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.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

RSCDS Book 18 says "collected in Aberdeenshire (Hill MS - adapted)."

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".

In Wilson's A Companion to the Ball Room, 1816, (page 33) he published "My Only Joe & Deary O". Wilson writes:

SINGLE FIGURE (Tune played straight thro')
Hey on your own sides   lead down the middle up again & allemande  

OR THUS Swing with right hands round 2^d. Cu: right & left with 3^d. Cu:   lead thro the top & turn your partner  

DOUBLE FIGURE (Each strain repeated)
The 3 ladies lead round the 3 gentⁿ.   the 3 gentⁿ lead round the 3 ladies   promenade 3 Cu:   & whole poussette  

Wilson provides 2 eight bar strains, presumable played as reels not strathspeys.

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

1. the three Gentlemen lead round the three Ladies is defined on page 16 and means "The gentlemen take hands, and, with M1 leading, dance clockwise around the ladies and back to places. As they do that the ladies take hands, advance into the middle, pause, and fall back."
2. the three Ladies lead round the three Gentlemen is defined on page 16 and means "The ladies take hands, and, with L1 leading, dance counter-clockwise around the gentlemen and back to places. As they do that the gentlemen take hands, advance into the middle, pause, and fall back."
3. promenade 3 Cu: is defined on page 18 and means that all three couples take promenade hold and, with the 1s leading, travel in a counter-clockwise elipse around and back to places.
4. whole poussette is defined on page 15 and means: "top two couples join hands with partner, circle, counter-clockwise, one and a half times around the other couple to change places with them."
   Note: this is unlike a normal English Poussette as the couples travel once and a half around each other rather than once. And is quite different from the Scottish Poussette.

In his Twenty four Country Dances for the Year 1789, Goulding published a dance called "Chapman's Dance", but it's figure does not match this one.

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

Thompson published a dance named "Two to One" in 1785, but it's figure does not match.

Thompson published another dance named "Two for One" in 1765, which contains the cross and turn corners figure, but does not match the rest of the dance.

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

OR THUS Set & change places with 2^d. Cu: set & back again   lead down the middle up again & cast round the top Cu:  

DOUBLE FIGURE (Tune played twice thro' with repeats)
Set & half right & left with 2^d. Cu: set & back again   promenade 3 Cu:   whole poussette   whole figure round contrary corners  

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, and half right and left may be found on page 50 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.
2. promenade 3 Cu: is defined on page 18 and means that all three couples take promenade hold and, with the 1s leading, travel in a counter-clockwise elipse around and back to places.
3. whole poussette is defined on page 15 and means: "top two couples join hands with partner, circle, counter-clockwise, one and a half times around the other couple to change places with them."
   Note: this is unlike a normal English Poussette as the couples travel once and a half around each other rather than once. And is quite different from the Scottish Poussette.
4. whole figure contrary corners is defined on page 104. 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 31 attributes this to Thomas Murphy's Aide Memoire, a manuscript from about 1890, but it is clearly derived from Clutha C.D. in Kate Hughes's Dancing Book, ~1867:

1. Top couple swing in the centre
2. Cast a couple and swing
3. Balance four in line with second couple and turn opposite partners
4. Rights and lefts
5. Set and turn opposite partners
6. Half chasie and swing out time
7. Pousette

Hughes's dance is longways, but the figure is closely related.

The RSCDS attributes this dance to the New Enlarged and Complete Ball-Room Guide, but when you go to the National Library of Scotland's catalogue and request that book what you get is D. Anderson's Ball-Room and Solo Dance Guide, The Solo Dance Guide appears to have a second title page claiming to be the New Enlarged and Complete Ball-Room Guide. Both are said to have been published in 1897 and I suspect they are indeed the same work. At any rate this dance is in the Solo Dance Guide.

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

Time, 2-4 or 6-8

Stand as for the Quadrille.

Top and bottom couples give right hands across in the centre and go half round.

Give left hand and go back to places.

Top couple and right-hand couple advance and retire to each other. half rights and lefts to each other's places; at the same time bottom couple and left-hand couple advance and retire, half rights and lefts to each others places. Top and bottom couples are now at sides and side couples at top and bottom.

Top and bottom couples half ladies chain.

Side couples half ladies chain.

Top and bottom couples half ladies chain.

Sides half ladies chain, bring ladies back to their own partners.

Top and No. 3 couples again advance and retire, and half rights and lefts; at same time bottom couple and No. 4 couple advance and retire and half rights and lefts, bringing all into their original places.

All promenade half-round with partners.

All walk back to places, the ladies walking behind their partners.

Repeat from beginning — sides taking leading part the second time; top and bottom the third time; sides the fourth time.

Courtesy of National Library of Scotland, licensed under:

The RSCDS attributes this dance to the New Enlarged and Complete Ball-Room Guide, but when you go to the National Library of Scotland's catalogue and request that book what you get is D. Anderson's Ball-Room and Solo Dance Guide, The Solo Dance Guide appears to have a second title page claiming to be the New Enlarged and Complete Ball-Room Guide. Both are said to have been published in 1897 and I suspect they are indeed the same work. At any rate this dance is in the Solo Dance Guide.

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

Time, 2-4 or 6-8

Stand as for the Quadrille.

Top and bottom couples give right hands across in the centre and go half round.

Give left hand and go back to places.

Top couple and right-hand couple advance and retire to each other. half rights and lefts to each other's places; at the same time bottom couple and left-hand couple advance and retire, half rights and lefts to each others places. Top and bottom couples are now at sides and side couples at top and bottom.

Top and bottom couples half ladies chain.

Side couples half ladies chain.

Top and bottom couples half ladies chain.

Sides half ladies chain, bring ladies back to their own partners.

Top and No. 3 couples again advance and retire, and half rights and lefts; at same time bottom couple and No. 4 couple advance and retire and half rights and lefts, bringing all into their original places.

All promenade half-round with partners.

All walk back to places, the ladies walking behind their partners.

Repeat from beginning — sides taking leading part the second time; top and bottom the third time; sides the fourth time.

Courtesy of National Library of Scotland, licensed under:

SINGLE FIGURE (Each strain repeat)
Set & change sides with 2^d. Cu: set & back again   swing with right hands round 2^d. Cu: & allemande  

OR THUS The 1^st lady meets & turns the 2^d gent: the 1^st. gent: meets and turns the 2^d lady   lead down the middle up again & set to the top Cu:  

DOUBLE FIGURE (Tune played twice thro' with repeats)
Hands 6 round & back   promenade 3 Cu:   whole poussette   & the double triangle  

Wilson spells the title as "The Carle came o'er the Craft".

The music consists of two 4 bar strains.

The RSCDS is interpretting Wilson's DOUBLE FIGURE (The Wilson's poussette and double triangle are completely different from those of the RSCDS).

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

1. hands 6 round & back again may be found on page 5 and means what you expect. All take hands and circle left then right.
2. promenade 3 Cu: is defined on page 18 and means that all three couples take promenade hold and, with the 1s leading, travel in a counter-clockwise elipse around and back to places.
3. whole poussette is defined on page 15 and means: "top two couples join hands with partner, circle, counter-clockwise, one and a half times around the other couple to change places with them."
   Note: this is unlike a normal English Poussette as the couples travel once and a half around each other rather than once. And is quite different from the Scottish Poussette.
4. the double triangle is defined on page 113 and means: "the middle couple loop first corner right shoulder pass outside partner's place, then loop 2nd corner right shoulder and return to place.
   This is completely different from the RSCDS version of double triangles.

The RSCDS attributes this dance to Mozart Allan's Allan's Reference Guide to the Ball-Room, ~1880 with a note that it may also be found in Kate Hughes's Dancing Book.

1. All the gents set and turn the lady on the right (8)
2. Set and turn the lady on the left (8)
3. Set and turn partners (8)
4. Top couple lead in (8)
5. Top couple poussette in (8)
6. Top and bottom change places bottom open up (8)
7. Back to places and top open up (8)
8. Repeat nos 6 and 7 (16)
9. Eight hands half round and turn partners (8)
10. Poussette to places.
11. Repeated by the other couples.
12. Finish with all promenade

J. F. Wallace also published it in about 1872 in his The "Excelsior" Manual of Dancing:

1. All eight advance (gentlemen to right, ladies to left) balance at corners and turn with both hands, (8)
2. All advance to partners, balance and turn, (8)
3. Couple No. 1 promenade round inside of quadrille, (8)
4. Couple No. 1 poussette or galop round, (8)
5. Couples No. 1 and 2 change places, cross No. 1, passing between couple No. 2; return to places Couple No. 2, passing between couple No. 1, (8)
6. Repeat No. 5, (8)
7. All promenade, (8)
8. All join hands and go half round to left and pousette or promenade back to places (8)

Note: Wallace is using the quadrille system for numbering couples. The second couple is the one directly across from the 1st.

While Allan says:

1. All pass partners, set and turn at the corners.
2. Repass to places, set to partners, and turn
3. Top couple promenade round in the inside of the dance.
4. Then pousette round.
5. First couple cross over to opposite couple's place, the bottom couple passing on the outside to top couple's place.
6. The bottom couple to places, passing in the center, and the first couple repassing on the outside.
7. The top and bottom repeat the same.
8. All join hands and round.
9. All promenade round with partners.

Courtesy of National Library of Scotland, licensed under: