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

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)

		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 .

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.

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.

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.

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 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 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)

Rutherford spells the dance "Lady McIntosh's Rant" and writes:

Cast off one Couple Cast up Again Lead down two Couples up again, foot it foot it & cast off Right Hand and Left

Rutherford's music consists of a two bar strain and a four bar strain.

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.

Johnson published a dance called Rock and a Wi Pickle in 1742, but the figure is completely different.

The Lowes write:

First couple cross over, giving the right hand, and cast off one couple; cross back again, giving the left hand, and up to places; four hands round, and back again; down the middle, and up again, and pousette.

If you look at other dances by the Lowes you will find that "down the middle and up" is progressive, and "poussette" is not. This is at variance with the RSCDS which does the reverse, but is quite in keeping with 19th century dances.

The RSCDS attributes this to Allan's Ball-Room Guide, ~1880, but it appeared earlier.

Rutherford published a dance with this name in 1756, but it does not match this figure.

Smyth writes:

Four hands across half round and pousette, back to places, the first couple down the middle and turn half round and up again, four hands round at top, then turn to proper sides.

The Lowes write something similar:

Cross hands half round and pousette back to places; the first couple down the middle, and turn half round; up again and hands four at top; then turn to proper sides.

Finally Allan writes:

1. First and second couples right hand across and half round, back to places with pousette.
2. First couple down the centre, turning half round and up again.
3. First and second couples right hands across and round turning into places.

Courtesy of National Library of Scotland, licensed under:

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.

The RSCDS claims this dance was collected in Shetland.

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  

The Scottish Country Dancing Dictionary attributes this to Gow, 1822, while the SCDDB says "Unknown" (1822). As far as I can tell, Gow did not publish any choreographies, though he did publish music. I can't find any publications from 1822 which appear appropriate.

However, in Lowes' Ball-Conductor and Assembly Guide, Edinburgh, ~1831 the the Lowes write:

First couple join hands, and set to second Lady; same to second Gentleman; down the middle, and up again; four hands across, and back again, and pousette at top.

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)

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. Campbell is also said to be the devisor (and not just the publisher) of this dance.

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:

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).

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 Peebles-shire."

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

Playford (1701), Johnson (1751) and Rutherford (1756) published dances called "The Punch Bowl" but none has a figure with matches this one.

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.

According to The Regency Dance site in his book Campbell's 11th Book of New and Favorite Country Dances & Strathspey Reels there is a dance "The Bob of Fattercairn". But I don't have access to the original to verify that the figures match.

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.

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.

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

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

RSCDS Book 6 claims this was "collected in Roxburghshire."

Longman & Broderip entitle their dance "Captn. Mc.Donald's Fancy" and its figure is lead, lead, circle, turn, turn, turn, turn. The RSCDS seems to have turned the circle into hands across, but otherwise the figures match.

In about ~1792, William Campbell published "Capt. Mc. Donalds Fancy" in his Campbell's Seventh Collection of the newest & most Favorite Country Dances and Cotillions but its figure does not match this one.

The Regency Dance site confirms that Campbell did publish a dance named "The Highland Plaid, or the Tartan Plaiddie" in his 3rd collection, but it does not describe the figure.

In Dale's Selection of the Most Favorite Country Dances and Reels he published a figure similar to the RSCDS's one:

Change sides and back again; Hands across and back again; Lead down the middle, up again; cast off and Allemand.

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.

Campbell writes:

Cast off 2 Cu. up again ·.· Lead down the middle up again Poussette quite round with the 2^d. Cu. swing corners hands four half round Right & Left ::

The RSCDS's interpretation is pretty accurate, except for the perennial problem that, for Campbell, "lead down the middle and up" is progressive while "poussette" is not progressive.

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

1^st man leads up the 3^d woman to the top & she casts off, then the 1^st woman does the same, then both 1^st and 3^d pair dances down the middle; & the 3^d pair turns each other round while the 1^st pair dances up again & casts off; then the 1^st pair leads down between the 3^d pair and casts up.

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

		Bars
1.	Half right and left at top, and lead down the middle,	8
2.	Half right and left, and lead up again,	8
3.	Pousette,	8

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

The next earliest source I can find is J. F. Wallace's The Excelsior Manual of Dancing, Glasgow, ~1872, who writes (on page 68):

1. Half right and left by couples No. 1 and 2, and down the center four, (8 bars)
2. Half right and left and back to places, (8)
3. Reel of four, (8)
4. Pousette, (8)

RSCDS Book 8 says this is from the Lowes' collection of 1844. But there is an earlier source.

I do not claim this dance originated in the US, merely that the first source I have for it comes from the US. It is much more likely that it originated in the UK.

M. J. C. Fraisier's The Scholars Companion Containing a Choice Collection of Cotillions & Country-Dances, Boston, ~1796 contains the earliest version of this dance I have found. He calls it "Lass of" rather than "Lass o'". It is not a perfect match, but there are clear similarities.

The 1st gent. and lady allemande with their opposite with the right hand, ditto with your own partner with the left hand, lead down the middle, up again, cast off 1 cou. 6 hands round and chain at top.

The "allemande" above sounds very like the standard linked arm allemande of the regency period.

The next example comes from the Lowes' Lowes' Ball-Conductor and Assembly Guide, Edinburgh, ~1831:

First Gentleman turns the second Lady, fully round by the right hand; first Lady does the same with the second Gentleman; down the middle, and up again; poussette and right and left.

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.

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

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

In 1796 Skillern published Tulloch Goram and later Skillern (again), and Bland and Wilson all published dances named Tulloch Gorum whose figures do not match.

Smyth and the Lowes (~1830) published a dance called Tullochgorum but again the figure does not match that of the RSCDS.

Allan (~1895) also published a Tullochgorum but his figure does not match that of the RSCDS.

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 & 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.

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).

RSCDS Book 10 attributes this to "Jno Johnson Caledonian Country Dances Vol. II, c. 1754". According to Robert Keller's site, Johnson published "A Choice Collection of 200 Favourite Country Dances" Vol. 6&7 in ~1751, and Vol. 8 in ~1753. None of these has a dance called "Briest Knot" or "Breast Knot" or anything similar. Johnson did publish a "24 country dances for the year ..." series. The one for 1755 does not have a dance with this name. (I don't have access to any of the others). He also published "Caledonian Country Dances", the one published in ~1750 does not contain a dance with this name. He may have published other books but I do not have access to them.

However, in ~1759, Rutherford published "Rutherford's compleat Collection of 200 of the most celebrated Country Dances both Old and New, Vol. 2" which contains a dance called "The Ladies Breast Knott" whose figure matches that of the RSCDS.

Rutherford writes (in dance 79)

First Cu cast off & hands across with the 3^d Cu the 2^d Cu does the same Hands round 6 lead down two Cu: & cast up into the 2^d Cu^s: Places & turn your Partner

Thompson also published a dance called The Breast Knott in 1771, but its figure does not match.

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 10 says "collected in Roxburghshire."

Rutherford (~1756) published a dance called Scots Bonnet, while in ~1757 Thompson published the same figure and called it Scotch Bonnet, but their figure does not match this one.

Wilson in 1809 published several figures called Scotch Bonnet, but, again, none matches this one.

RSCDS Book 10 says "collected in Roxburghshire."

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.

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.

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.

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 to David Rutherford, but it was actually published by John (Rutherford), and, in any case was published earlier with the same figure by Thompson.

Rutherford writes:

Turn right hands and then left lead you Partner down and bring up the third Wo. then the first and third Cu. turn right hands & then left lead the third Wo. down and your Partner up & cast off.

For once the RSCDS interpretation seems to match the original closely.

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

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

Walsh published a dance called Jenny Dang the Weaver in his book Twenty Four Country Dances for the Year 1736 (and in several later books), but it has a different figure from this dance.

Johnson published his version first in about 1742 in A Choice Collection of 200 Favourite Country Dances, Vol. 2nd, and also in later books. Johnson called it Musselborough, or Jenny bang the Weaver.

Johnson writes:

Each Strain twice

The 1^st. Man and the 2^d. Wo. take Hands and swing Then the 2^d. Cu. being at top they do the same then 1^st. Cu. lead down to the bottom and cast up to the top and turn then Right and Left.

The music consists of two 4 bar strains. The dance appears to need 64 counts of movement, so I presume the strains are intended to be played at 4 counts per bar.

After the first turn, Johnson says: Then the 2^d. Cu. being at top. Only the 2s aren't at the top. Only W2 is at the top (and that's assuming that the turn in the previous figure is once and a half. So we assume that Johnson left out how far to turn and that the 2nd corners should do the same as the first. Only then will the 2s be at the top. The RSCDS also made this choice.

Johnson says to take Hands which implies a two hand turn, but the RSCDS chose a right hand one.

Johnson has the lead down followed by a cast up to the top, while the RSCDS has a lead down, lead up to 2nd place.

Johnson's then Right and Left would have to be three changes (because the 1s are at the top and they need to progress) rather than the four used by the RSCDS.

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

Walsh writes:

The 1st Man Heys with the 3d Cu. his Partner at the same Time heys with the 2d Cu. Then the 1st Man Heys with the 2d Cu. 1st Wo. at the same Time Heys with the 3d Cu. First Cu. leads thro' the 2d and 3d We. and turn in the 2d Cu. Place First Cu. leads through the 2d and 3d Men and turns at Top The 1st Cu. Back to Back and cast off and turn The 2d Cu. does the same First Man leads the 2d Wo. off and turns her First Wo. leads the 2d Man off and turns him, 1st Man cast off at the same Time.

Walsh spells the dance "Soldier Ladie" rather than "Sodger Laddie".

Walsh uses a 32 bar jig tune repeated twice, while the RSCDS has cut the dance length in half.

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

According to Robert Keller's site Walsh published a dance called The Yellow Hair'd Laddie in his Caledonian Country Dances. Book the Second published ~1737.

Some years later Johnson published a dance with the same name and figure in his Caledonian Country Dances...ye 3d. Edition with Additions. A copy of this is online.

Johnson writes:

The 1^st. Cu. lead thro' the 2^d. Cu. & turn in their own Places, then Back to Back and turn The 2^d. Cu. do the same with the 3^d. Cu. Then the 1^st Cu. cast behind the 3^d. Cu. and lead up to the Top and turn then Back to Back and Right Hand & Left to the end of the Tune —

The music consists of 2 eight bar strains, both repeated.

What to make of The 1^st. Cu. lead thro' the 2^d. Cu. & turn in their own Places? What are "their own Places"? Sometimes that means their original places, and sometimes it means their progressed places. The RSCDS thinks it means their progressed places (which means the 2s must move up), but the next instruction The 2^d. Cu. do the same with the 3^d. Cu. suggests that the 2s and 3s are adjacent, which won't happen if the 2s have moved up. RSCDS seems to assume that's a misprint, and that Walsh means "1s" instead of "3s".

But if we assume Walsh meant what he wrote we still get a consistent dance. I think The 1^st. Cu. lead thro' the 2^d. Cu. is probably an abreviation for "1s lead down and cast back to place". We've got 4 bars of music at 3 counts a bar, and even at minuet pacing that's a lot of music just to lead down one couple, but it's about right to lead down and cast up. Then the 1s can do their turns and back-to-back "in their own Places" at the top of the set. And then the 2s can do the same with the 3s.

In the second half of the dance Walsh says Then the 1^st Cu. cast behind the 3^d. Cu. and lead up, but the RSCDS has them casting down 1 couple and leading up, not the 2 couple cast Walsh asks for

Some sources say the turns in the first 32 bars should be right hand, and some say both hand.

The crib diagram shows the "down the middle" to be with near hands joined but the online instructions say "lead".

RSCDS Book 13 says "collected in the Borders.

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

RSCDS Book 13 says "collected in Fife.

Goulding published a dance of this name in his Twenty-four Country Dances for the Year 1812, but the figure is different and the music is shorter.

In about 1831, the Lowes wrote:

The first Lady turns off, and goes half round two couples; at the same time her partner follows her, and (bringing her back by the promenade) turns her into her place; she then goes down the middle, her partner following her, and bringing her back by the promenade; they join hands four round with the second couple, and advance and retire; then cross hands fully round, and turn partners half round by the right hand; they join hands round again, and advance and retire, then pousette.

The Lowes call this an "Irish Country Dance".

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:

Time 6-8.

Top gent. turn a measure with first and second ladies.

Down centre arm and arm with the two ladies and back.

Hands across with second gent., and pousette.

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.

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.

Rutherford spells this dance as "The Crocked Horn'd Ewe".

The first Cu. Lead thro the 2^d. Cu. & cross over into y^e. 3^d. Cu.^s Place The 2^d. does the same The 3^d. Cu. casts off into their own Place, then the 3 Men turns their Partners & the first Cu. cross over two Cu. Lead up to the Top foot it & cast off Lead thro y^e. 3^d. Cu. cast up into y^e. 2^d. Cu.^s Place & turn your Partner

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.

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

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

RSCDS Book 15 says "from an old book of Scottish and Irish Dances (title page lost)."

Longman & Broderip published Platt's Six Cotillions and 12 Country Dances, for the Year 1791 which contains a dance with this name and essentially this figure (according to Robert Keller's site.

In 1792 Bland and Longman & Broderip published a different figure giving it the same name.

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

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.

The crib diagram attributes this to the Blantyre MS which is dated ~1805. I cannot verify this claim.

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.

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.

The dance was originally published in 1771, presumably in a "Twenty four country dances for the Year 1771", a work now lost.

Thompson writes:

Hey contrary sides Hey your own sides cross over 2 Cu. Lead up the middle and cast off Hands 6 round and right and left at Top

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.

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.

Donald Bane is an anglicization of Domnall Bán (Donald the Fair) and was the great-grandson of the king killed by MacBeth.

Wilson writes (on page 80):

SINGLE FIGURE Each strain repeated
Hands 3 round on the ladies side hands 3 round on the gents side   lead down the middle up again & right & left with the top Cu:  

OR THUS Set & change sides with the 2^d. Cu: set & back again   lead down the middle up again & allemande  
DOUBLE FIGURE
Hey on your own sides   swing with right hands round 2^d. Cu: then with left   hands 6 round & back again   set contrary corners  

Wilson usually gives multiple figures for a tune, this is an attempt to understand the double figure he describes.

The music consists of two 4 bar strains. Wilson's usual statement for double figures (which he gives on the dance above this) is Tune played twice through with repeats. So the music should probably be played AABBAABB.

Wilson spells the dance "Donaldbane".

Wilson defines most of his figures in his An Analysis of Country Dancing.
swing with right hands round 2^d. Cu: then with left may be found on pages 85-86 and means: right hand turn half (swing) to cross the set, loop partner's starting place, cross the set again above the 2s, ending proper between 2s & 3s.
left hand turn half to cross the set, loop partner's place, crossing below the 2s and ending home.
Wilson does not specify which shoulder to use when crossing the second and fourth times. 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.

It is not obvious to me where in this sequence Wilson expects progression to happen. Perhaps the first movement of set contrary corners has the 1s moving down and the 2s up.

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

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.

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.

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.

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

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.

The RSCDS attributes this dance to Johnson, and he did publish it in at least two books, but Walsh got there first and he published it in at least three books. Both of them spelt the dance Sulters of Selkerke.

According to Robert Keller's site these dances match the figure of the RSCDS interpretation.

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, 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.

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.

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.

The RSCDS attributes this dance to William Campbell. According to the the Regency Dance site Campbell never published a dance called "Miss Burns's Reel". He did publish one called "Miss Weddenburns Reel" and perhaps that is what was intended. Whether the figure matches I cannot check.

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.

According to the the Regency Dance site Campbell did publish a dance with this name. Whether the figure matches I cannot check.

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 contains the note "Collected in Glenesk, Angus".

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.

Book 24 has the comment: "Collected by Miss Jenny MacLaghlan."

The RSCDS attributes this to Ladies New Pocket Companion (with no date nor publisher). I have been unable to find this work.

Book 24 has the comment: "Collected by Miss Jenny MacLaghlan."

Book 24 has the comment: "Collected by Miss Jenny MacLaghlan."

Bourne, ~1820 in Admired Cottillions for Balls and Private Parties, 4th Sett (New York) published a dance with this name, but a different figure.

The Scottish Country Dance Dictionary attributes this to "J Cameron".

In 1821, GMS Chivers published a dance with this name but a different figure. Boulogne (1827) Smyth (1830), and the Lowes (1831) did the same. Elias Howe, in Boston, 1858, published a dance with this name and a figure with some similarities, probably not a source but an example of a dance which evolved from the same root.

The Scottish Country Dance Dictionary attributes this to "F Gilruth".

In his Cooke's Selection of the Preset Favorite Country Dances for the Year 1796 (Dublin), Cooke writes:

Change Sid: & Back again Down the mid: up again. Cast off & turn your Part:

The Scottish Country Dance Dictionary attributes this to "Dorothy Arton".

The Scottish Country Dance Dictionary and the Scottish Country Dance Database attribute this to Bremner, but there is no dance of that name in the one book by him that I have access to.

However, it does appear in Thompson's Twenty Four Country Dances for the Year 1774:

Turn Right hands & cast off 1 Cu. turn Left & cast off below 3^d Cu. hands round 6 lead up to the top foot it & cast off

Johnson in ~1751 published a dance called A Mile to Ride, but it did not match this figure.

Thompson, in 1771, Goulding, in 1808, and Wilson in 1809 and 1816 published dances called Ride a Mile, but none matches this figure.

RSCDS Book 26 says "the source previously given for this dance is The Collection of Robert Owen but we have not been able to verify this."

Thompson writes:

Swing right hands & cast off one Cu the same again lead to the top & cast off lead to the bottom & cast up one whole figure at top & bottom then the same on your own sides 4 hnds round at bottom right and left at top .

Also published in The London Magazine:

Swing right hands and cast off one couple , the same again , lead to the top and cast off , lead to the bottom and cast up one , whole figure at the top and bottom , then the same on your own sides , four hands round at bottom , right and left at top .

Wilson published several figures named Rob Roy in his L'Assemblee of 1819 but none has a figure which matches the RSCDS version.

On page 73 of his The Dancers' Guide, 1821, Chivers writes:

Rob Roy Macgregor... First couple lead down the middle, the second follow, half right and left back again, and half right and left swing corners right and left at top

On page 69 of his The Excelsior Manual of Dancing, ~1872, J. F. Wallace writes:

1. First couple down the centre, the second couple follow, (4 bars)
2. Half right and left by couples No. 1 and 2 at bottom, (4)
3. Couples No. 1 and 2 back again and half right and left, (8)
4. Set at corners and turn partners, (8)
5. Right and left by couples No. 1 and 2, (8)

Wilson spells the title "Auld Langsyne".

SINGLE FIGURE (Each strain repeated)
The 3 ladies join hands & the 3 gent: join hands set & lead thro' set & back again   set & change places with the 2^d. Cu: set & allemande  
OR THUS Set & half right & left with 2^d. Cu: set & back again   & whole poussette  
DOUBLE FIGURE (Tune played twice thro' with repeats)
Cross over 2 Cu: set   half figure on your own sides allemande at top   whole poussette   set contrary corners  

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

Wilson defines all his figures in his An Analysis of Country Dancing.
Cross over 2 Cu: may be found on page 22 and means "cross go below 2s, cross again, go below 3s".
half figure on your own sides may be found on page 67 and means "weave around the dancers on your own side, move between the couple above, then outside the next couple, finishing at top."
allemande may be found on page 7 and appears to mean a gypsy. This is an unusual meaning for "allemande", but, as best as I can understand, that is what Wilson describes.
poussette may be found on page 53 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.
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.

Rutherford (on page 55, dance 109) writes:

Gallop down one Cu: up again & cast off down another Cu: up again & Cast off Hands round 6 back again Lead to the top & cast off Right & Left at top

The music consists of three four bar strains.

Playford published (and Walsh copied) a Salley's Fancy in 1718, but the figure is different.

Wilson, on page 59, spells this dance Shon Truish Willichan and writes:

SINGLE FIGURE Each strain repeated
Set & change sides with 2^d. Cu: set & back again   swing with right hands round the 2^d. Cu: then with left   set 3 across set 3 in your places   lead thro the bottom & lead outsides  

SINGLE FIGURE (Each strain repeated)
Set & hands across quite round with 2^d. Cu: set & back again   promenade 3 Cu:   whole poussett   & set contrary corners  

OR THUS Cast off 2 Cu: & back again   set & half right & left with 2 Cu: set & back again   lead down the middle up again set to the top Cu:   hands 6 round & back again  

* This is the Scotch & the only real Shon Truish _ the other tune usually confounded with this derives its name from the french words Chant Russe signifying a Russian Song or Air _ each has a particular dance Composed to it, the above is more a favorite among the Scotch, but the Chant Russe is more prevalent in the English ball room. _ these dances consist of a number of steps necessary to be taught by a master & therefore the figure here set to them are only to adapt them for country dances

The music consists of four four-bar strains, to be played AABBCCDD. Wilson expects a reel, not a strathspey.

The RSCDS appears to be interpreting the third figure (the one titled OR THUS).

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

1. Cast off 2 Cu: & back again may be found on page 25 and means: top couple cast ending below the third couple, cast up and back to original places.
2. Set, and half right and left may be found on page 50 and means: Everyone sets in his or her place (he doesn't say whether this is to partner, neighbor or corner) then L1+M2 change by left, then M1+L2 change by right.
3. lead down the middle up again set to the top Cu: may be found on page 8 and means: Top couple leads down to between the third couple, 1s turn and lead up to 2nd place as the second couple move up (Wilson's pictures show them moving up the sidelines and not leading), then actives set (or foot it) to the second couple. (This seems to take 8 bars)
4. hands 6 round & back again may be found on page 5 and means what you expect. All take hands and circle left then right.

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

Time 6-8.

Top gent. down the centre and back with second lady, leave her at right of parner and join own partner, having her on right.

Top two couples advance and retire.

Re-advance, and turn opposite partners to right hand.

Advance and retire.

Re-advance, and turn own partners.

Two top couples pousette.

Repeat Figure to bottom.

Courtesy of National Library of Scotland, licensed under:

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

Goulding spells the title The Land of Cakes.

The adaptation is rather loose.

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.

Kynaston writes:

Each Strain twice.

The 1^st. and 2^d. man go back to back with their partners, and turn each a whole round and a half then back to back sides and turn as before men being improper, the 1^st. cu. go right hands and left with the 2^d. cu. half round, all dance and turn single the 1^st. cu. lead through the 3^d. cu. cast up and turn partners quite round

Note: Each Strain is to be play'd twice over.

The 1. cu lead down between the 2. cu. and cast up into their places, then the 1. man take the 2. man with his right hand and lead through between the two we. and come into their own places. This to the first Strain play'd once

The 2. cu lead up through the 1. cu. and cast off into their own places, and the 1. wo. and 2. wo. lead through between the two men, and cast off into their own places. This to the first Strain play'd twice The 1. man set to the 2. wo. then fall back and turn S. the 1. wo. do the like to the 2. man, then all four hands half round, then set to your Partners and change to your own sides.

This is basically the same as Sharp's interpretation except that the "Women lead through Men" and "2s lead through 1s" have been switched, and both corners set rather than the 1s setting to their corners in B1.

SINGLE FIGURE (Each strain repeated)
Hands 3 round on the ladies side hands 3 round on the gent^ns. side   lead down the middle up again & allemande  

OR THUS Set & change places with 2^d. Cu: set & back again   & whole poussette  

DOUBLE FIGURE (Tune played twice thro' with repeats)
Set & hands across quite round with 2^d. Cu: set & back again   lead down the middle up again set to top Cu:   swing corners   chain figure four round with top Cu: & turn your partner  

The music consists of two 4 bar strains. Probably played as a reel rather than a strathspey.

The RSCDS is interpretting Wilson's DOUBLE FIGURE

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

1. Set & hands across quite round is one figure which Wilson does not define. However he defines hands across on page 12 where he defines a normal hands across but says they only turn half round (with a footnote saying it is often done by turning completely round and then back again).
   So I'm going to assume that quite round actually means half round. So two bars of setting, followed by two bars to do half a hands across.
2. lead down the middle up again set to the top Cu: may be found on page 8 Top couple leads down to between the third couple, 1s turn and lead up to 2nd place as the second couple move up (Wilson's pictures show them moving up the sidelines and not leading), then actives set (or foot it) to the second couple. (This seems to take 8 bars)
3. swing corners is defined on pages 55-58 and appears to mean: the 1s turn partner by the right hand then 1st corners by the left hand, partner right, 2nd corners left and returning home the shortest way (by the left shoulder).
4. Chain figure for four may be found on page 76 and boils down to what anyone else would call rights and lefts.
5. Turn your partner may be found on page 2 and boils a two hand turn (Wilson calls a right hand turn "swing your partner").

Thomas Bray published a dance with this name in 1699, but its figure is very different.

Walsh published a different figure in 1745.

John Rutherford published a figure which seems to match the RSCDS version in 1775.

Wilson writes (on page 70):

SINGLE FIGURE Each strain repeated
The 1^st. lady lead down the 2^d gent. the 1^t. gent. lead down 2^d. lady   lead your partner down the middle & up again & set to the top Cu:  

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

DOUBLE FIGURE Tune played twice thro with repeats
Hey contrary sides   swing with right hands round 2^d Cu: then with left   set contrary corners   & whole figure contrary corners  

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 usually gives multiple figures for a tune, this is an attempt to understand the first figure he describes.

Wilson defines most of his figures in his An Analysis of Country Dancing.
The 1^st. lady lead down the 2^d gent. may be found on page 20 and means: Lady 1 and Man 2 meet in the middle and lead down two couples and then return the same way.
The 1^t. gent. lead down the 2^d lady may be found on page 21 and means: Man 1 and Lady 2 meet in the middle and lead down two couples and then return the same way.
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.

RSCDS Book 31 says this comes from Allan's Reference Guide to the Ball-Room, ~1880, and it is in that work, but it appears earlier.

In 1852 Seaton published Original Polka Country Dance which also begins with the top couple improper, and contains a lady's chain but there is little similarity beyond that.

In ~1867 Kate Hughes's Dancing Book, Dundalk, 1867 there is an earlier version of the figure:

1. The top couple change places as in the Guaracha first and seceaond couples set at the sides and pass to each others places set to partners and pass repeat.
2. Top couple down the centre and up agin
3. Poussette

Allan's Reference Guide to the Ball-Room, Glasgow, ~1895, says.

1. Top couples change places and face down the dance, the second couple facng up; first and second couple set with two Polka steps and pass to each other's place, set to partners and pass, set again at the sides and pass, and again to partners and resume places.
2. First couple down the centre and up.
3. Pousette.

Courtesy of National Library of Scotland, licensed under:

Walsh writes:

First Man foot it to the 2d Wo. and cast off into the 2d Man's Place, and the 2d Wo. cast up at the same time into the 1st Wo. Place — Then the 2d Man foot it to y^e 1st Wo. (he being at Top) and cast off into his Place, and the 1st Wo. cast up into her Place then the 1st and 2d Man foot it to their Partners, the 1st Cu. cast off one Cu. take Hands with the 2d. Cu. and lead up, foot it and cast off into the 2d Cu: Place.

The music is two eight bar strains, the first repeated, the second not.

Walsh spells "Glasgow" as "Glascow".

Davis also published this dance in 1748, and also spells "Glascow", I have no idea which published first.

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

1^st & 2^d women leads forward then falls back then leads through the 1^st & 2^d men; then repeats the same & the 1^st & 2^d man leads through them back to their places again; then the 1^st pair crosses over two pair down, & crosses up one pair & falls into their places then the 1^st man leads the 2^d & 3^d man forward, while the 1^st woman does the same on the woman's side, then the 1^st man turns the 3^d woman & falls in between her & the 2^d woman, the 1^st woman in the meantime turns the 2^d man & falls in between him & 3^d man & leads forward as before & turns his partner, then they go six hands round with the 2^d and 3^d pair then back again to their own places.

Note: There is a Playford tune and dance with this name from 1652, which is an 4 bar slip jig. This is not it.

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

Reel Time.

Top couple turn half a measure with right arm. turn half a measure with left arm.

Top gent. set and turn second lady.

Top lady set and turn second gent.

Ladies chain.

Top couple down centre and back.

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.

Miss Milligan's Miscellany 1 attributes this to Mozart Allan's Allan's Reference Guide to the Ball-Room of 1880, but the figure occurs earlier than that.

1. Three ladies at the top advance and retire.
2. Three gentlemen advance and retire.
3. The top lady turns round to right, the other two following — same time the three gentlemen turn to left, meet partners at fourth couple, lead up the centre.
4. Three couples galop round to places.
5. Two couples pousette.

Courtesy of National Library of Scotland, licensed under:

The earliest example I've found is J. Seaton's The Ball-Room Manual and Etiquette of Dancing, Halifax, 1852. Seaton calls it "Lord Burghersh's Favorite, or, the British Grenadiers":

Three gentlemen advance to their partners, and retire; three ladies do the same; the first gentleman and second lady advance and turn all round by the right hand to places; the second gentleman and first lady do the same; the first couple lead down the centre of the dance and up agian, and take the second couple's place; the top couple balance and turn all round, giving both hands. When the first couple again arrive at the top, and the last couple at the bottom, each gentleman takes the lady's left hand, and finishes with a quck march round the room, lead by the first and all the other couples following until they return to places.

By 1862 it had migrated to the US and may be found in Elias Howe's American Dancing Master, Boston, 1862. Howe calls also it "Lord Burghersh's Favorite, or the British Grenadiers" and quotes Seaton verbatim.

The next example is from Kate Hughes's Dancing Book, Dundalk, 1867

1. The three top gents advance and retire (4)
2. The three top ladies the same (4)
3. The three top couples promenade to places (8)
4. The tow top couples swing four half round and turn partners (8)
5. Pousette

Then Wallace The "Excelsior" Manual of Dancing, Glasgow, 1872

1. Gentlemen No. 1, 2, and 3 join hands and advance and retire (4)
2. Ladies, Nos. 1, 2, and 3 do likewise (4)
3. The three couples promenade to places (8)
4. Gentlemen No. 1 and 2, and ladies No. 1 and 2, give right hands across, back giving left (8)
5. Pousette, (using Galop step, making a half turn with each, (8)

I do not have access to Allan's work to quote it.

Miss Milligan's Miscellany 1 attributes this to Wilkie's The Ladies' Pocket-Book for the Year 1794 but according to Robert Keller's site, that book contains no dance anything like "Charles Stuart" either in name or figure.

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.

Johnson writes:

Hands 4 across quite round the same back again 1^st. Man foot it to the 2^d. Wo and turn 1^st. Wo do the same 1^st. Cu. lead down two Cu. and cast up one lead thro' the 2^d. Cu. and cast off hands 4 round at Bottom Right and Left at top

Johnson's music consists of two 8 bar strains

Thompson also published this figure in 1757

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

Many figures were set to this tune, but this one appears to have been first published by either Longman and Broderip or William Campbell, both in about 1790. In 1793 Preston published the same figure:

Cast off 2 Cu: up again. Lead down the middle up again & cast off. turn corners & lead out sides

Wallace writes:

1. First couple advance to centre of dance, turning round to right and set, (4)
2. Advance to opposite side turning to left and set, (4)
3. Turn partner with right and back with left hand, (8)
4. Down the centre and back, (8)
5. Pousette, (8)

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 dance to Mozart Allan's Allan's Reference Guide to the Ball-Room, ~1880 but it appears much earlier than that.

1. Three hands round on the ladies' side, the same on the gentlemen's side.
2. Down the centre and up again.
3. Pousette.
4. Right and left to places.

Courtesy of National Library of Scotland, licensed under:

Smyth in 1830 writes:

Three hands round on the Ladies' side, the same on the Gentlemen's, down the middle and up again, pousette, right and left once round,

In 1788 the Thompsons published an early version:

Three Ladies Promenade round the three Gent. Three Gent. round the Ladies Lead down the middle up again and cast off Allemand with your Partner

Rutherford writes:

The first Cu. cast off & Hands round with the 3^d. Cu: Cast up Again & Hands round with the 2^d. Cu: Gallop down two Cu. Up again cast off & turn Lead thro' the 3^d. Cu. cast up into the 2^d. Couple's Place & turn your Partner

In ~1860 Eugène Coulon published a dance named "Long Live the Queen" in his Coulon's Hand-Book, Containing All the Last New and Fashionable Dances, but it's figure doesn't match this one. (This version was frequently republished, even making it across the Atlantic where Howe published it in 1862.

In ~1872 Mr Layland published a different figure with this name in The Victoria Danse Du Monde and Quadrille Preceptor which is slightly more similar to the RSCDS version.

This is not like normal 4 couple dances. The first couple dances once through from the 1st position, then again from the 2nd position, and then (somehow) ends in the 4th position. You would think that would mean that the dance would run for 8 repetitions, but both the SCD dictionary and SCD database say there are only 4 iterations (MMM1 does not specify the number of iterations).

Kate Hughes writes:

1. The tow top ladies and the tow top gents advance and retire and change places [8]
2. Top ladie and second gent swing in the centre and back to places (8)
3. econd ladie and first gent the same (8)
4. Down the center and up (8)
5. Pousett

While in ~1872 J. F. Wallace wrote in his The "Excelsior" Manual of Dancing:

1. Top four advance and retire, and half right and left, (8)
2. First lady turns the second gentleman by giving right hand and both return to places, (4)
3. Second lady and first gentleman repeat No. 2, (4)
4. First couple down the centre and back, (8)
5. Pousette, (8)

According to Robert Keller's site the original description for this dance is "hands across, lead down and up, poussette".

Straight writes:

Change sides & back again lead down the middle up again & cast off allemand with the right & left hand hands 6 quite round