Thompson (1786) writes:

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

Wilson (1809) writes:

Double Figure

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

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

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

Wilcock (1868) writes:

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

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

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

Arthur Miller, Leeds, 1900 writes:

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

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

Lowe writes:

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

Courtesy of National Library of Scotland, licensed under:

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

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

However Joseph Lowe's version seems a good match.

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

Courtesy of National Library of Scotland, licensed under:

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

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

Collected locally.

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

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

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

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

Lowe writes:

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

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

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

---

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

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

Courtesy of National Library of Scotland, licensed under:

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

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

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

`,

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

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

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

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

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

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

---

FIGURE

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

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

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

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

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

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

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

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

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

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

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

The 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 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 claims Wilson is the source for this dance; I have my doubts. He certainly wrote dances with this name, but if his work is the source, it has been so modified by the interpretation that almost nothing of the original is left. The second "single figure" seems the closest, but even it only shares half of the first figure...

Wilson, on page 37, 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 & set to the top Cu:  

OR THUS The 1^st lady meets & turns the 2^d. gent: the 1^st. gent: meet & turn the 2^d lady   lead down the middle up again & allemande  

DOUBLE FIGURE (Tune played twice thro' with repeats)
Set & change sides with 2^d. Cu: set & back again   1^st lady meets and turns the 3^d. gent: the 1^st. gent: meets & turns the 3^d. lady   promenade 3 Cu:   & whole poussette  

Wilson's music consists of 2 four bar strains, both repeated. Wilson's dance is not set to strathspey time.

Wilson spells his title "The Haughs of Cromdale" rather than "The Haughs O' Cromdale".

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.

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

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

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

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

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

The RSCDS says "collected in Peebles-shire."

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

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

Originally spelled "Lennons Love to Blanter".

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Walsh writes:

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

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

Walsh spells the title "Athol Brays".

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

Walsh writes:

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

Walsh spells "Canongate" as "Conongate".

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

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

1st Part.

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

2nd Part.

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

Originally spelled "Cald Kale".

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

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

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

Rutherford writes (in dance 139)

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

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

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

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

Rutherford writes (in dance 79)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Wallace gives no suggestions as to music.

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

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

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

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

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

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

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

RSCDS Book 13 says "collected in Fife.

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

In about 1831, the Lowes wrote:

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

The Lowes call this an "Irish Country Dance".

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

Time 6-8.

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

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

Hands across with second gent., and pousette.

Reel four across.

Promenade round with own partners.

First and second couples pousette.

Repeat to bottom of dance.

Courtesy of National Library of Scotland, licensed under:

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

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

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

Thompson writes:

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

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

Johnson writes:

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

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

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

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

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

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

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

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

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

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

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

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

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

Originally spelled "This is not My Own House".

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

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

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

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

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

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

Wilson writes (on page 80):

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

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

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

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

Wilson spells the dance "Donaldbane".

Wilson defines most of his figures in his An Analysis of Country Dancing.
swing with right hands round 2^d. Cu: then with left may be found on pages 85-86 and means: right hand turn half (swing) to cross the set, loop partner's starting place, cross the set again above the 2s, ending proper between 2s & 3s.
left hand turn half to cross the set, loop partner's place, crossing below the 2s and ending home.
Wilson does not specify which shoulder to use when crossing the second and fourth times. set contrary corners may be found on pages 55-57 and means "move to 1st corner and set, pass partner right moving to 2nd corner, set, return to places the easiest way". Wilson does not show the corners setting back, but I expect modern dancers would want to.

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

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

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

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

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

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

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

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

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

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

Straight writes:

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

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

Campbell writes:

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

Where does Campbell mean the progression to happen?

set & change sides Back again is not progressive.

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

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

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

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

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

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

In 1805 Preston published a dance called Miss Maxell's Reel, but the figure does not match.

John Young calls the dance The Bonny Lass and writes:

Note: The first Strain is to be play'd twice, and the last but once.

The first Couple cross over, then Sett and cast off below the third Couple, and then cast above the third Couple, then Sett and cross up to the top. This to the first Strain play'd twice The two Men change places with the two Women, then Hands across all four half round, then first Man lead his Partner thro' the 3d Cu. and thro' the 2d Cu. and turn his Partner in the 2d Cu. place. This to the last Strain play'd once.

The original music is in cut time and consists of an 8 bar strain and a 16 bar strain, intended to be played AAB.

John Young calls the dance Pretty Poll and writes:

Note: The first Strain is to be play'd twice, and the second once, and so far as the Repeat again.

The first Couple cast off and turn Hands This to the first Strain play'd once The second Couple do the same This to the first Strain play'd twice Then the first Couple clap Hands and cast off below the second Couple, then all four change Places, and Right and Left half round and cast off This to the second Strain play'd once Then clap Hands and turn single This from the Repeat.

The original music is in 3/2 time and consists of a 5 bar strain and an 8 bar strain, intended to be played AABA.

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

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

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

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

The RSCDS is interpretting Wilson's DOUBLE FIGURE

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

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

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

Walsh published a different figure in 1745.

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

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

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

Time, 2-4 or 6-8

Stand as for the Quadrille.

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

Give left hand and go back to places.

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

Top and bottom couples half ladies chain.

Side couples half ladies chain.

Top and bottom couples half ladies chain.

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

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

All promenade half-round with partners.

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

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

Courtesy of National Library of Scotland, licensed under:

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

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

Time, 2-4 or 6-8

Stand as for the Quadrille.

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

Give left hand and go back to places.

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

Top and bottom couples half ladies chain.

Side couples half ladies chain.

Top and bottom couples half ladies chain.

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

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

All promenade half-round with partners.

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

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

Courtesy of National Library of Scotland, licensed under:

The Castle Menzies Register of Dances also contains a dance called O'er the Watter to Charly but it's figure does not match this one.

Thomas Wilson also published dances with this name, but again, none matches this figure.

Elias Howe, in Boston, also published a dance with this name.

Johnson writes:

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

Johnson's music consists of two 8 bar strains

Thompson also published this figure in 1757

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

The RSCDS gives no source for this dance, but Robert Keller's site says The Ladies' Pocket-Book for the Year 1794 contained a dance which consisted of two reels, lead down the middle, back and cast off, and then rights and lefts.

Rutherford published the same figure a few years later, and used the same words. His work is online.

Rutherford writes:

The first Couple Clap & cast off & Hands across with the 3^d. Cu. Clap & cast up & Hands across with the 2^d. Cu. Cross over figure in Right Hand & Left

Both of them spell the name "Hooper's Jigg" (with two "g"s).

Miss Milligan's Miscellany 2 says the tune for this dance comes from Bremner, but it doesn't mention that the figure also does.

Robert Bremner writes:

The first and Second Couple foot it and change sides the same back again foot it all four Right hands across foot it Left hands back again lead down two couple foot it to your partner lead up to the Top foot it and cast off hands Round four with the third Couple Right and Left at Top

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

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

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

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

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

While Allan says:

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

Courtesy of National Library of Scotland, licensed under:

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

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

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

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