Thompson (1786) writes:

Right hands across half round left hands back again Lead down the middle up again & cast off Allemande with your partner Right & Left

Wilson (1809) writes:

Double Figure

Chase round one couple, and back again , Hands across and back again , down the middle, up again, allemande , and lead outsides .

A different version may be found in Kate Hughes's Dancing Book from Ireland in 1867

1. The tow top couples swing four (8 bars)
2. Top couple pousette to bottom and form an arch (8)
3. Ladies cast off by the right gents by left and meet at bottom with partners (8)
4. All promenade round (16)

Wilcock (1868) writes:

1. First and second couples give right hands across, and back with left.
2. First couple lead down the middle and up again,
3. Ladies cast off to the right, gentlemen to the left, meet at bottom, and lead up
4. All promenade
5. First couple pousette to bottom

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.

		Bars
1.	The first Gentleman turns the second Lady with right hand, which he retains, and gives left hand to the second Gentleman, thus forming a line of three. The first Lady passes under the two Gentlemen's arms,	8
2.	Down the middle and up again,	8
3.	Pousette,	8

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

If you look at the dance Meg Mirrilees on the next page you will see that Down the middle and up again is a progressive figure, with the 1s ending in 2nd place and the 2s moving up.

The Lowes write:

The first Gentleman turns the second Lady by the right hand, which he retains, and gives his left to the second Gentleman; the first Lady passes through below the Gentlemen's arms, and her partner following, they go down the middle, up again, and pousette.

Lady 1's path seems somewhat different in the Lowes' version than in the RSCDS's.

The first dance in the first book of the (R)SCDS is Petronella.

According to that book this dance was "introduced" by Nathaniel Gow, a composer and musician of Edinburgh, in 1820. Although Gow published many tunes (including this one), I have been unable to find any choreographies by him.

Book 1 also says the dance was published in a book called The Ball-Room, 1827 (no editor, or publisher, or location given), actually the book is titled 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 published in Glasgow, 1827 and the author is J. P. Boulogne. This work actually contains three versions of the dance — though the last two have the same figure (all called Petronelle not Petronella), the first is an "English Quadrille", found on page 40, the second a "Spanish Dance" found on page 41, and the last is an "English Country Dance", found on page 43

		Bars
1.	The first Gentleman and third Lady perform the figure of a diamond, to their right, in the centre, setting at the four corners	16
2.	Double hands across and back again,	8
3.	All balancez to partners, and turn them to their places,	8
	The others repeat the figures.

---

		Bars
1.	The first couple perform the figure of a diamond to their right, setting at the four corners	16
2.	Down the middle and up again,	8
3.	Pousette,	8

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

Sadly Boulogne does not have a glossary where he defines what he means by his figures, so we don't know what the figure of a diamond means exactly, nor what steps are used to do it. We have a bit more luck with Down the middle and up again. This might seem quite straightforward, but it is not. In England at this time, the term was progressive, meaning that the 1s ended up in 2nd place while the 2s moved up (either the 1s went down, came all the way back and cast off, or the 1s end down and only came back to 2nd place). If we look at Meg Mirrilees (another dance on page 43) we see the Boulogne also uses Down the middle and up again as progressive. This means that Boulogne's Pousette was non-progressive, and presumably still meant the standard push-pull poussette that came to the UK from France in about 1760.

In 1821, G.M.S. Chivers in The Dancer's Guide page 57, had described Spanish dances as starting improper, and I suspect this might be intended here and explain why the same figure occurs twice. I don't see that it makes much difference whether the first couple is proper or improper. The Spanish version of the dance is subtitled "Hungarian Waltz" in Boulogne (Not a part of Spain I'm familiar with).

The next earliest description of the figure I've found was published by the Lowes in Lowes' Ball-Conductor and Assembly Guide. of 1831. The Lowes published in Edinburgh, and their book has three sub-categories of country dance: English, Scotch and Irish. Petronella is categorized as an "English Country Dance". They describe it thusly:

First couple chassé round to the right, and set in the middle; round to the right again, and set on the sides; to the right again, and set in places; down the middle, up again, and pousette.

By 1853, the Lowes had become just Joseph Lowe, and he published a somewhat different version in his Lowe's Selection of Popular Country Dances (courtesy of the National Library of Scotland):

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, and set on the sides of the Dance, (4 Bars) Again round to the right, and set in the middle, (4 Bars) Again to the right and set in places. (4 Bars) First couple down the middle and up again. (8 Bars) Poussette with top couple. (8 Bars)

Courtesy of National Library of Scotland, licensed under:

In ~1868 H. D. Wilcock in Ball-Room Guide; A Manual of Dancing page 70, writes:

1. First couple turn round to the right, and set in centre of dance (4)
2. Turn to the opposite side and set (4)
3. Turn to centre and set (4)
4. Turn and set in places (4)
5. Lead down the middle and up again (8)
6. Pousette (8)

In 1868 Elias Howe in The Pianist's Matinee: A Collection of Music for the Piano-Forte, writes:

First couple turn round to the right, and balance opposite to each other in the middle of the dance. (4 bars) Again round to the right, and balance on the sides of the dance. (4 bars) Again to the right, and balance in the middle. (4 bars) Again to the right, and balance in places. (4 bars) First couple down the middle and up again (8 bars) Right and left with the next couple. (8 bars)

In ~1872 J. F. Wallace in The Excelsior Manual of Dancing, (Glasgow), writes:

1. First couple turn to their right and set in centre of dance (4 bars)
2. Turn into each other's place and set (4)
3. Again turn to centre by right and set (4)
4. Turn to places and set, (4)
5. Down the centre and back, (8)
6. Poussette, (8)

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

Time 2-4

Turn to right in centre with two steps facing each other, then set to each other with two steps.

Turn into each other's places with next two steps then set with other two steps.

Turn to right in centre facing each other with two steps then set to each other with two steps.

Turn into places next two steps then set with other two steps (the four quarter turns describe the figure of a diamond).

First gent then leads his partner down the centre and back to places, the first and second couples pousette.

Repeat from the beginning other three times

Courtesy of National Library of Scotland, licensed under:

Note: Anderson very explicitly says the lead down and back returns to places, while fifty years earlier it had an implied cast off. That means his "pousette" must be progressive, though he does not say that explicitly.

Many pages later in the book Anderson defines a "Petronella Step". He does not explicitly say it is for petronella turns, rather he says This Step may also be used for Contra Dances, Circassian Circle, etc., in setting to partners, but must never be used for Quadrilles.

PETRONELLA STEP.

Stand in 1st position.

Hop out on right foot in 2nd position.

Bring left foot in front in 5th position.

Beat behind with right.

Hop out on left foot in 2nd position.

Bring right foot down in front in 5th position.

Beat behind with left.

In ~1898 J. Scott Skinner in The People's Ball Room Guide, (Dundee), writes:

This is one of the very prettiest Country Dances we have.

The dancers are arranged in the usual way.

First lady and opposite gentleman advance to the centre, one, two, three, and turn with toes to right. Then they execute the first quickstop twice.

They advance to the opposite side and set.

They advance to the centre and set.

They advance and set in places, having thus, with their successive movements described the figure of a diamond.

Then down the centre, back, and pousette.

There is a tune "Petronella" for this dance. "Meg Merrilees" suits it admirably.

While in the book Prompting: How To Do It by John M. Schell, published Boston, 1890.

First couple balance to side (4); balance to center (4); balance to side (4); balance to center (4); first couple down centre and back, cast off (8); right and left (8).

Back in Scotland, in Allan's Reference Guide to the Ball-Room, says:

1. First couple advance to the centre of the dance, turning round to the right and set.
2. Advance to the opposite side and set.
3. Advance to the centre side and set.
4. Advance and set in places.
5. Down the center and up again.
6. Pousette.

Courtesy of National Library of Scotland, licensed under:

Note that in 1831 the 1s simply chassé into position with no turn, but by 1868 they are turning into the middle, then in 1924 the (R)SCDS describes the figure:

1st woman moves from A to B with two pas de basque, leading off with the right foot and making a three-quarter turn by the right, in the middle of which she has her back to her partner.
1st man moves similarly from C to D.

The modern contra figure seems similar to that described by Wilcock in 1868.

As this dance is rather boring for the 2s a number of variations have arisen.

The RSCDS attributes this to Mitchell's A Guide to Ball Room Dancing, a work I haven't found yet. The earliest I have found are the following:

D. Anderson's Ball-Room and Solo Dance Guide, he writes:

First and second ladies join hands, at same time first and second gents. join hands.

Then advance and retire, and cross over to each other's places, ladies passing under the gent.'s arms.

Advance and retire, then cross to places, ladies passing under gent.'s arms.

Top couple down centre and back.

First and second couples pousette.

Repeat.

Courtesy of National Library of Scotland, licensed under:

Also in Skinner writes:

Arrange the dancers as usual.

First and second ladies join hands, advance and retire with Quadrille step.

First and second gentlemen do the same at the same time. They re-advance, the ladies passing under the gentlemen's arms.

This is repeated, the gentlemen going under the ladies' arms

First lady and opposite gentleman then go dow the centre, back, and pousette.

Repeat.

Rory o' More has a tune of its own bearing the same name.

A quite different dance with this name appeared in the US in 1858 (Elias Howe, Boston). It seems likely to me that a dance appeared before 1897 in Scotland, but I haven't found any earlier sources.

Kate Hughes's manuscript, Dancing Book, Ireland, 1867, contains yet another version of the figure.

RSCDS Book1 attributes this dance to J. P. Boulogne's The Ball-Room, 1827, but it has earlier roots. Preston published a version in 1793, and Thompson published something rather different in 1790 named La Triomphe. Preston's version has three lead up abreast, but has not yet developed the triumphal arch over the woman.

Preston writes:

The 1^st. Lady set to the 2^d. Gentⁿ. & turn The 1^st. Gentⁿ. set to the 2^d. Lady & turn The 1^st. Lady take the 2^d. Gentⁿ. by the right hand & lead him down to the 3^d. Cu^s. place · The 1^st. Gentⁿ. cast off & his Part^r. all 3 lead up to the top together ·· the 1^st. Cu lead down the middle up again & cast off ··

Wilson writes:

3 PARTS

Single Figure.

The second Gentleman leads down the top Lady, at the same time the top Gentleman crosses over and leads down outside on the Ladies' side, the two Gentlemen then lead the Lady up in triumph to her place ··, then the top Gentleman leads down the second Lady, and the second Gentleman crosses over and leads outside on the Ladies' side, the two Gentlemen then lead the Lady up to her place in triumph ··, lead down the middle, up again, and right left .

Or thus:

Set and change sides ··, the second Gentleman leads down the top Lady, at the same time the top Gentleman crosses over and leads down outside the Ladies' side, the two Gentlemen then lead the Lady up in triumph to her place ··, down the middle, up again, and right and left .

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.

Common tune for dancing in both the UK and the US; Thompson, Wilson, Howe, Washburn, Squire, and Schell all have figures set to it, but I have found none which seems to match this one.

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

Published by Goulding & D'Almaine in 1827 as Blue Bonnets are over the Border. I do not have access to the original text. but Robert Keller gives the figures as:
Change sides
Change sides (again)
Lead down and back
Poussette

Smyth, in 1830, page 31, calls it Blue Bonnets Over the Border and writes:

First Lady and second Genlemen advance and retire, and pass back to back, the first Gentleman and second Lady the same Down the middle and up again, and poussette.

So where is the progression in this dance? Either in the poussette or in "down the middle and up again". If you look at Mrs McLeod (page 33) you will see that, for Smyth, "down the middle and up again" is progressive.

Smyth (an Edinburgh dancing teacher) classifies this as a "Scotch Country Dance".

The RSCDS says this was collected in Perthshire and Argyll.

The Thompsons published a dance called The Prince of Wales in ~1770, but it does not match this figure.

The Scotch Reform act passed in 1832 so presumably the dance was devised around then.

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.

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

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.

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.

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).

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.

In his A Companion to the Ball Room, 1816, Thomas Wilson published Lady Mary Douglas:, wherein he writes:

SINGLE FIGURE Tune played straight thro and Da Capo
Whole figure at top lead down the middle up again turn your partner & lead outsides

OR THUS Cross over 2 Cu: cross up 1 Cu: towards the top and half figure round the top Cu: & the double triangle

DOUBLE FIGURE Tune played twice thro and Da Capo
Hey on your own sides chain figure 6 round lead down the middle up again lead thro the top Cu: whole figure round the bottom Cu: turn corners whole figure contrary corners

The music consists of 2 eight bar strains. The RSCDS has chosen the DOUBLE FIGURE which means the music should be played ABBABB (I think). "" indicates a strain.

Wilson defines 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.
• Chain figure of six may be found on page 78 of the 3rd edition of the Analysis (1811). 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.
• 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.
• lead thro the top Cu: is half of through bottom and top on page 23 and means "the active couple take hands, lead above the top, drop hands, and cast up to their own places.
• whole figure round the bottom Cu: is defined as whole figure at top (that is when the 1s are at top so they figure through the couple below them) may be found on pages 12-13 and means "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."
• turn corners may be found on pages 28-32 and appears to mean: the 1s pass partner right shoulder to turn first corners with both hands, then pass each other right shoulder to turn second corners (presumably again with both hands, though Wilson does not specify), finally passing each other left to return to places.
• whole figure contrary corners is found on page 104 of the 3rd 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.

RSCDS Book 11 says "collected in Fife and Pebbleshire.
Let Glasgow Flourish in Allan's Reference Guide to the Ball-Room, Glasgow, c. 1900 is very similar.

Wallace in his The Excelsior Manual of Dancing, ~1872, names the dance "Let Glasgow Flourish"

1. Four hands across at the top and back again, (8 bars)
2. Six hands round and back (8)
3. Top couple down the centre and up finishing in second couples place, (8)
4. The first three couples promenade once round, (8)

Wallace gives no suggestions as to music.

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. 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

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.

Thompson writes:

The 1^st. Cu. half figure down on their own sides and turn the same up again and turn Gallop down and up and cast off Right hands and Left

The standard progression is a little tricky here. I have the 1s pass both 2s and 3s in the final rights and lefts.

Wilson, on page 96, writes:

SINGLE FIGURE Tune played straight thro
Cross over 1 Cu: half figure round the 3^d Cu: & lead outsides
OR THUSCast off 2 Cu: & back again & whole poussette
DOUBLE FIGURE Each strain repeated
Hey on your own sides lead down the middle up again allemande turn corners & the double triangle

This is an interpretation of the DOUBLE FIGURE. The music is two 8 bar strains (jigs) both repeated.

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.
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.
turn corners may be found on pages 28-32 and appears to mean: the 1s pass partner right shoulder to turn first corners with both hands, then pass each other right shoulder to turn second corners (presumably again with both hands, though Wilson does not specify), finally passing each other left to return to places.
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 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.

On page 24 of book 10, Campbell writes:

The 1^st. & 2^d. Cu Poussette quite round to their own places Lead down the middle up again hands 4 round at bottom Right & Left at top.

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

Campbell spells the dance "Miss Ogleves Fancy".

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.

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.

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

OR THUS Cast off 2 Cu: & back again lead down the middle up again & allemande

DOUBLE FIGURE Tune played twice thro with repeats
Hands 3 round on the ladies side, hands 3 round on the gent: side lead down the middle up again cast round the top Cu: set 3 across set 3 in your places half poussette with top Cu: & lead thro the bottom

The music consists of two eight bar strains. So if you repeat each strain you get 32 bars, which doesn't make sense for a SINGLE FIGURE. I think Wilson must have a misprint.

None of Wilson's figure's matches the RSCDS version very closely. The DOUBLE FIGURE at least begins with the two circles, followed by a lead down, up and cast. After that things are completely different.

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

1. Hands 3 round on the ladies side, hands 3 round on the gent: side this figure does not seem to be defined in any of Wilson's books - which is odd because Wilson uses it frequently. In The Sutherland Reel the RSCDS interpreted it as: "Hands three round at top on the Ladies' side, etc." which has the 1s circling with L2, and then the 1s circling with M2. Whereas in Ruffian's Rant they have the three ladies circling, and then the three gents - which seems a more obvious reading of the words.
2. lead down the middle up again cast round the top Cu: may be found on page 27 Top couple leads down to between the third couple, 1s turn and lead up to the top and cast down as the second couple moves up. (Wilson's pictures show them moving up the sidelines and not leading)
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. half poussette is defined on page 14 and means "top two couples join hands with partner, circle, counter-clockwise, around the other couple to return to places."
   Note: that this is actually two thirds of the whole poussette as defined by Wilson, and what most people would call a full poussette.
5. lead thro the bottom does not seem to be defined. I assume it means lead through the bottom couple and cast back to the middle.

Miss Milligan's Miscellany attributes this dance to Mozart Allan's Allan's Reference Guide to the Ball-Room, ~1880 in which it is called "Clydesdale Lassies". However the Lowes published it fifty years earlier as "Clydeside Lasses".

J.P. Boulogne published a dance with this name in 1827, but the figure does not match.

The Lowes write:

Four hands round; down the middle, and up again; pousette, and right and left.

It is worth noting that to the Lowes "down the middle, and up again" was a progressive figure, while "pousette" was not.

Rutherford calls this dance Epie McNabb, and writes:

All the Company foot it & change sides Foot it & change sides back again First Cou. cast off & turn Hands round all Six

Straight & Skillernhttps://imslp.org/wiki/204_Favourite_Country_Dances_(Various) calls this dance Gramachree, and writes:

1^st. and 2^d. Cu. set & change sides the same back again lead down the middle up again & cast off lead out each side

The RSCDS attributes this to Twenty Four Country Dances for the Year 1781 but according to Robert Keller the 1781 publication contains on such dance, however, the 1780 publication did. So I presume someone miscopied the date.

Playford published a dance with this name in 1657, but it has a completely different figure.

First and 2^d. Cu Set change & Right hands across The same back again & Left hands across lead down the middle up again and cast off Hands 4 at bottom Right and Left at top

The music consists of two 8 bar strains of a jig.