as "Campbel's Frolick".

Foot it all 4 and Hands across & cast off The same with the 3^d. Cu. Lead up to the Top foot it & cast off Hands round all 6 & turn your Partner

Hey contrary sides Hey on your own sides Then the Man falls in at Bottom & the Wo. falls In at Top Foot it all six & turn your own Partner Then the Wo. falls in of the Man's side & the Man on the Woman's side foot it all 6 & turn y^r. Partn^er

The crib diagram attributes to Wilson, 1825. According to The Regency Dance site Wilson didn't publish anything in 1825. The Scottish Country Dance Database also gives a date of publication as 1825, but gives no devisor.

Quite a number of people published dances named I'll gang nae mair to yon town but none matches the RSCDS figure: Thomas Wilson, 1809, Hime, 1810, Chivers, 1821, Chivers, 1821 (different work), J.P. Boulogne, 1827, R. Hill, 1830.

According to the Regency Dance site, Button & Whitaker published a dance with this name in their 26th selection, and their page on Thomas Wilson indicates that he was the deviser of the Country Dances in that selection. Sadly I do not have access to the figures of these dances.

Thompson writes:

The 1^st. Cu. gallop down two Cu. up again and cast off the 2^d. Cu. do the same the two Men lead between the two We. and turn the We. do the same between the two Men the 1^st. Cu. heys with the 2^d. Wo then with the 2^d Man cross over half figure Right and Left

From the Holmain MS (dated sometime between 1710 and 1750):

Cross four hands & cast down one pair, cross hands again, & turn down another pair, then sett & lead up to the head, then cast down then sett, & turn your partner, then go round the 2d woman, she round the 1st man, then back to back, & go round the 1st woman she round the second man, then turn her, then set to the 2d woman, she to the 1st man, & turn, then sett to the 1st woman, she to the 2d man, & turn your partner.

Originally spelled "This is not My Own House".

In 1803 Preston published a dance with this name and a different figure.

The RSCDS attributes this dance to Button, Whitaker & Beadnell, in the book Twenty Four Country Dances with Figures by Mr. Wilson for the Year 1816, but no dance with either name is listed in the Regency Dance site's list of all dances published by Button & Whitaker. Nor can I find any reference to a dance with either of the names Waverley and Fergus McIver in any other place.

On the other hand the use of double triangles does imply Wilson is the deviser (Assuming that was part of the original figure)

Wilson defined all his figures in his book The Analysis of Country Dancing. Double triangles appear in the 3rd edition of that work. Wilson's double triangles are completely different from those of the RSCDS. Wilson probably invented the figure and used the term to mean: the middle couple loop first corner right shoulder pass outside partner's place, then loop 2nd corner right shoulder and return to place.

Wilson, on page 101, writes:

SINGLE FIGURE Each strain repeated
Swing with right hands round the 2^d. Cu: allemande lead thro the bottom & right & left with the top Cu

OR THUS Lead thro the 2^d. Cu. lead down the middle & up again turn your partner & half poussette with the top Cu:

DOUBLE FIGURE Tune played twice thro with repeats
Cross over 1 Cu: half figure round the 3^d. Cu: cross up 1 Cu: half figure round the top Cu: chase round the 3^d. Cu: lead thro the top Cu: foot corners with the bottom Cu: & hands 4 round with the top Cu:

This is an interpretation of the DOUBLE FIGURE. The music is two 4 bar strains. The strain marks suggest to me that the music should be played ABABABAB, while the text suggests AABBAABB. The figures suggest that each bar has two beats, not four.

Wilson defines foot corners on page 75 of An Analysis of Country Dancing as the four dancers move to the center and foot together. He does not say so but presumably they must return to places.

A dance with this name was published by Button & Whittaker, but whether it matches the figure I do not know. The RSCDS attributes this dance to the publishers but Wilson was the deviser: see the Regency Dance site's paper on Button and Co. The use of double triangles does suggest Wilson was the choreographer.

A dance with this name was published by Button & Whittaker, but whether it matches the figure I do not know. The RSCDS attributes this dance to the publishers but Wilson was the deviser: see the Regency Dance site's paper on Button and Co. The use of double triangles does suggest Wilson was the choreographer.

In his A Companion to the Ball Room, 1816, Thomas Wilson published Lady Harriet Hope's Reel:, wherein he writes:

SINGLE FIGURE (1^st. strain repeated 2^d. played straight thro')
Swing with right hands round 2^d. Cu: then with left lead thro the bottom & half poussette with top Cu:

OR THUS Set & hands across quite round with 2^d. Cu: set & back again lead down the mid: up again & right & left with top Cu:

DOUBLE FIGURE (Tune played twice thro' as marked)
Set ¿3? hands 6 round & back again whole figure at top lead down the middle up again set to top & whole figure contrary corners

The music consists of a four bar strain and an eight bar strain. The RSCDS has picked the third figure (the one marked "DOUBLE FIGURE") which means the music should be played AABAAB. "" indicates two repetitions of a of the first strain, and "" indicates one repetition of the second (each accounting for 8 bars of music).

Wilson defines most of his figures in his Analysis of Country Dancing, but he does not define what he means by set 3 hands 6 round & back again. It seems unlikely that he would have people do two bars of setting, then three bars circling left and three right; the RSCDS's suggestion of set, circle left half, set, circle right half seems better.

The RSCDS has changed the first figure eight into a reel of four, and made it progressive.

Wilson's lead down the middle up again takes only four bars, not the 6 given to it by the RSCDS and doesn't involve changing sides. Wilson's set should be for four bars, not two (he liked things in four bar chunks).

Wilson's whole figure contrary corners means half figure eight down around the 3s then half figure eight up around the 2s (see his description). The RSCDS has turned this into a finishing reel with a cross by the right.

In his A Companion to the Ball Room, 1816, Thomas Wilson published Lord Hume's Reel, wherein he writes:

SINGLE FIGURE (1^st. strain repeated 2^d. played straight thro')
The 1^st. lady leads down the 2^d. gent: the 1^st. gent: leads down the 2^d. lady lead your partner down the middle up again & right & left with top Cu:

OR THUS Set & half right & left with 2^d. Cu: set & back again lead down the middle up again & set to the top Cu:

DOUBLE FIGURE (Tune played twice thro' as marked)
Hands 3 round with 2^d. lady hands 3 round with 2^d. gent: lead down the middle up again allemande set 3 across set 3 in your places lead thro the bottom & chain figure 4 round with top Cu:

The music consists of a four bar strain and an eight bar strain. The RSCDS has picked the third figure (the one marked "DOUBLE FIGURE") which means the music should be played AABAAB. "" indicates two repetitions of a of the first strain, and "" indicates one repetition of the second (each accounting for 8 bars of music).

Wilson defines his figures in his An Analysis of Country Dancing. Many of them mean what you expect, but a few are surprising:

1. lead down the middle up again may be found on pages 10-11 and means: "lead down two couples, turn, lead up to the place of the couple who were below (who move up)" So this involves progression, and it only takes 4 bars. Wilson does not specify a hand hold for the lead, nor whether the 2s take hands.
2. allemande may be found on page 7 and appears to mean going about your partner in a circle. In a later edition of Analysis Wilson adds the phrase "back to back". Wilson does not define a "back to back" figure. His allemande is a bit rounder than a normal back to back but perhaps that is the closest equivalent. Note this is not progressive and only takes four bars.
   This is an unusual meaning for "allemande", but, as best as I can understand, that is what Wilson describes.
3. set 3 across & set 3 in your places is only described as "set three in their places and set three across" (opposite order) and is found on pages 76-77, and means: "Two lines of three across set, the ones move to their own places, everyone sets again." This takes 8 bars. Wilson does not say whether they take hands when setting. Wilson does not indicate whether the corners set when the 1s move.
4. Chain figure for four may be found on page 76 of the 3rd edition of the Analysis (1811) and boils down to what anyone else would call rights and lefts. This takes four bars.

In Treasures of Terpischore, Wilson, 1809, he published a danced called "Wilson's Hornpipe". In his A Companion to the Ball Room, 1816, he published "Mrs. Wilson's Hornpipe." I cannot find any dance of his called "Mr. Wilson's Hornpipe". "Mrs. Wilson's Hornpipe"'s figure is closest to the RSCDS version. Wilson writes:

SINGLE FIGURE Tune played straight thro
Set & change sides with 2^d. Cu: & back again lead down the middle up again & right & left with the top Cu:

OR THUS Cast off 2 Cu: & back again swing with right hands round the 2^d. Cu: & allemande

DOUBLE FIGURE Each strain repeated
Hey contrary sides Hey on your own sides lead down the middle up again lead thro the top Cu: set 3 across & set 3 in your places

OR THUS The 1^st. Cu: cast off at the same time the 3^d Cu: set & lead up then the 3^d cast off & the 1^st set & lead up to places. set & change places with the 2^d. Cu: turn your partner set contrary corners hands 4 round at bottom & half poussette with the top Cu:

The music consists of 2 eight bar strains. The RSCDS figure matches the last figure (the OR THUS of the DOUBLE).

Wilson defines most of his figures in his An Analysis of Country Dancing, 3rd Edition. in this dance all the figures are pretty self-explanatory. The only two I shall reference are:

1. half poussette, as the RSCDS's version of poussette is rather different from Wilson's. It may be found on page 14 and means: "top two couples join hands with partner, circle (as a couple), counter-clockwise, around the other couple returning to their original places."
2. and set contrary corners defined on pages 44-46 "move to 1st corner and set, pass partner right moving to 2nd corner, set, return to places the easiest way". Wilson does not show the corners setting back.

SINGLE FIGURE 1^st. strain played straight thro 2^d. repeated
Hey on your own sides
swing with right hands round 2^d. Cu: then with left
OR THUS Cross over one Cu: half figure round the 3^d. Cu: & lead outsides

DOUBLE FIGURE Tune played twice thro as marked
Whole figure at top Chain figure 6 round lead down the middle up again & right & left with top Cu: & lead through the bottom & top

The music is an eight bar strain and a four bar strain. In the double figure (which is what the RSCDS uses) these should be played ABBABB.

Wilson defines most of his figures in his An Analysis of Country Dancing, 3rd Edition.

1. Whole figure at the top may be found on page 39. The active lady starts and crosses down, looping around the man below her then she again cross between the couple below, looping around the woman below and casts up to her own place. The active man starts a little after her and mirrors her motions, looping the woman below and then the man below.
2. Chain figure of six may be found on page 78. The top couple face their partner, as the others face their neighbor then everyone does rights and lefts until they return to where they started. Wilson does not specify how to fit the 6 changes into 8 bars of music.
3. Lead down the middle, up again may be found on page 7. The top couple meet and join hands, then lead down to between the 3s, and lead back to 2nd place as the 2s move up. This usually takes 4 bars.
4. right and left may be found on page 46-49. It does not mean what I expect, instead: 2nd corners change by left shoulders, 1st corners right, 2nd corners change back by left, 1st corners by right. And all of this in four bars
5. Wilson does not seem to define lead through the bottom & top but it seems self-explanatory.

In Wilson's A Companion to the Ball Room, 1816, he published "Woo'd & Married & A'". Wilson writes:

SINGLE FIGURE (Each strain repeated)
Swing with right hands (round the 2^d. Cu:) then with left & set contrary corners

OR THUS Set & change sides with 2^d. Cu: set & back again down the middle up again & allemande

DOUBLE FIGURE (Tune played twice thro' with repeats)
Hands 6 quite round & back again promenade 3 Cu: whole poussette set 3 across & set 3 in your places

Wilson's music is a slip-jig with 2 four bar strains. The RSCDS uses the DOUBLE FIGURE so it should be played AABBAABB.

Wilson defines most of his figures in his An Analysis of Country Dancing, 3rd Edition.

1. Hands 6 quite round & back again is defined on page 5 and means what you expect.
2. promenade 3 Cu: is defined on page 18 and means that all three couples take promenade hold and, with the 1s leading, travel in a counter-clockwise elipse around and back to places.
3. whole poussette is defined on page 15 and means: "top two couples join hands with partner, circle, counter-clockwise, one and a half times around the other couple to change places with them."
   Note: this is unlike a normal English Poussette as the couples travel once and a half around each other rather than once. And is quite different from the Scottish Poussette.
4. set 3 across & set 3 in your places is defined on page 21 and means: "L1 moves between the 2s as M1 moves between 3s, then the lines of three across set, then L1 moves back to her place and M1 back to his, and then lines of three on the sides set to each other.

RSCDS Book 17 attributes this to "Caledonian Country Dances", 1754.

Walsh published books with "Caledonian Country Dances" in their titles in about 1735, 1737, 1740, 1745, 1748, 1751 and 1755, and Johnson published one in 1750. None of these works contains a dance with anything approaching this name.

Note: RSCDS Book 10, for the dance The Lady's Breist Knot has a more nearly complete attribution: "Jno Johnson Caledonian Country Dances Vol. II, c. 1754" but I still can't find it.

Note: RSCDS Book 28, for the dance Not I contains the comment "The source given is Caledonian Country Dances, 1754 but attempts to trace this manuscript have been unsuccessful.

RSCDS Book 17 says "from an old book of Scottish-Irish dances (title page lost).

Johnson published this in his 5th volume of Country Dances (1750), and Rutherford published essentially the same figure in 1756. The RSCDS credits this dance to Rutherford

Hands four all round with the 2^d Couple & cast off The same with the 3^d Couple foot it & right Hand & left up into the 2^d Couple's Place. & turn your Partner Hands round all six & turn your Partner

Rutherford's music has a 4 bar A part and an 8 bar B, both repeated.

RSCDS Book 17 says "from an old book of Scottish and Irish dances (title page lost).

Bartholomew Cooke published a dance called Lucy Campbell in about 1790 in his book Tracy's Selection Of The Present Favorite Country Dances, but his figure does not match that of the RSCDS.

Campbell and Dale both published a Miss Campbell's Reel but it doesn't match either.

From the Holmain MS (dated sometime between 1710 and 1750):

First Sett & cast off Sett again & turn your partner he sets to the man & she to the woman & turns them then Cross over & clap by turns; & the next pair does the same then Dance four hands half round & back again then set to the 2d woman & she to the 1st Man then sett & turn your partner.

The RSCDS attributes this to William Campbell, and he did devise and publish a dance named The Perthshire Highlanders, but I can't check whether the figure matches.

Rutherford writes:

First Man cast off and turn the 3^d. Wo: First Woman cast off and turn the 3^d. Man Hands round 6 that back again foot it corners and turn Lead out sides and turn

The big problem I have with interpreting this dance is what to make of the strain markers ( , , and . Given the variety of the markers I would expect the tune to have three strains, each to be played twice. But Rutherford prints a rather standard jig with an A and B strain both repeated. Is one of the strains to be repeated four times? AAAABB? but if so why not use , and for the third and fourth markers? I suppose AABBAA could be intended but that doesn't seem likely to me either.

AAABBB really doesn't match the markers.

The RSCDS interpretation suggests that first four marks should each represent half a strain, and in other dances Rutherford seems to take a relaxed approach to what the marks mean. And it does seem likely this is a normal 32 bar jig given how the music is printed.

Although my copy of RSCDS Book 17 gives no attribution for this dance, both the Scottish Country Dance Dictionary, and the Scottish Country Dance Database attribute it to William Campbell, but The Regency Dance site's list of his dances does NOT include one with anything like this name.

RSCDS Book 18 says "collected in Orkney."

The starting position is best described by looking at the crib diagram.

1. L1 is where M1 normally is
2. M1 is where M2 normally is
3. L2 is where L1 normally is
4. M2 is where L2 normally is
5. L3 is where she normally is
6. M3 is where L4 normally is
7. L4 is where M3 normally is
8. M4 is where he normally is

The axum reel is best described by looking at the crib diagram.

1. The person where M1 normally is moves to L2's normal place (across the set and down one) and faces up.
2. The person where M2 normally is moves to M1's normal place (and faces down).
3. The person where M3 normally is moves to M4's normal place (and faces up).
4. The person where M4 normally is moves to M2's normal place.
5. The person where L4 normally is moves to M3's normal place (across the set and up one) and faces down.
6. The person where L3 normally is moves to L4's normal place (and faces up).
7. The person where L2 normally is moves to L1's normal place (and faces down).
8. The person where L1 normally is moves to L3's normal place.

The RSCDS interpretation of this dance is basically the same as the original, the only difference being that the circle six, might just have been a circle left.

The first Cu. Gallop down one Cu. & up again And cast off The same with the 3^d. Cu. and Cast off Hands round all six Lead up To the Top Foot it and cast off

Johnson published a dance titled Johnny Grot's House in 1750, but with a different figure.

In his A Companion to the Ball Room, 1816, Thomas Wilson published Lady Bairds Reel:

SINGLE FIGURE Each strain repeated
Set & change sides with 2^d. Cu: set & back again lead down the middle up again & right & left with the top Cu:

OR THUS The 1^st. lady lead down the 2^d. gent: the 1^st. gent: lead down the 2^d. lady lead down the middle with your partner up again & set to the top Cu:
DOUBLE FIGURE Tune played twice thro with repeats
Promenade 3 Cu: whole poussette set 3 across set 3 in your places & the double triangle

Wilson's music consists of two 4 bar strains, both repeated. The RSCDS chose to interpret the DOUBLE FIGURE so the music should be played AABBAABB.

Wilson defines most of his figures in his An Analysis of Country Dancing, 3rd Edition.

1. promenade 3 Cu: is defined on page 18 and means that all three couples take promenade hold and, with the 1s leading, travel in a counter-clockwise elipse around and back to places.
2. whole poussette is defined on page 15 and means: "top two couples join hands with partner, circle, counter-clockwise, one and a half times around the other couple to change places with them."
   Note: this is unlike a normal English Poussette as the couples travel once and a half around each other rather than once. And is quite different from the Scottish Poussette.
3. set 3 across & set 3 in your places is defined on page 21 and means: "L1 moves between the 2s as M1 moves between 3s, then the lines of three across set, then L1 moves back to her place and M1 back to his, and then lines of three on the sides set to each other.
4. the double triangle is defined on page 113 and means: "the middle couple loop first corner right shoulder pass outside partner's place, then loop 2nd corner right shoulder and return to place.
   This is completely different from the RSCDS version of double triangles.

The RSCDS interpretation seems basically the same as the original.

RSCDS attributes this dance to David Rutherford, but Johnson published the same figure earlier. Unfortunately I can't find his work online so I provide a link to Rutherford.

Both Johnson and Rutherford spell the title as "The Lasses of Dunce".

The first Man Cast of and the second Woman Casts up at the same time, and turns The second Man and first Woman does the same Lead Down two Couple foot it and half Figure with the third Couple Lead up to the top foot it and half Figure with the second Couple

Some sources say the 1s "lead" down (and up) while others say they "dance". This animation follows the ones which say "dance".

Although my copy of RSCDS Book 18 gives no attribution for this dance, both the Scottish Country Dance Dictionary, and the Scottish Country Dance Database attribute this dance to William Campbell, 1795. According to the Regency Dance site's paper on Campbell's dances, Campbell never published a dance called Prince of Wales, but in 1795 he did publish (and indeed devised) a dance called The Princess of Wales's Strathspey, perhaps that is the origin of this dance. (I do not have access to Campbell's book to check the figure so I can't be sure.

This is one of the few books by Campbell which can actually be dated, he took it in to the Stationer's Hall in 1795 to register the copyright.

Johnson published this in his 5th volume of Country Dances (1750), and Rutherford publishes essentially the same figure in 1756. Both Johnson and Rutherford spell "alewife" as "ale wife". Rutherford is online, so...

Cast off & turn your Partner Cast up again & turn Foot it & Hands across The same Back again First Man set to the second Wo. & turn her First Woman does the same Cross over figure In & Right Hand & Left

On page 64 Rutherford writes:

The first Man sets to the 2^d. Wo. & turns her with his right Hand, & his Partner with his Left First Wo. does the same Lead down between the 2^d. Cou. & without Side the 3^d. turn your Partner, lead up to the Top, foot it, & cast off foot it Corners & turn foot it y^e other Corners & turn y^r. own Partner

The music consists of a four bar strain and an eight bar one. They both need to be played at four counts per bar to fit in all the movements.

Wilson writes:

SINGLE FIGURE1^st. strain repeat 2^d. played straight thro & D.C.
Set & half right & left with 2^d.; set & back again lead don the middle up again & half poussette with top Cu:

OR THUSHands 3 round on the ladies side hand 3 round on the gent: side lead down the middle up again & set to the top Cu:

DOUBLE FIGURE Tune played twice thro' as marked
Swing with right hands round 2^d. Cu: then with left set 3 across set 3 in your places whole figure contrary corners chain figure four round with top Cu: & allemande

Wilson has a different figure for this tune in his earlier book Treasures of Terpsichore, 1809. Preston has yet another figure in 1796. Cahusac gives two figures in 1795. Campbell has a figure in Campbell's 9th Book of New and Favorite Country Dances & Strathspey Reels from about 1794. While Rutherford, 1756 and Johnson, 1742 give the same figure (Rutherford's compleat Collection of 200 of the most celebrated Country Dances both Old and New, Vol. 1) — but the music they give is a different tune (for one thing it is a jig, not a reel).

The following is an attempt to understand Wilson's DOUBLE FIGURE which is the basis of the Scottish Country Dance.

In An Analysis of Country Dancing Wilson defines some of the terms he uses. A "whole figure" is just a "full figure eight" (as you might expect, Playford uses the same phrase). Wilson does not explicitly define "whole figure contrary corners" in his first edition, but he does in his second on page 104 of the 2nd edition of the Analysis (1811). Rather awkwardly, Wilson provides two different (contradictory) directions. In the first "the 1s cross down, W1 in front of M1, W1 around M3, M1 around W3, then cross up, W1 around W2, M1 around M2, and return home". In the second the "1s cross up, W1 around M2, M1 around W2, then cross down W1 around W3, M1 around M3, and return home.

Chain figure for four is also defined in the second edition, on page 76 and it is what anyone else would call rights and lefts.

Wilson gives a very unclear definition of "allemande" it might be a modern gypsy, or a back to back (he defines neigther of these figures). He says the two people doing the allemande walk in circles around one another, he does not mention taking hands, he does not say how their faces are oriented.

According to the the Regency Dance site Wilson devised, and Button & Whitaker published, a dance with this name but whether its figure matches the RSCDS's, I cannot say.

Since the dance contains double triangles, it seems likely Wilson was its deviser.

According to the the Regency Dance site William Campbell published a dance with this name but whether its figure matches the RSCDS's, I cannot say.

Straight & Skillern published a dance with this name in 1769, but its figure does not match.

Thompson writes:

Set to your partner and turn foot it sides and turn Hands round Back to Back all 4 Gallop down one Cu: up again and cast off

Campbell writes:

The 1^st. Lady sets to the 2^d. Gent & turn at the same time the 1^st. Gent sets to the 2^d. Lady & turn The 1^st. Lady set to the 3^d. Gent & turn Lead up to the top & foot it & cast off hands 4 round & back again Right & Left at top

Campbell titles this Admiral McBride's Hornpipe, and he is said to be its devisor.

The interpretation seems close to the original.

The first Cu. sets to the 2^d. Wo. & Hands round all three The same to the Man Hands round all four with the 2^d. Cu. Right Hand & Left into the 2^d. Cu.^s place Foot it Corners & turn Hey Contrary sides Foot it to your Partner and turn it out

According to the the Regency Dance site Campbell did publish a dance with this name (well, he spelled Jig with two "g"s). Whether the figure matches I cannot check.

The Regency Site claims that Mr. Pollock was the devisor.

The RSCDS attributes this dance to William Campbell, and he did publish it, but he attributes it to "D. Mackenzie".

On page 17 of book 10, Campbell writes:

The 1^st. & 2^d. Cu Reel on the Ladys side the same on the Gents. side the 1^st. Cu. lead down the middle up again to the top and Allemande.

The music consists of a four bar strain and an eight bar strain. I assume it is intended to be played AABB.

I think the RSCDS's interpretations of the reels is unlikely, given how crowded that would make the duple minor set.

Straight writes:

The 1^st & 2^d Cu set & change sides back again hands across quite round back again cross over 1 Cu right & left at top

The first Cu. sets to the 2^d Wo. and turns his own Partner Then sets to the 2^d Man & turn his Own Partner Gallop down the Middle & up again And cast off Right Hand & Left

Johnson and Walsh earlier published dances with this name, but a different figure.

This is almost the same as the original, except that, in turning the music into a strathspey, the two hand turns have become turn twice rather than once.

Thompson calls this dance And thou wart mine only Dear, and writes:

The 1^st. Cu heys with the 2^d. Wo. then with the 2^d. Man the 1^st. Cu lead down one Cu cast up and turn then the 2^d Cu. lead up and cast off and turn the 1^st. Man set across and turn the Wo. do the same Gallop down and up cast off Right Hands and Left

The music is a jig with two eight bar strains. From Thompson's markings I'm guessing it should be played ABABABAB.

Book 21 has a note: "Collected in Aberdeenshire."

I have not yet found a copy of Anderson's earlier work but this dance also appears in D. Anderson's Ball-Room and Solo Dance Guide, of 1897, wherein he writes:

Reel Time.

Top couple down the centre and back.

Top gent. set and turn second lady.

Top lady set and turn second gent.

Reel four across.

Promenade round with own partners.

First and second couples pousette.

Repeat to bottom of dance.

Courtesy of National Library of Scotland, licensed under:

On page 117 Anderson claims to be the devisor of this dance.

Book 21 has the comment "Collected from an old manuscript."

Playford published a dance called "The Maid in the Mill" in 1698, Thompson published a different figure in 1780. Walsh published a dance called "Maid of the Mill" in 1766, and Hime published a different figure in 1795. None of these matches the RSCDS figure.

Campbell writes:

1^st. Cu set & change sides Back again — Lead down the middle up again to the top then 1^st. & 2^d. Cu hands across half round back again — Poussette quite round with the 2^d. Cu hands 6 round Allemande.

Where does Campbell mean the progression to happen?

set & change sides Back again is not progressive.

What about Lead down the middle up again to the top? The "up again to top" does sound as if it returns the 1s to their original places. Yet if you look at Campbell's The new German Waltze (also in book 10) you will see him use those same words where that is the only move which could be progressive.

So I conclude that neither Poussette quite round nor Allemande is progressive.

Campbell's hands 6 round suggests a 3 couple dance, but all the other figures are either for the 1s+2s or the 1s alone, Changing the circle six to circle four easily makes for a 2 couple dance.

Book 21 says "Collected from an old manuscript."

Both Walsh and Jackson published a dance with this name but a different figure (several publications between 1735 and 1755).

Book 21 has the comment "Collected from an old manuscript."

John Young (Playford) published a dance called 'Twas Within a Furlong of Edinborough Town in 1696, but its figure does not match this one.

Cahusac published Within a Mile of Edenburgh in 1795 with a figure which does match.

The RSCDS attributes this to Skillern (with the SCDDB giving a date of 1795). I am aware of two dance books published by Skillern in 1795 (For the Year 1795 Twelve Country Dances & Cotillions, and Twenty Four Country Dances for the Year 1795) and neither contains a dance with a name like this one. Nor can I find any dances with a name like this in any of the other works by Skillern of which I'm aware. The RSCDS may know of other works, or they may have changed the name beyond my ability to guess.