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

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

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

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

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

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

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

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

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

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

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

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

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

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

The Circassian Circle

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

First Circassian Circle

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

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

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

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

Wilson writes:

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

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

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

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

FIGURE

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

Courtesy of National Library of Scotland, licensed under:

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

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

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

Rights and lefts to places.

Set and turn partners.

Ladies' chain.

Pousette into opposite places.

Repeat figure with next couple round the room.

Courtesy of National Library of Scotland, licensed under:

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

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

In 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.

Clementi published a dance of this name in London, but with a different figure.

In 1830 Smyth writes:

The two first couple figure partners first by the right and then by the left, all four down the middle arm in arm and up again, pousette and right and left.

The Lowes write:

First Lady swings the second Gentleman, first by the right hand, then by the left; at the same time the first Gentleman does the same with the second Lady; all four down the middle arm in arm, and up again, pousette, and right and left.

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 the RSCDS (Book 1) 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 and the author is J. P. Boulogne, but, again, I can't find this work.

The 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.

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.

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)

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

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

The Lowes in ~1831 write:

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

Arthur Miller, Leeds, 1900 writes:

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

All set to each other, eight bars.

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

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

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

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

The 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, but it occurred elsewhere earlier. Both Smyth and the Lowes published it in about 1830, I think Smyth was earlier.

Smyth, in 1830, page 32, writes:

Four hands across and back again, down the middle and up again, Ladies out side and back again, and pousette,

The Lowes, in 1831, page 107, writes:

Four hands across; down the middle; up again; lead out to the sides, three and three in line, (The Lady between the two Gentlemen, and the Gentleman between the two Ladies); back again, and pousette with the top couple.

These clearly describe the same dance.

It seems likely to me that the hands across, should be back again to fill out eight bars.

Both Smyth and the Lowes use "down the middle and up again" as a progressive move. (and poussette is not)

But if the Lowes are to be believed it should leave the 1s in 2nd place improper (note the 2s aren't improper, so the change can't happen in the hands across). So presumably they wheel around at the bottom rather than turning individually.

But how do the 1s become proper again? We could have the 1s do half a draw poussette, and half a regular poussette but I'm not aware of any draw poussettes in 19th century dances so that doesn't seem a good solution.

lead out to the sides ... back again usually takes 4 bars... Summing up all the figures leaves 28 bars, so perhaps a four bar movement was omitted?

Smyth (an Edinburgh dancing teacher) and the Lowes (also Edinburgh dancing teachers) classify this as a "Scotch Country Dance". Both spell the dance "Rachel Rae".

In Allan's Reference Guide to the Ball-Room, Glasgow, ~1895, the dance has become Rachael Rae.

1. The first and second couples right hands across, round and back with left hands.
2. Lead out to the sides, three and three in line, the lady between the two gentlemen, and the gentlemen between the two ladies.
3. Back again, and pousette with the top and second couples.

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.

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 claims this is "from the Border Country".

The Lowes write:

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

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

The RSCDS attributes this to J. P. Boulogne's The Ball-Room, or the Juvenile Pupil's Assistant; Containing the Most Fashionable Quadrilles, with Les Lanciers of Sixteen, As Danced in the Public & Private Assemblies in Paris, 1827. Not having access to that work, I can't verify the claim.

It does have 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)

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.

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

Wilson writes (on page 40):

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

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

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

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

The music consists of two 8 bar strains.

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

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

Wilson writes (on page 67):

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

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

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

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

The crib diagram attributes this to Boulogne's The Ball-Room, or the Juvenile Pupil's Assistant; Containing the Most Fashionable Quadrilles, with Les Lanciers of Sixteen, As Danced in the Public & Private Assemblies in Paris,, 1827. A statement I am unable to verify.

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

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

The 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)

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.

Wilson writes (on page 76):

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

• Hey on your own sides is only defined as part of "Hey Contrary Sides, and Hey of your own Sides" on page 83 and he shows a mirror/reflection hey.
• Chain figure of six may be found on page 78 of the 3rd edition of the Analysis (1811). The top couple face their partner, as the others face their neighbor then everyone does rights and lefts until they return to where they started. Wilson does not specify how to fit the 6 changes into 8 bars of music.
• lead down the middle up again may be found on pages 10-11 and means: "lead down two couples, turn, lead up to the place of the couple who were below (who move up)" Wilson does not specify a hand hold for the lead, nor whether the 2s take hands.
• lead thro the top Cu: is half of through bottom and top on page 23 and means "the active couple take hands, lead above the top, drop hands, and cast up to their own places.
• whole figure round the bottom Cu: is defined as whole figure at top (that is when the 1s are at top so they figure through the couple below them) may be found on pages 12-13 and means "the active lady starts and crosses down, looping around the man below her then she again cross between the couple below, looping around the woman below and casts up to her own place. The active man starts a little after her and mirrors her motions, looping the woman below and then the man below."
• turn corners may be found on pages 28-32 and appears to mean: the 1s pass partner right shoulder to turn first corners with both hands, then pass each other right shoulder to turn second corners (presumably again with both hands, though Wilson does not specify), finally passing each other left to return to places.
• whole figure contrary corners is found on page 104 of the 3rd edition of the Analysis (1811). Rather awkwardly, Wilson provides two different (contradictory) directions. In the first "the 1s cross down, W1 in front of M1, W1 around M3, M1 around W3, then cross up, W1 around W2, M1 around M2, and return home". In the second the "1s cross up, W1 around M2, M1 around W2, then cross down W1 around W3, M1 around M3, and return home.

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

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

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

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

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

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

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

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.

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

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".

RSCDS Book 13 says "collected in Angus.

The earliest source I can find for this was published in London, in 1844. The next two sources I have were both published in 1848. One in the US, and the other in the UK.

John Johnson published a dance with this name in 1744, David Rutherford published one in 1756 but they both have a different formation and figure.

In his The Ball-Room Polka, Polka Cotillon, and Valse à Deux Tems. (London, 1844), page 63, Eugene Coulon writes:

What is called the HIGHLAND REEL is danced to a three-part tune. Those taking part in it are arranged in parties of three, down the room as follows :— A lady between two gentlemen facing the three opposite, all advance and retire; each lady then performs the reel with the gentleman on her right, and the opposite gentlemen to places; hands three round and back again; all six advance and retire; then lead through to the next three, and continue the figure to the bottom or the room. It is generally danced with the Highland step.

In his The Ball-Room Companion, A Hand-Book For The Ball-Room And Evening Parties (New York, 1848), page 61, George Appleton writes:

What is called the HIGHLAND REEL is danced to a three-part tune. Those taking part in it are arranged in parties of three, down the room, as follows:— A lady between two gentlemen facing the three opposite, all advance and retire; each lady then performs the reel with the gentleman on her right, and the opposite gentlemen to places; hands three round and back again; all six advance and retire; then lead through to the next three, and continue the figure to the bottom of the room. It is generally danced with the Highland step.

This is exactly the same as the RSCDS version (except that the RSCDS has men in the middle, and women on the outside, and is a round the room dance.

In London, at the same time, Charles Mitchell published A Guide to the Ball-Room & Illustrated Polka Lesson Book:

(As danced at Blair Athol.)

Usually danced by two couples; but being a favourite, the admission of many is not unusual. The company form parties of three along the room; the lady's position being between two gentlemen, and fronting the opposite three: all then advance and retire, each lady performing the reel with her right-hand partner and the opposite gentleman to places: hands three round, and back again: all six advance and retire; after which lead through to the next three, continuing the figure to the end of the room.

Adopt the Highland step, and music, of three parts tune.

The wording is almost the same on both sides of the Atlantic

In London, ~1857, in Milner and Sowerby's Etiquette for Ladies and Gentlemen, they write:

This is a favourite dance, and is easily learned. It is performed by the company arranged in parties of three, all down the room, in the following manner: a lady between two gentlemen facing the opposite three; they all advance and retire, each lady then performs the reel with the gentleman on her right hand, and the opposite gentleman, to places; hands three round and back again; all six advance and retire; then lead through to the next trio and continue the figure to the bottom of the room, as in the Spanish Dance.

And his note at the end of The Spanish Dance reads:

The dance is executed either in a line or in a circle; and sixteen or twenty couples may engage in it.

In his Complete Ball-room Hand Book (Boston, 1858), page 88 Howe writes:

Form: a lady between two gentlemen facing three opposite; the same up and down the room. All forward and back, each lady executing the reel with her right hand partner, and then with her left hand partner to place — three hands round, and back again — all forward and back, all forward again and pass to the next couple, (as in the Haymakers.)

Basically the same as Appleton except that the reels are with the people in the trio instead of with the left hand person in the opposite trio.

In his Squire's Practical Prompter: or, Ball Room Call Book (Cincinnati, 1887), page 75, A. Squire writes:

Form: a lady between two gentlemen facing three opposite; the same up and down the room. All forward and back, each lady executing the reel with her right-hand partner, and then with her left-hand partner to place; three hands around and back again; all forward and back, forward again and pass through opposite and face next three.

Which is basically a repeat of what Howe wrote.

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

This dance is arranged in three's, a lady between two gentlemen, facing the opposite three. As many as the room will accomodate may thus be arranged.

1. They all advance and retire twice (8 bars)
2. Each lady then performs the Reel with the gentleman on her right hand, and the opposite gentleman to places, (8 bars)
3. Three hands round and back, (8 bars)
4. Six advance and retire, then lead through to the next three, (8 bars)

Continue until the bottom is reached

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), 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.

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.

SINGLE FIGURE (Each strain repeated)
Set & change sides with the 2^d. Cu: set & back again
whole poussette
DOUBLE FIGURE (Tune played twice thro' with repeats)
Set & change places with 2^d. Cu: allemande
swing corners
set contrary corners
& the double triangle
OR THUS Cast off 2 Cu: & back again
swing with right hands round 2 Cu:
half figure up to the top allemande
lead down the middle up again & right & left with the top Cu:

Wilson usually gives multiple figures for each tune, I am following the second DOUBLE FIGURE.

The music is two 4 bar strains, each repeated, and then the whole tune repeated.

Wilson defines most of his figures in his An Analysis of Country Dancing.
Cast off 2 Cu: (& back again) is defined on pages 8-9 and means: "active couple cast down, go outside the set, passing two other couples, then turn away from each other to face up, and return to places."
swing with right hands round 2 Cu: this is defined on pages 104-105: "Right turn half, using the momentum to loop round your partner's place, then cross the set and loop around the same sex person in the couple below. This leaves you on the same side but having moved down 1 couple. Then you repeat the process, going down one more couple."
half figure up to the top, is, I think, what Wilson calls "Half figure eight on your own sides" on page 67 and means: "weave up through the two couples above, inside the closest, outside the next ending home."
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.
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.
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."

Wilson, on page 101, writes:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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.

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)."

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

Preston, Thompson, Wilson and Tegg all published dances named "Off She Goes", but none matches the figure.

Wilson writes:

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

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

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

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

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

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

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

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

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

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

According to the the Regency Dance site 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.

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.

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

In 1821, GMS Chivers published a dance with this name but a different figure. Smyth, and the Lowes did the same in the 1830s. 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.

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.

Smyth writes:

Place the Ladies as for a set of Quadrilles, and the Gentleman in the centre. The Gentleman with the first and third Ladies make a reel of three, while the other two Ladies circle round them. All set, during which the gentleman turns to each Lady alternately, he then forms the reel of three with the other two Ladies, and set as before.

A year later, the Lowe brothers published a very similar version:

(Places — one Lady at the top of the room, one at the bottom, one at each side, and the Gentleman in the middle.) The Gentleman, with two of the Ladies, makes a reel of three, while the other two Ladies circle round them; all set, during which the Gentleman turns to each Lady alternately; he then forms the reel of three with the other two Ladies.

The earliest written description of the dance actually comes from Thomas Wilson's Analysis of Country Dancing, London, 1808 (page 125). Wilson provides two versions, the first is similar to this one, except that instead of orbiting the set during the reel, the inactive dances cross through the reel (and then cross back) instead. The other version, which he claims is the "common reel" reads:

The Lady in the middle at B, heys with the Ladies at A C, then sets to them, she then sets to the Gentlemen at F D; then heys with the Gentlemen at F D, which brings one of them into the centre, so that they all progressively occupy every situation in the figure.

Unfortunately his description of the progression omits some vital movements.

The RSCDS claims that J. Grahamsley Atkinson, Jun. was the source for this dance in his Scottish National Dances - A Practical Handbook, Edinburgh, 1900, but Smyth was there first, and Wilson before him. Atkinson doesn't mention music; the RSCDS says it should be a strathspey/reel medley.

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.

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.

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.

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").

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.

The Lowes write:

The first Lady makes a chassé round, and sets between the second and third Ladies; she does the same again, and sets betwixt the third and fourth Ladies; she repeats the same turning up behind the Ladies to her place; and when she commences dancing up, her partner dances down behind the Gentlemen with the same steps; the Gentleman finishes betwixt the third couple, and goes three hands round with them; whilst his partner does the same with the second, they pass through below the hands, and meet in the middle, and pousette with the second couple.

The instructions mention the fourth couple, which is rare. Might this be a quadruple minor? (Kyneston devised a few around 1720, so it is possible but very unlikely) but the 4th lady doesn't do anything, nor do the 1s go below her, so it's more likely that Lowe is just following the 19th century's convention of having a neutral couple between every triplet. Ignoring that one phrase the rest of the dance seems like a normal triple minor.

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".

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.

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

SINGLE FIGURE (Each strain repeated)
Set & changes sides with 2^d. Cu: set & back again promenade 3 Cu: whole poussette & swing corners

OR THUS Hands 3 round on the ladies side hands 3 round on the gent: side cast off 2 Cu: & back again swing with right hands round 2^d Cu: allemande lead thro the bottom & right & left with top Cu:

This with a little alteration is called "Roy's Wife"

The music consists of 4 four bar strains.

The RSCDS seems to be interpreting the OR THUS figure.

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

• 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.
• 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. (Wilson does not say the 2nd+3rd couples should move up and he does show the 1s moving below the 3s)
• swing with right hands round 2^d Cu: is defined as part of a larger figure: swing with right hands round one couple, and back again may be found on page 68 and means: "Right turn half, using the momentum to loop round your partner's place, then cross the set and loop around the same sex person in the couple below. This leaves you on the same side but having moved down 1 couple. [Then for the figure you would repeat the process except this time moving up]"
allemande may be found on page 3 mean going about your partner in a circle, "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.
lead thro the bottom is half of through bottom and top on page 29 and means "the active couple take hands, lead down below the bottom, drop hands, and cast up to their own places. [then lead above top, and cast down to middle]

• right and left may be found on page 46-49. It does not mean what I expect, instead: 2nd corners change by left shoulders, 1st corners right, 2nd corners change back by left, 1st corners by right. And all of this in four bars

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

OR THUS Cast off 2 Cu: & back again & whole poussette

DOUBLE FIGURE Each strain repeated
The 3 ladies lead round the 3 gent: the 3 gent: lead round the 3 ladies set & change places with 2^d Cu: allemande & whole figure contrary corners

SINGLE FIGURE Tune played straight thro
Hands across with 2^d. Cu: & back again lead down the middle up again & allemande
DOUBLE FIGURE
Hey contrary sides hey on your own sides swing with right hands round the 2^d. Cu: then with left chain figure 4 round with bottom Cu: & half poussette with top Cu:

Wilson spells the title as "Captain Macintosh".

The music consists of two 8 bar strains.

The RSCDS is interpretting Wilson's first DOUBLE FIGURE

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

• The 3 ladies lead round the 3 gent: may be found on page 16 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."
• The 3 gent: lead round the 3 ladies may also be found on page 16 and means: "all the men take hands, man 1 leads clockwise above, and then behind the ladies, at bottom looping back to original places."
• set & change places is defined on page 51 and means: "the active couple face the couple below, a set to them (they set back), then change places passing right shoulders. (Wilson also shows how to change back)
allemande may be found on page 3 mean going about your partner in a circle, "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.

• 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.

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.