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

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

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

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

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

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

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

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

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

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

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

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

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

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

The Circassian Circle

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

First Circassian Circle

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

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

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

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

Wilson writes:

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

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

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

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

FIGURE

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

Courtesy of National Library of Scotland, licensed under:

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

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

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

Rights and lefts to places.

Set and turn partners.

Ladies' chain.

Pousette into opposite places.

Repeat figure with next couple round the room.

Courtesy of National Library of Scotland, licensed under:

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

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

The earliest source I can find is Wilcock, 1868, who writes (on page 73):

1. First lady passes behind the second and third ladies, crosses between the third and fourth ladies to the gentleman's side, passes behind the second and third gentlemen to the first gentleman's place, and set. The first gentleman follows the lady, but leads up the centre.
2. The first gentleman repeats the above, the lady following and set.
3. Lead down the middle and up again.
4. Pousette

The RSCDS's choreography is the same as Wilcock's except for the standard problem that the RSCDS poussette is progressive and no one else's is (and lead down the middle and up is progressive to Wilcock but not to the RSCDS).

Also in Kate Hughes's manuscript, Dancing Book, Ireland, 1867.

The tune is a traditional Scottish one. It was synthesized using Colin Hume's software.

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

		Bars
1.	The first Lady turns the second Gentleman round with the right hand, and afterwards with the left; at the same time, the first Gentleman does the same with the second Lady,	8
2.	Down the middle and up again,	8
3.	Three and three, in a line, dance out and back again,	8
3.	Turn to proper sides and four hands round,	8

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

In 1830 Smyth writes:

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

The Lowes write:

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

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

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

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

The Lowes write:

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

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

The first dance in the first book of the (R)SCDS is Petronella.

According to that book this dance was "introduced" by Nathaniel Gow, a composer and musician of Edinburgh, in 1820. Although Gow published many tunes (including this one), I have been unable to find any choreographies by him.

Book 1 also says the dance was published in a book called The Ball-Room, 1827 (no editor, or publisher, or location given), actually the book is titled The Ball-Room, or the Juvenile Pupil's Assistant; Containing the Most Fashionable Quadrilles, with Les Lanciers of Sixteen, As Danced in the Public & Private Assemblies in Paris published in Glasgow, 1827 and the author is J. P. Boulogne. This work actually contains three versions of the dance — though the last two have the same figure (all called Petronelle not Petronella), the first is an "English Quadrille", found on page 40, the second a "Spanish Dance" found on page 41, and the last is an "English Country Dance", found on page 43

		Bars
1.	The first Gentleman and third Lady perform the figure of a diamond, to their right, in the centre, setting at the four corners	16
2.	Double hands across and back again,	8
3.	All balancez to partners, and turn them to their places,	8
	The others repeat the figures.

---

		Bars
1.	The first couple perform the figure of a diamond to their right, setting at the four corners	16
2.	Down the middle and up again,	8
3.	Pousette,	8

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

Sadly Boulogne does not have a glossary where he defines what he means by his figures, so we don't know what the figure of a diamond means exactly, nor what steps are used to do it. We have a bit more luck with Down the middle and up again. This might seem quite straightforward, but it is not. In England at this time, the term was progressive, meaning that the 1s ended up in 2nd place while the 2s moved up (either the 1s went down, came all the way back and cast off, or the 1s end down and only came back to 2nd place). If we look at Meg Mirrilees (another dance on page 43) we see the Boulogne also uses Down the middle and up again as progressive. This means that Boulogne's Pousette was non-progressive, and presumably still meant the standard push-pull poussette that came to the UK from France in about 1760.

In 1821, G.M.S. Chivers in The Dancer's Guide page 57, had described Spanish dances as starting improper, and I suspect this might be intended here and explain why the same figure occurs twice. I don't see that it makes much difference whether the first couple is proper or improper. The Spanish version of the dance is subtitled "Hungarian Waltz" in Boulogne (Not a part of Spain I'm familiar with).

The next earliest description of the figure I've found was published by the Lowes in Lowes' Ball-Conductor and Assembly Guide. of 1831. The Lowes published in Edinburgh, and their book has three sub-categories of country dance: English, Scotch and Irish. Petronella is categorized as an "English Country Dance". They describe it thusly:

First couple chassé round to the right, and set in the middle; round to the right again, and set on the sides; to the right again, and set in places; down the middle, up again, and pousette.

By 1853, the Lowes had become just Joseph Lowe, and he published a somewhat different version in his Lowe's Selection of Popular Country Dances (courtesy of the National Library of Scotland):

First couple turn round to the right, and set opposite to each other in the middle of the Dance (4 Bars). Again round to the right, and set on the sides of the Dance, (4 Bars) Again round to the right, and set in the middle, (4 Bars) Again to the right and set in places. (4 Bars) First couple down the middle and up again. (8 Bars) Poussette with top couple. (8 Bars)

Courtesy of National Library of Scotland, licensed under:

In ~1868 H. D. Wilcock in Ball-Room Guide; A Manual of Dancing page 70, writes:

1. First couple turn round to the right, and set in centre of dance (4)
2. Turn to the opposite side and set (4)
3. Turn to centre and set (4)
4. Turn and set in places (4)
5. Lead down the middle and up again (8)
6. Pousette (8)

In 1868 Elias Howe in The Pianist's Matinee: A Collection of Music for the Piano-Forte, writes:

First couple turn round to the right, and balance opposite to each other in the middle of the dance. (4 bars) Again round to the right, and balance on the sides of the dance. (4 bars) Again to the right, and balance in the middle. (4 bars) Again to the right, and balance in places. (4 bars) First couple down the middle and up again (8 bars) Right and left with the next couple. (8 bars)

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

1. First couple turn to their right and set in centre of dance (4 bars)
2. Turn into each other's place and set (4)
3. Again turn to centre by right and set (4)
4. Turn to places and set, (4)
5. Down the centre and back, (8)
6. Poussette, (8)

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

Time 2-4

Turn to right in centre with two steps facing each other, then set to each other with two steps.

Turn into each other's places with next two steps then set with other two steps.

Turn to right in centre facing each other with two steps then set to each other with two steps.

Turn into places next two steps then set with other two steps (the four quarter turns describe the figure of a diamond).

First gent then leads his partner down the centre and back to places, the first and second couples pousette.

Repeat from the beginning other three times

Courtesy of National Library of Scotland, licensed under:

Note: Anderson very explicitly says the lead down and back returns to places, while fifty years earlier it had an implied cast off. That means his "pousette" must be progressive, though he does not say that explicitly.

Many pages later in the book Anderson defines a "Petronella Step". He does not explicitly say it is for petronella turns, rather he says This Step may also be used for Contra Dances, Circassian Circle, etc., in setting to partners, but must never be used for Quadrilles.

PETRONELLA STEP.

Stand in 1st position.

Hop out on right foot in 2nd position.

Bring left foot in front in 5th position.

Beat behind with right.

Hop out on left foot in 2nd position.

Bring right foot down in front in 5th position.

Beat behind with left.

In ~1898 J. Scott Skinner in The People's Ball Room Guide, (Dundee), writes:

This is one of the very prettiest Country Dances we have.

The dancers are arranged in the usual way.

First lady and opposite gentleman advance to the centre, one, two, three, and turn with toes to right. Then they execute the first quickstop twice.

They advance to the opposite side and set.

They advance to the centre and set.

They advance and set in places, having thus, with their successive movements described the figure of a diamond.

Then down the centre, back, and pousette.

There is a tune "Petronella" for this dance. "Meg Merrilees" suits it admirably.

While in the book Prompting: How To Do It by John M. Schell, published Boston, 1890.

First couple balance to side (4); balance to center (4); balance to side (4); balance to center (4); first couple down centre and back, cast off (8); right and left (8).

Back in Scotland, in Allan's Reference Guide to the Ball-Room, says:

1. First couple advance to the centre of the dance, turning round to the right and set.
2. Advance to the opposite side and set.
3. Advance to the centre side and set.
4. Advance and set in places.
5. Down the center and up again.
6. Pousette.

Courtesy of National Library of Scotland, licensed under:

Note that in 1831 the 1s simply chassé into position with no turn, but by 1868 they are turning into the middle, then in 1924 the (R)SCDS describes the figure:

1st woman moves from A to B with two pas de basque, leading off with the right foot and making a three-quarter turn by the right, in the middle of which she has her back to her partner.
1st man moves similarly from C to D.

The modern contra figure seems similar to that described by Wilcock in 1868.

As this dance is rather boring for the 2s a number of variations have arisen.

The RSCDS attributes this to Mitchell's A Guide to Ball Room Dancing, a work I haven't found yet. The earliest I have found are the following:

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

First and second ladies join hands, at same time first and second gents. join hands.

Then advance and retire, and cross over to each other's places, ladies passing under the gent.'s arms.

Advance and retire, then cross to places, ladies passing under gent.'s arms.

Top couple down centre and back.

First and second couples pousette.

Repeat.

Courtesy of National Library of Scotland, licensed under:

Also in Skinner writes:

Arrange the dancers as usual.

First and second ladies join hands, advance and retire with Quadrille step.

First and second gentlemen do the same at the same time. They re-advance, the ladies passing under the gentlemen's arms.

This is repeated, the gentlemen going under the ladies' arms

First lady and opposite gentleman then go dow the centre, back, and pousette.

Repeat.

Rory o' More has a tune of its own bearing the same name.

A quite different dance with this name appeared in the US in 1858 (Elias Howe, Boston). It seems likely to me that a dance appeared before 1897 in Scotland, but I haven't found any earlier sources.

Kate Hughes's manuscript, Dancing Book, Ireland, 1867, contains yet another version of the figure.

RSCDS Book1 attributes this dance to J. P. Boulogne's The Ball-Room, 1827, but it has earlier roots. Preston published a version in 1793, and Thompson published something rather different in 1790 named La Triomphe. Preston's version has three lead up abreast, but has not yet developed the triumphal arch over the woman.

Preston writes:

The 1^st. Lady set to the 2^d. Gentⁿ. & turn The 1^st. Gentⁿ. set to the 2^d. Lady & turn The 1^st. Lady take the 2^d. Gentⁿ. by the right hand & lead him down to the 3^d. Cu^s. place · The 1^st. Gentⁿ. cast off & his Part^r. all 3 lead up to the top together ·· the 1^st. Cu lead down the middle up again & cast off ··

Wilson writes:

3 PARTS

Single Figure.

The second Gentleman leads down the top Lady, at the same time the top Gentleman crosses over and leads down outside on the Ladies' side, the two Gentlemen then lead the Lady up in triumph to her place ··, then the top Gentleman leads down the second Lady, and the second Gentleman crosses over and leads outside on the Ladies' side, the two Gentlemen then lead the Lady up to her place in triumph ··, lead down the middle, up again, and right left .

Or thus:

Set and change sides ··, the second Gentleman leads down the top Lady, at the same time the top Gentleman crosses over and leads down outside the Ladies' side, the two Gentlemen then lead the Lady up in triumph to her place ··, down the middle, up again, and right and left .

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.

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

Published by Goulding & D'Almaine in 1827 as Blue Bonnets are over the Border. I do not have access to the original text. but Robert Keller gives the figures as:
Change sides
Change sides (again)
Lead down and back
Poussette

Smyth, in 1830, page 31, calls it Blue Bonnets Over the Border and writes:

First Lady and second Genlemen advance and retire, and pass back to back, the first Gentleman and second Lady the same Down the middle and up again, and poussette.

So where is the progression in this dance? Either in the poussette or in "down the middle and up again". If you look at Mrs McLeod (page 33) you will see that, for Smyth, "down the middle and up again" is progressive.

Smyth (an Edinburgh dancing teacher) classifies this as a "Scotch Country Dance".

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:

The RSCDS attributes this to Mozart Allan's Allan's Reference Guide to the Ball-Room, Glasgow, ~1895, and a dance with this name is in that work, but it occurred elsewhere earlier. Both Smyth and the Lowes published it in about 1830, I think Smyth was earlier.

Smyth, in 1830, page 32, writes:

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

The Lowes, in 1831, page 107, writes:

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

These clearly describe the same dance.

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

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

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

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

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

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

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

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

Courtesy of National Library of Scotland, licensed under:

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

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

The Lowes write:

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

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

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

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

Smyth writes:

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

The Lowes write something similar:

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

Finally Allan writes:

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

Courtesy of National Library of Scotland, licensed under:

The RSCDS says this was collected in Perthshire and Argyll.

The Thompsons published a dance called The Prince of Wales in ~1770, but it does not match this figure.

The Scotch Reform act passed in 1832 so presumably the dance was devised around then.

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

In 1816 Wilson in A Companion to the Ball Room, London, gives three figures to this tune, in 1830 Smyth in A Pocket Companion... gives a figure, as do Anderson (1897) and Allan (~1900). But none of those figures seems to match the RSCDS figure.

The RSCDS claims this is "from the Border Country".

The Lowes write:

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

The RSCDS claims this dance was collected in Shetland.

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 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 says "collected in Peebles-shire."

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

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

The RSCDS says "collected in Caithness."

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

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

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.

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

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

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

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

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

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

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

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

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

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

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

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

Wilson, on page 54, writes:

SINGLE FIGURE 1^st strain repeated 2^d. played straight thro' & D.C.
Swing with right hands round 2^d. Cu: then with left   lead down the middle up again & right & left with top Cu:

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

DOUBLE FIGURE (Tune played played twice thro as marked)
The 1^st. Cu: cast off at the same the 3^d. Cu: set & lead up then the 3^d. Cu: cast off & the 1^st. Cu: set & lead up to places   cross over 1 Cu: half figure round the 3^d. Cu: set contrary corners   lead thro the bottom hal pou^e.

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

Wilson defines most of his figures in his An Analysis of Country Dancing.
Except that the first figure is not explicitly defined.
Cross over 1 Cu: is not defined either, but Cross over 2 Cu: may be found on page 22 and means "cross go below 2s, cross again, go below 3s". (so presumably crossing 1 Cu: means stopping below 2s.)
half figure may be found on page 54 and means "the active lady loops around the man below ending in her partner's place, as the active man loops the woman below ending in his partner's place. set contrary corners may be found on pages 55-57 and means "move to 1st corner and set, pass partner right moving to 2nd corner, set, return to places the easiest way". Wilson does not show the corners setting back.
lead thro the bottom is half of through bottom and top on page 23 and means "the active couple take hands, lead down below the bottom, drop hands, and cast up to their own places.
half poussette not defined. A full poussette is defined on page 53 going once and a half around the neighbor couple. But half of once and a half doesn't make sense here. Dancers have already progressed so going a full circle is probably what he wants to happen.

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

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 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.

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.

According to the Regency Dance site, Button & Whitaker published a dance with this name in their 26th selection, and their page on Thomas Wilson indicates that he was the deviser of the Country Dances in that selection. Sadly I do not have access to the figures of these dances.

The RSCDS attributes this dance to Button, Whitaker & Beadnell, in the book Twenty Four Country Dances with Figures by Mr. Wilson for the Year 1816, but no dance with either name is listed in the Regency Dance site's list of all dances published by Button & Whitaker. Nor can I find any reference to a dance with either of the names Waverley and Fergus McIver in any other place.

On the other hand the use of double triangles does imply Wilson is the deviser (Assuming that was part of the original figure)

Wilson defined all his figures in his book The Analysis of Country Dancing. Double triangles appear in the 3rd edition of that work. Wilson's double triangles are completely different from those of the RSCDS. Wilson probably invented the figure and used the term to mean: the middle couple loop first corner right shoulder pass outside partner's place, then loop 2nd corner right shoulder and return to place.

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

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

In 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.

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

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

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

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

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

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

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

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

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

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

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".

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

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

Reel Time.

Top couple down the centre and back.

Top gent. set and turn second lady.

Top lady set and turn second gent.

Reel four across.

Promenade round with own partners.

First and second couples pousette.

Repeat to bottom of dance.

Courtesy of National Library of Scotland, licensed under:

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

Book 21 contains the note "Collected in Glenesk, Angus".

Campbell writes:

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

Where does Campbell mean the progression to happen?

set & change sides Back again is not progressive.

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

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

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

Book 21 says "Collected from an old manuscript."

Both Walsh and Jackson published a dance with this name but a different figure (several publications between 1735 and 1755).

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

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

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

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

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

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

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

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

Wilson spells the title "Auld Langsyne".

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

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

Wilson defines all his figures in his An Analysis of Country Dancing.
Cross over 2 Cu: may be found on page 22 and means "cross go below 2s, cross again, go below 3s".
half figure on your own sides may be found on page 67 and means "weave around the dancers on your own side, move between the couple above, then outside the next couple, finishing at top."
allemande may be found on page 7 and appears to mean a gypsy. This is an unusual meaning for "allemande", but, as best as I can understand, that is what Wilson describes.
poussette may be found on page 53 and means "top two couples join hands with partner, circle, counter-clockwise, one and a half times around the other couple to change places with them.
set contrary corners may be found on pages 55-57 and means "move to 1st corner and set, pass partner right moving to 2nd corner, set, return to places the easiest way". Wilson does not show the corners setting back.

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

Time 6-8.

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

Top two couples advance and retire.

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

Advance and retire.

Re-advance, and turn own partners.

Two top couples pousette.

Repeat Figure to bottom.

Courtesy of National Library of Scotland, licensed under:

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

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

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

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

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

The RSCDS is interpretting Wilson's DOUBLE FIGURE

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

1. Set, and half right and left may be found on page 50 Everyone sets in his or her place (he doesn't say whether this is to partner, neighbor or corner) then L1+M2 change by left, then M1+L2 change by right.
2. promenade 3 Cu: is defined on page 18 and means that all three couples take promenade hold and, with the 1s leading, travel in a counter-clockwise elipse around and back to places.
3. whole poussette is defined on page 15 and means: "top two couples join hands with partner, circle, counter-clockwise, one and a half times around the other couple to change places with them."
   Note: this is unlike a normal English Poussette as the couples travel once and a half around each other rather than once. And is quite different from the Scottish Poussette.
4. whole figure contrary corners is defined on page 104. Rather awkwardly, Wilson provides two different (contradictory) directions. In the first "the 1s cross down, W1 in front of M1, W1 around M3, M1 around W3, then cross up, W1 around W2, M1 around M2, and return home". In the second the "1s cross up, W1 around M2, M1 around W2, then cross down W1 around W3, M1 around M3, and return home.

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

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

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

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

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

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

Courtesy of National Library of Scotland, licensed under:

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

Reel Time.

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

Top gent. set and turn second lady.

Top lady set and turn second gent.

Ladies chain.

Top couple down centre and back.

First and second couples pousette.

Repeat to bottom of dance.

Courtesy of National Library of Scotland, licensed under:

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

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

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

Courtesy of National Library of Scotland, licensed under:

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

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

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

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

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

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

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

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

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.

Wallace writes:

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

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

Kate Hughes writes:

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

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

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

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

Kate Hughes writes:

1. Top gent cast the second lady down the centre and up (8)
2. Set and turn partners (8)
3. Ladies chain (8)
4. Pousett

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

1. First gentleman takes the second lady down the centre and up leaving her beside her partner, while he joins his partner, (8)
2. The two couples set and turn partners, (8)
3. Ladies chain, (8)
4. Pousette, (8)

Neither the RSCDS, nor any of the sources specify how L1+M2 cross to opposite sides. The most obvious is for them to cross up at the end of the lead up, but they could simply wheel around at the bottom. I suppose they could even cross over before leading down, but that seems even less likely.

The RSCDS attributes this to D. Anderson's Ball-Room Guide, ~1880, and to Kate Hughes's Dancing Book, ~1867.

Kate Hughes writes:

1. Top couple swing in the centre (8)
2. Balance four in a line with the seceand couple (8)
3. Four arm arm down the centre and up (8)
4. Pousett

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

1. First couple gives right hands, turns once round, return giving left which is retained and give right hands to partners, (8)
2. The four set in line, using balance step, (4)
3. The gentlemen turns each other's partners (4)
4. The four arm and arm down the centre and back, (8)
5. Pousette (8)

(I think when Wallace says "partner" at the end of 1) that he means "other partner" or what I'd call neighbor.)

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

First gentleman gives right hand to his partner, and turns her in the centre.

Repeat with the left hand.

Set four in a line across the dance with next couple.

All four down the centre and back.

Pousette.

Repeat.

Courtesy of National Library of Scotland, licensed under:

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

Reel Time.

Top couple down the centre and back.

Top lady turn second gent. by right arm half a measure, then turn by left arm half a measure.

At the same time top gent. turns second lady by right arm half a measure, then turn by left arm half a measure.

Reel four across the dance.

Pousette with own partners.

Repeat figure to bottom.

Courtesy of National Library of Scotland, licensed under:

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

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.

This may be in D. Anderson's Ball-Room Guide of ~1880, but it is not in his later work D. Anderson's Ball-Room and Solo Dance Guide, which is all that I have access to.

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:

Kate Hughes writes:

1. Top couple swing in the centre (8)
2. Down the centre at the same time the seceaond gent cross over to his partner (8)
3. Top and seceaond couples set in the centre facing each other and turn partners (8)
4. Reel four down the dance (8)
5. Pousett (8)