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

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

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

The Lowes write:

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

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

RSCDS Book 2 says "Walsh's Caledonian Country Dances 1748-1760.

The crib diagram says this comes from Walsh, 1760.

Both Walsh and Jackson published collections entitled Caledonian Country Dances around this time, but I can't find anything by either from 1760. The collections I can search do not contain a dance with this name.

The RSCDS says this dance was "Collected in the town of Lanark", and also states it is found in A Companion to the Reticule, published, London, ~1840 (for young Ladies and Gentlemen, whose birth, connexions, or society, can lay claim to any district NORTH of the TWEED. While the Companion claims this was danced all over Scotland prior to the year 1815.

The SCDDB says the dance was devised by Walsh in 1754, and Book 2 says the dance was published in Walsh's Caledonian Country Dances 1748-1760. As far as I can tell Walsh did not publish a dance called "The Bumpkin", but he did publish "The Country Bumkin" in ~1750, but the figure is nothing like this one.

Walsh writes:

Two Cu. fall back•foot it and change over the like again cross over twice to below lead to the top•foot it and cast off•

However, William Campbell did publish The Country Bumpkin in his 14th Book (~1799), and he writes:

Six Ladies and 3 Gentlemen in 3 Lines — the middle Gentleman dances with his Hat on — all nine foot up the Room to the top in 3 Lines and turn and foot back again to their places — then the Gentleman in the middle sets to the Lady at the right hand corner, turn her the set to the Lady on the left hand corner and turn her and Hey:— the other two Gentlemen do the same with their corners and Hey at the same time then fall back to their places and foot up the Room as Before and then down again then the Gentleman in the middle foots to the other right hand corner turn round and Hey the other two Gentlemen do the same with their other corner and turn round and hey all at the same time then fall back to their places foot up as before and back again then the three Gentlemen foot to the three Ladies on their right hand turn then to the three Ladies on their Left turn and all Hey then foot up as before and back again then the middle line set to the bottom line turn round and set to the top line then turn round and all Hey up and down the room the Gentleman in the bottom line takes the Hat off the Gentleman of the middle line then falls into the middle line with his two Ladies repeats all the Figure over again the Gentleman of the top line then takes the Hat off the Gentleman of the middle line and with his two Ladies falls in the middle line and repeats all the figure over again — then finish with a threesom Reel across the Room.

Is Campbell making a distinction between "heys" (in the first parts of the dance) and "reels" in the last line, or is he just careless?

As written in the Companion to the Reticule:

4	3	8
9	5	1
2	7	6

This favourite SCOTCH DANCE is performed by six Ladies and three Gentlemen, arranged as the annexed figure, with their backs near the extremity of the room. The centre Gentleman (King), wearing a hat is represented by the figure 5, and the other two by 3 and 7, while the six outside figures represent the Ladies; and it may be remarked, that by adding these figures up or down, across or by the corners, the result will always amount to FIFTEEN.

It is necessary to premise, that the figure of the BUMPKIN consists of three separate parts, viz.,

THE (DANCING) PROMENADE, THE SETTING, AND THE REELING;

that the Bumpkin tunes consist also of three Parts, and that each of these must be played TWICE over. When the "Old Country Bumpkin" (p. 30) begins, the whole nine promenade to the further end of the room, the Gentlemen holding each of their partners by the hand;— they then all turn round by the right, join hands again, and return promenading to their starting place during the first part of the tune. While the second part is played, 5 sets to and turns 8 & 2 — 3 do 4 & 9 — 7 do 6 & 1; and so soon as the third part begins 3, 5, 7 reel with those they had set , and then return to their places as before. The tune is now begun for the third time, and the whole start again, turn and return as formerly, during the first part • When the second part begins, 5 sets to 9 & 1 — 3 do to 8 & 4 — 7 do to 6 & 2 and the gentlemen (3 5 7) now reel with their own partners during the third part of the tune, and return to their original places as before. The same tune being begun a fourth time, 5 sets to 3 & 7 — 9 do. to 2 & 4 — 1 do. 6 & 8 and after reeling during the third part, 4, 3, 8, exchange places with 9, 5, 1; and 3 (now King) taking the Hat, the Bumpkin is now danced over again in the very same manner to the tune of "Ailsey Marley" (p.30). Upon 4, 3, 8 then exchanging places with 2, 7, 6, and 7 (now King) taking the Hat, the Dance is repeated to the tune of the "New Bumpkin," (p.30), and carried on as formerly to where the second part of the Old Bumpkin tune has begun for the third time, viz., at this mark • 5 now sets to 9 — 3 do. to 4, — 7 do. to 2; and at that moment there additional Gentlemen join the Dance by setting to the unoccupied Ladies, 8, 1, 6, the music omitting the third part of the tune, and changing to the common time reel of Tullochgorum, which is played three times over; and thus concludes the BUMPKIN, as danced all over Scotland prior to the year 1815.

D. Anderson's Ball-Room and Solo Dance Guide, Dundee, ~1900 calls it simply "The Reel of Nine":

This Dance is done with either a majority of ladies or gentlemen, but ladies are more suitable.

Stand in three lines of three, each gentleman facing down the hall between two ladies; Reel of three across (i.e. each gentleman with his two partners) finishing in places — This occupies 8 bars.

All set and turn both partners, one after the other — other 8 bars.

Reel of three at corners, at same time the other three at the corners go hands round to left and back to right — other 8 bars.

All set and turn both partners, one after the other — other 8 bars.

These movements are repeated round the whole square, occupying 96 bars.

All join hands and go round to left, with the exception of the gentleman between the middle three (or where the gentlemen form a majority, the lady between the middle three) who sets to the others as they go round to the left.

The SCDDB says that the reels are left shoulder reels, though I can find no indication of this in RSCDS Book 2, nor in any of the original sources.

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:

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 tune was composed around 1820 by Sir Henry Rowley Bishop.

The RSCDS has trios alternately of 1 man and two women facing 1 woman and two men.

This is (intended to be) the official RSCDS version, according to The SCD Dictionary at Ceilidhs it is danced slightly differently, with right hand turns instead of two hand turns, a right shoulder reel (or chain) rather than a left, and in the final pass through the 2s make arches while the 1s dive through.

Note: J.P. Boulogne published a very different dance (standard duple minor formation) in 1827 in his book The Ballroom.

Note: this is completely different from the traditional contra dance with the same name.

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)

Walsh, 1748, 1760 and Rutherford, 1758 published a dance with this name (well, they called it Hay Jenny come down to Jock) but their figure does not match this one.

The RSCDS credits this to Allan, ~1880. My version of Allan's work dates from ~1900 and says:

1. First and second couples advance and retire, four hands half round.
2. The first gentleman turns the second lady fully round by the right hand.
3. The first lady does the same with the second gentleman.
4. Pousette.

Courtesy of National Library of Scotland, licensed under:

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

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

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

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

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

The Lowes write:

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

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

The RSCDS 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.

It has some resemblance to a dance of the same name in Skillern's Twenty Four Country Dances for the Year 1788. Which begins with cast, turn, cast, turn, circle. But that is followed by rights and lefts rather than reels.

It does appear in Kate Hughes's manuscript (Dancing Book) Dundalk Ireland, ~1867, (only she calls it "Merry Dance" (not "Dancers")) where she writes:

1. Top couple turn with right hands cast of(f) one couple turn with left hands cast of(f) a seceaond (second) couple (8 bars)
2. Six hands round (4 bars)
3. Lead up to places (4 bars)
4. Set at corners and turn (8 bars)
5. Reell of three (8 bars)

		Bars
1.	Turn right hands and cast off one couple, turn left hands and cast off a second couple,	8
2.	Six hands round,	4
3.	Lead up to places	4
4.	Set at corners and turn,	8
5.	Reel of three,	8

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

Campbell did publish a dance with this title in his 19th Book, but I do not know whether its figure matches that of the RSCDS dance. Campbell is also said to be the devisor (and not just the publisher) of this dance.

The RSCDS says this was collected in Perthshire and was also found in Allan's Reference Guide to the Ballroom, ~1895, but it appeared elsewhere earlier.

An early version of the dance appears in Kate Hughes's manuscript, the Dancing Book, Dundalk Ireland, 1867. She calls the dance "Torrayburn Lassies".

1. The top gent swing the tow ladies (8 bars)
2. Top gent and his partner swing the second gent (8)
3. Down the centre and up (8)
4. Swing four (8)
5. Pousett (8)

At this time "swing" meant almost any circular movement. The first swing could certainly match the "circle three" of the RSCDS, though presumably followed by a "and back to the right". The "swing four" could be a circle four, or a hands across, or who knows what.

Wallace in his The Excelsior Manual of Dancing, ~1872, calls the dance simply "Torryburn"

1. First couple set and three hands round with second lady, (8 bars)
2. Repeat the same with second gentleman, (8 bars)
3. First couple down the centre and back, (8 bars)
4. Couples No. 1 and 2 Pousette (8 bars)

But in Allan's Reference Guide to the Ball-Room, Glasgow, ~1895, the dance has become Torryburn Lassies.

1. Top couple set, and then three hands round with second lady.
2. Repeat the same with second gentleman.
3. Down the centre and up.
4. Pousette first and second couples.

Courtesy of National Library of Scotland, licensed under:

The RSCDS attributes this to the 9th edition to the Dancing Master.

This dance has a rather confusing history in the Dancing Master. In 1651 (the first edition) Playford called essentially the same tune "Stingo, or The Oyl of Barly". This dance had a completely different figure though.

Then in 1689 addition to the 7th edition he published two dances with different figures but the same tune: "Juice of Barley" and "Cold and Raw". In the 9th edition (1695) the dance originally titled "Juice of Barley" became "Cold and Raw". The original "Cold and Raw" disappeared from the 9th through the 16th editions, and then reappeared as "Cold and Raw" in the 17th edition (1721) while the "Juice of Barley" figure then vanished.

The RSCDS version appears to be based on the "Juice of Barley" figure.

Playford writes:

The 1. cu. go back to back with their Partners, and the 2. cu. do the same at the same time.

---

The 1. cu. take hands with his Partner and turn her round, the 2. cu. doing the same at the same time.

---

The two we. stand still whilst the 1. man goes round about the 2. wo. into the 2. man's place, and the 2. man goes round about the 1. wo. into the 1. man's place, then all clap hands, then all four take hands and go quite round, the we. doing the like.

Although Playford explicitly specifies a two hand turn, the RSCDS has chosen to do a right hand turn.

The RSCDS says "collected in Peebles-shire."

RSCDS Book 5 attributes this to Caledonian Country Dances, ~1754. Several people were publishing works with that title around that time, but I can't find this dance in any of them (or none that I have access to).

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

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

Johnson calls the dance The Scotch Ramble and writes:

First Cu. cast off two Cu. Lead up to the Top and cast off Hands 4 round with the 3^d. Cu. Right hands and Left with the 2^d. Cu. foot it at both Corners & turn Lead out on both sides and turn

The websites attribute this to Preston and he did publish two dances with this name, the first published in 1790 does not match this figure, the second published in Preston's Selection of the most favorite Country-Dances, Reels, 1798 does match this figure.

However, Campbell published that same figure earlier, in about 1788, and Longman & Broderip did so in 1790.

All of these seem to start the dance with partner changes without setting, but otherwise they match.

The Lowes published a dance with this name, but the figure does not match.

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

Cooke writes:

1^st. La. turn 2^d Gent. 1^st. Gent. do the same. fall in at top & bottom & at the sides 6 hands round back again & turn your Part.

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

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

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

RSCDS Book 6 claims this was "collected in Perthshire and Angus."

This is not the traditional version recorded by the Fletts, nor the versions found in Wilson, 1808.

Often the center dancer holds a ribbon in each hand, with the side dancers holding the ribbon rather than the center dancer's hands.

The RSCDS instructions say that after the circling motion the dancers end where they started. All the example videos show the dancers advancing, and then only circling half, facing the opposite direction and on opposite sides of the center dancer. The dance repeats advancing in the back where they came from and turning.

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

1^st man turns 2^d woman & casts off, then the 1^st woman does the same then the 1^st pair goes figure of eight through the 2^d pair; then the 1^st man sets to the 2^d woman & turns her, then the 1^st woman the same; then the 1^st pair goes four hands round with the 2^d pair & right & left

Campbell writes:

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

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

RSCDS Book 9 says "collected in the Border Country."

RSCDS Book 9 says "collected in the Border Country."

On the second cord the 1s cross down as the 2s move up.

Longman & Boroderip this dance in 1790, and according to Robert Keller's coded notes, the RSCDS figure matches the original.

Campbell (~1795), Bland & Weller (~1800), Preston (1804), Wilson (1809 & 1816) and Tegg (1825) all published dances with this name, but none matches this figure.

RSCDS Book 9 attributes the dance to Blantyre MS, 1805. A claim I cannot verify.

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.

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.

John Bowie calls the dance Miss Murray   Ochtertyre, and writes:

Four hands half round then make two Cross Jumps then go the other half: the same back again: down the middle & cast up round the third Couple: up the middle & Cast of round the 2^d. Couple.

William Campbell published M^rs Murray of Auchtentyre in his Campbell's 12th Book of New and Favorite Country Dances & Strathspey Reels in about 1797, but his figure does not match this one.

Preston's Twenty four Country Dances for the Year 1798 he published a dance called Mrs Murray of Archentyres Reel but, again, the figure does not match this one.

Monymusk is an estate in Aberdeenshire is Scotland.

Cracking Chestnuts says the tune was written by Daniel Dow and published in Thirty Seven New Reels and Strathspeys in 1776. Francis Werner set figures to the tune in his 8 Cotillions, 6 Favorite Contry Dances and two Minuets, with their proper Figures for the Harp, Harpsichord and Violin Book xvii for the year 1785. John Preston in 1786 published a different set of figures in 1786 and this version of the dance appears to be based on those.

Hugh Thurston in Scotland's Dances (1954) claims: "'Monymusk' is not a traditional Scottish dance. It was resurrected in 1934 (out of a book published in England in 1786) and there is no evidence that it was ever danced in Scotland before that date." (as quoted in Cracking Chestnuts)

Werner Book XVIII For the Year 1785 (London, 1785) writes:

Turn your partner with the right hand; quite round, and cast off one Cu. Turn with the left quite round, Set three and three top and bottom, and turn your Partner, Set three and three sideways and turn your Partner. Hands six quite round and back again Lead out sides and turn your Partner with both hands.

John Griffiths in The Gentleman & Lady's Companion (Norwich, CT, 1798) has a different figure:

Six hands half way round and back, first and second gentlemen balance together and turn round, the 1st and 2nd ladies do the same, down the middle, up again, cast off, right and left

In A Treatise on Dancing (Boston, 1802) Saltator writes:

First couple cross over, down the out side, promenade round the gentleman, fall between the second couple, the lady between the third, six dance address, first couple promenade and fall below the second, six demicircinate, right and left atop.

Wilson Treasures of Terpsichore, page 80 (London, 1809)

Single Figure

Whole figure at top   down the middle, up again, and foot it to the top couple  .

Double Figure

The top couple swing with right hands round one couple, then with the left   set three across and three in your places   hands six round and back again  , and lead through bottom and top  .

Howe Complete Ball-room Hand Book, page 82 (Boston, 1858)

First couple join right hands and swing once and a half round, go below second couple (the first lady goes below second gentleman on the outside) (first gentleman at the same time goes below and between second and third ladies) — forward and back six, first couple swing three quarters round — first gentleman goes between second couple (on the inside) first lady goes between third couple (on the indside) forward and back six, first couple swing three quarters.

Burchenal American Country-dances, page 55 (New York/Boston, 1912)

Swing Once and a Half Around
Cast
Forward and Back Six
Swing Three-Quarters Around
Forward and Back Six
Swing Three-Quarters Around to Place
Right and Left

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

The RSCDS attributes this dance to Rutherford (1775), but the figure is nothing like Rutherford's figure. Thompson (1770) published the same figure as Rutherford, and Bride (1775) published yet another figure (none matching the RSCDS figure).

Hands four quite round back again cross over two Cu. lead up to the top and cast off hands four at bottom right and left at top

The RSCDS attributes this dance to Johnson (who published it in ~1748), but Walsh published it first.

Walsh writes:

Hey on the Men's side Then foot it to Partners then to sides turn single after Each then the 1st Man turn 3d. Cu. half round and cast up into the 2d Place The Wo. do the same back again change sides and foot it cast up change sides and foot it cast off

The music consists of two 4 bar strains.

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 RSCDS attributes this to Bremner's work: A Second Collection of Scots Reels or Country Dances, which they date variously to ~1757 and ~1765. In ~1765 Bremner published A Collection of Scots Reels or Country Dances; a work which only contains tunes with no figures. According to Hugh Thurston the second collection was published in London in 1769. As far as I can tell, what was published in London was actually titled: For the Year 1769. A Collection of Scots Reels or Country Dances. At any rate, that work contains this dance.

Robert Bremner writes:

The 1^st Cu: cast off one Cu: hands four round with the 3^d. Cu: cast up and hands four round with the 2^d. Cu: cross over two couples lead up to the Top, foot it and cast off turn corners with your right hands and turn Partner with your left the other corners the same Hey contrary sides then your own sides

The RSCDS claims this comes from A Collection of Scots Reels or Country Dances and it may be in that, but I know it is in For the Year 1769. A Collection of Scots Reels or Country Dances (both by Bremner).

The RSCDS attributes this to Bremner's work: A Second Collection of Scots Reels or Country Dances, which they date variously to ~1757 and ~1765. In ~1765 Bremner published A Collection of Scots Reels or Country Dances; a work which only contains tunes with no figures. According to Hugh Thurston the second collection was published in London in 1769. As far as I can tell, what was published in London was actually titled: For the Year 1769. A Collection of Scots Reels or Country Dances. At any rate, that work contains this dance.

Robert Bremner writes:

The first Cu: foot it to the 2^d. Wo: and hands round 3 the same to the 2^d. Man lead down one Cu: up again and cast off foot it ℵ hands round 4 with the 3^d. Cu: foot it and hands round 4 with the 2^d Cu: lead up to the Top ℵ cast off right ℵ left at top

The RSCDS claims this comes from A Collection of Scots Reels or Country Dances and it may be in that, but I know it is in For the Year 1769. A Collection of Scots Reels or Country Dances (both by Bremner).

The RSCDS attributes this to Bremner's work: A Second Collection of Scots Reels or Country Dances, which they date variously to ~1757 and ~1765. In ~1765 Bremner published A Collection of Scots Reels or Country Dances; a work which only contains tunes with no figures. According to Hugh Thurston the second collection was published in London in 1769. As far as I can tell, what was published in London was actually titled: For the Year 1769. A Collection of Scots Reels or Country Dances. At any rate, that work contains this dance.

Robert Keller Bremner titled this dance Straglass House - Strathspey.

Robert Bremner writes:

The 1^st, 2^d, and 3^d Cu: foot it and hands round Six the same back again cross over two Cu: lead up to the Top and cast off Turn corners with your right hands ℵ turn partner with your Left the other corners the same lead outsides and turn

The RSCDS claims this comes from A Collection of Scots Reels or Country Dances and it may be in that, but I know it is in For the Year 1769. A Collection of Scots Reels or Country Dances (both by Bremner).

Thompson writes:

The 1^st. Cu. Foot it and turn then Foot it sides and turn then lead down two Cu. cast up one and Foot it and Right hands and Left at top The 1^st. Man hands 3 round with the 3^rd. Cu. and the 1^st. Wo. hands 3 round with the 2^nd. Cu. then the Man hands round with the 2^nd. Cu. and the Wo. with the 3^rd. Cu. lead out sides and turn

There seems to be some doubt as to the turns in the first 8 bars, some sources say they are right hand turns, some say both hand turns.

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

The RSCDS attributes this dance to Skillern, but Bride published the figure first, then Skillern, Longman & Broderip, and Thompson published it as well. The only one I can find is Thompson, who writes:

The 1^st. Lady turns the 3^d. Gent 1^st. Gent. turns the 3^d. 1^st. Lady Allemand Right & Left with the 2^d Gent. at the same time the 1^st. Gent. Allemands with the 2^d Lady Sett 3 & 3 top & bottom the same sideways hands six round back again lead out sides

The original music consisted of 3 eight bar strains, all repeated.

Thompson writes:

The 1^st. Cu. Foot it to the 2^nd Wo. hands three round Foot it to the 2^nd Man hands all four round lead down two Cu. and the 2^nd. and 3^rd. follows cross over and turn your Partner

Rutherford published an earlier version of this dance:

Foot it all four & Hands across quite Round Foot it and the same back again Gallop down the Middle & up again & Cast off Right Hand & Left

RSCDS Book 14 attributes this to Preston, ~1800, but Longman & Broderip published it in 1790.

Longman & Broderip named the dance What a Beau Your Granny Was. As did Bland & Weber in 1797, Preston in 1798 and Dale in 1800.

I can't find Longman & Broderip, but in ~1800, in Dale's Selection of the Most Favorite Country Dances and Reels (dance 17), Joseph Dale writes:

The three Ladies lead round the three Gent: at the same time the three Gent: set and hands three round.
The three Gentlemen lead round the three Ladies, at the same time the Ladies set and hands three round.
The first Cu: Poussette with the second Cu: into 2^d. Cu^s. place and turn there Part^rs. half round with both hands.
Right and Left at top.

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

First sett to your partner, & cast off one pair, sett again, & she turns up & he turns down betwixt the third pair, she betwixt the 2d pair, then leads up joining three hands & meets, then 3 hands round, & reels, then he setts to the 2d woman she to the 1st man & turns them, then he setts to the 1st woman, she to the 2d man, & turn your partner, then 4 hands round with the 1st pair, & cast off, then meet and turn your partner.

Originally spelled "Argiles Bouling Green".

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

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.

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.

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.

Thompson writes:

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

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.

Johnson published this in his 5th volume of Country Dances (1750), and Rutherford published essentially the same figure in 1756. The RSCDS credits this dance to Rutherford

Hands four all round with the 2^d Couple & cast off The same with the 3^d Couple foot it & right Hand & left up into the 2^d Couple's Place. & turn your Partner Hands round all six & turn your Partner

Rutherford's music has a 4 bar A part and an 8 bar B, both repeated.

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

First Sett & cast off Sett again & turn your partner he sets to the man & she to the woman & turns them then Cross over & clap by turns; & the next pair does the same then Dance four hands half round & back again then set to the 2d woman & she to the 1st Man then sett & turn your partner.

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

Rutherford writes:

First Man cast off and turn the 3^d. Wo: First Woman cast off and turn the 3^d. Man Hands round 6 that back again foot it corners and turn Lead out sides and turn

The big problem I have with interpreting this dance is what to make of the strain markers ( , , and . Given the variety of the markers I would expect the tune to have three strains, each to be played twice. But Rutherford prints a rather standard jig with an A and B strain both repeated. Is one of the strains to be repeated four times? AAAABB? but if so why not use , and for the third and fourth markers? I suppose AABBAA could be intended but that doesn't seem likely to me either.

AAABBB really doesn't match the markers.

The RSCDS interpretation suggests that first four marks should each represent half a strain, and in other dances Rutherford seems to take a relaxed approach to what the marks mean. And it does seem likely this is a normal 32 bar jig given how the music is printed.

The RSCDS interpretation of this dance is basically the same as the original, the only difference being that the circle six, might just have been a circle left.

The first Cu. Gallop down one Cu. & up again And cast off The same with the 3^d. Cu. and Cast off Hands round all six Lead up To the Top Foot it and cast off

Johnson published a dance titled Johnny Grot's House in 1750, but with a different figure.

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

Thompson writes:

Set to your partner and turn foot it sides and turn Hands round Back to Back all 4 Gallop down one Cu: up again and cast off

Campbell writes:

The 1^st. Lady sets to the 2^d. Gent & turn at the same time the 1^st. Gent sets to the 2^d. Lady & turn The 1^st. Lady set to the 3^d. Gent & turn Lead up to the top & foot it & cast off hands 4 round & back again Right & Left at top

Campbell titles this Admiral McBride's Hornpipe, and he is said to be its devisor.

The interpretation seems close to the original.

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

On page 24 of book 10, Campbell writes:

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

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

Campbell spells the dance "Miss Ogleves Fancy".

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.

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

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

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

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

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

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

The Scottish Country Dance Dictionary attributes this to "D Gracie".

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

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

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

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

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

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

Thompson writes:

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

Also published in The London Magazine:

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

Rutherford (on page 55, dance 109) writes:

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

The music consists of three four bar strains.

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

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

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

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

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

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

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

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

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

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

In 1717 Kynaston devised a different dance with this name (also published by Walsh).

Walsh writes:

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

The 1st Cu. take Hands, go thro' the 2d, and set to the 3d Cu. then turn about to the 2d Cu. and all four take Hands abreast, lead up and the 1st Cu. cast off The 2d Cu. do the same with the 3d and the 1st Cu. The 1st Cu. figure thro' the 2d Cu. all four take Hands and turn quite round The 1st Cu. cross quite round the 2d Cu. clap Hands and cast off into the 2d Cu. Place

The music consists of two 8 bar strains in cut time (not a jig).

Goulding spells the title The Land of Cakes.

The adaptation is rather loose.

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

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

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

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

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

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

1. Hands 3 round on the ladies side, hands 3 round on the gent: side this figure does not seem to be defined in any of Wilson's books - which is odd because Wilson uses it frequently. In The Sutherland Reel the RSCDS interpreted it as: "Hands three round at top on the Ladies' side, etc." which has the 1s circling with L2, and then the 1s circling with M2. Whereas in Ruffian's Rant they have the three ladies circling, and then the three gents - which seems a more obvious reading of the words.
2. lead down the middle up again cast round the top Cu: may be found on page 27 Top couple leads down to between the third couple, 1s turn and lead up to the top and cast down as the second couple moves up. (Wilson's pictures show them moving up the sidelines and not leading)
3. set 3 across & set 3 in your places is defined on page 21 and means: "L1 moves between the 2s as M1 moves between 3s, then the lines of three across set, then L1 moves back to her place and M1 back to his, and then lines of three on the sides set to each other.
4. half poussette is defined on page 14 and means "top two couples join hands with partner, circle, counter-clockwise, around the other couple to return to places."
   Note: that this is actually two thirds of the whole poussette as defined by Wilson, and what most people would call a full poussette.
5. lead thro the bottom does not seem to be defined. I assume it means lead through the bottom couple and cast back to the middle.

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

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

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

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

RSCDS Book 31 attributes this to Thomas Murphy's Aide Memoire, a manuscript from about 1890, but it is clearly derived from Clutha C.D. in Kate Hughes's Dancing Book, ~1867:

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

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

The 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.

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

1^st pair joins cross right hands & 1^st woman turns under her own right arm, then they join cross left hands & the 1^st man turns under his own left arm, then the 1^st pair leads down & up between the 2^d pair & casts off, then leads down between the 3^d pair & casts up, then goes the figure of eight, the man on the womans side & the woman on the man's side, (setting en passant to each other) & then foots it into their own places

The full title is "Couteraller's Rant a Strathspey Reel".

RSCDS Book 34 says "collected in Canada."

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

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

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

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

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

Courtesy of National Library of Scotland, licensed under:

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

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

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

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

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

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

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

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

Thomas Wilson published dances called "Captain White" in his L'Assemblée of 1819. But their figures are nothing like this one. Chivers published "Captain Wyke", in 1821, but it's figure doesn't match either.

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

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

The Lowes write:

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

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

Johnson writes:

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

Johnson's music consists of two 8 bar strains

Thompson also published this figure in 1757

Rutherford calls this dance Epie McNabb, and writes:

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

Both Johnson, in 1753, and Rutherford, in 1759 published dances with this name, but neither matches this figure.

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

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

Courtesy of National Library of Scotland, licensed under:

Smyth in 1830 writes:

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

In 1788 the Thompsons published an early version:

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

Rutherford writes:

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

Straight writes:

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

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 (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.

Rutherford writes:

the first Man cast off & turn the 3^d. Wo. and stand in the 2^d. Man place The first Wo. does the same to the 3^d. Man & stand in the 2^d. Wo^s. place Hand round all six Right Hand and Left at Top

Rutherford spells the title "Edinburgh Jigg" rather than "Jigs".

The Thompsons published a dance with this name in ~1757, but it's figure does not match. Cooke republished it in 1797. Longman & Broderip in 1791 published a figure which mostly matches. Goulding, in 1801 published yet another figure.

According to Robert Keller's site Longman & Broderip's figure is "cast, cast, lead down and up, cast circle, rights and lefts", which is the same as the RSCDS figure except for the last 8 bars.

In 1796 Longman & Broderip published a dance called "The Marquis of Lorn's Strathspey", and in ~1799 (in his 14th book) William Campbell published a different figure with the same name. Neither one matches this dance.

Skillern spells the title "Mc. Lachlan's Reel"

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:

Bride published a dance with this name in 1768 but it had a different figure. Longman & Broderip republished it in 1781.

Kate Hughes wrote down a dance very similar to the RSCDS version:

1. Top couple turn round to the right and set in the centre of the dance (4)
2. Turn to opposite sides the ladie between the seceaond and third gentlemen the gent between the seceaond and third ladies and set (4)
3. The three on each side join hands advance and retire twice (8)
4. All six join hands in a circle pass half round to the left and back to the right to places.
5. Pousett (8)

And in his The "Excelsior" Manual of Dancing, ~1872, J. F. Wallace writes:

1. First couple turn round to the right and set in the centre of the dance, (4)
2. Turn to opposite side, the lady between the second and third gentlemen, the gentleman between second and third ladies and set, (4)
3. The three on each side advance and retire twice, (8)
4. All six join hands in a circle, pass half round to left, and back to places, (8)
5. Couples No. 1 and 2 Pousette (8)

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.

The RSCDS attributes this to Thomas Skillern's Twenty Four Country Dances for the Year 1781 but according to Robert Keller that work does not contain any dance with a name like "Willie's Rare and Willie's Fair", nor does it contain a dance whose figure matches this one.

The RSCDS claims the dance "What You Please" is also found in the 1781 work, when, in fact, it is in the 1780 publication, so I checked that as well and found no dance with this name nor with this figure.