Drawing Room Dances
by Henri Cellarius
An English translation of La danse des salons
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E. CHURTON, 26, HOLLES-STREET.
MADAME LE COMTE,
(OF 25, BERNERS STREET,)
This little Work is
RESPECTFULLY DEDICATED BY
HER OBLIGED SERVANT,
PRINTER AND STEREOTYPER,
I. Revival of Fashionable Dancing
II. Stage Dances, and Dances of the Ballroom
III. Preliminary Exercises. — The Salute
IV. The French Quadrille
V. The Polka
VI. Steps of the Polka
VII. The Waltz à Trois Temps
VIII. The Waltz à Deux Temps
IX. Advice to the Waltzers à Deux Temps
X. Sequel to the Advice to Waltzers à Deux Temps
XI. The Waltz a Cinque Temps
XII. The Mazurka
XIII. Observations on the Mazurka
XIV. The Quadrille-Mazurka
Description of the Figures of the Quadrille-Mazurka
XV. The Waltze-Mazurka, called the Cellarius
XVI. The Redowa
XVII. The Cotillon
XVIII. Figures of the Cotillon
1. The Excursion—La Course. (Waltze, polka, mazurka).
2. The Rounds of three — Les Ronds à trois. (Waltze, polka, mazurka.)
3. The Chairs—Les Chaires. (Waltze, polka, mazurka).
4. The Flowers—Les Fleurs (Waltze, polka, mazurka).
5. La Course Assise. (Waltze, polka, mazurka)
6. The Columns—Les Colonnes. (Waltze, polka, mazurka).
7. The Cushion—Le Coussin. (Waltze, polka, mazurka).
8. The Cards— Les Cartes. (Waltze, polka, mazurka).
9. The Pyramid—La Piramide. (Waltze, polka, mazurka).
10. The Deceiver—La Trampeuse. (Waltze, polka, mazurka).
11. The Serpent—La Serpent. (Waltze, polka, mazurka).
12. The Broken Round—La Rond Brisé. (Waltze, polka, mazurka).
13. The Handkerchief—Le Mouchoir. (Waltze, polka, mazurka).
14. The Change of Ladies—Le Changement des Dames. (Waltze, polka, mazurka).
15. The Hat—Le Chapeau. (Waltze, polka, mazurka).
16. The Shawl—L'Echarpe. (Waltze, polka, mazurka).
17. The Ladies Seated—Les Dames Assises. (Waltze, polka, mazurka).
18. The Glass of Champagne—Le Verre de Vin de Champagne. (Waltze, polka, mazurka).
19. The Rejected Couples—Les Couples Refusés. (Waltze, polka, mazurka).
20. The Nosegays—Les Bouquets. (Waltze, polka, mazurka).
21. The Presentation of Ladies—Les Dames Presentés. (Waltze, polka, mazurka).
22. The Moving Cushion—Le Coussin Mobile. (Waltze, polka, mazurka).
23. The Ladies Mocked—Les Dames Trompées. (Waltze, polka, mazurka).
24. The Magic Hat—Le Chapeau Magique. (Waltze, polka, mazurka).
25. The Phalanx—La Phalange. (Waltze, polka, mazurka).
26. The Mysterious Cloth—Le Drap Mysterieux. (Waltze, polka, mazurka).
27. The Gentlemen Mocked—Le Cavalier Trompè. (Waltze, polka, mazurka).
28. The Double Cross—Le Croix Double. (Waltze, polka, mazurka).
29. The Grand Round—Le Grand Rond. (Waltze, polka, mazurka)
30. The Twin Circles—Les Cercles Jumeau. (Waltze, polka, mazurka)
31. The Deceitful Round—La Rond Trompeuse. (Waltze, polka, mazurka)
32. The Convent-Porter—Le Portier du Convent. (Waltze, polka, mazurka)
33. The Mysterious Hands—Les Mains Mysterieux. (Waltze, polka, mazurka)
34. The Handkerchief Chase—La Chasse aux Mouchoirs. (Waltze, polka, mazurka)
35. The Stormy Sea—La Mer Agitée. (Waltze, polka, mazurka)
36. Puss in the Corner—Les Quatre Coins. (Waltze, polka, mazurka)
37. The Bower—Les Berceau. (Waltze, polka, mazurka)
38. The Pursuit—La Poursuite. (Waltze, polka, mazurka)
39. The Final Round—La Rond Final. (Waltze, polka, mazurka)
40. The Endless Rounds—Les Ronds Infinis. (Waltze, polka, mazurka)
41. Le Moulinet. (Waltze, polka)
42. Le Moulinet Changeant. (Waltze, polka)
43. The Four Chairs—Les Quatres Chaires. (Waltze, polka)
44. The Country Dance—La Contredanse. (Waltze, polka)
45. The Handkerchief—Le Mouchoir. (Waltze, polka)
46. The Flying Shawls—Les Echarpes Volantes. (Waltze, polka)
47. The Fan—L'Evantail. (Waltze, polka)
48. Blindman's buff—La Colin Maillard. (Waltze, polka)
49. The Gentlemen Together—Les Cavaliers ensemble. (Waltze, polka)
50. The Zigzags—Les Zigzags. (Waltze, polka)
51. The Undulations—Les Undulations. (Waltze, polka).
52. The Two Lines—Les Deux Lignes. (Waltze, polka)
53. The Crooked Lane—L'Allee Tournante. (Waltze, polka)
54. The Flying Hat—Le Chapeau Volant (Waltze, polka).
55. The Figure of Eight—La Huit. (Waltze)
56. The Intermingling of Arms—Les Bras Enlacés. (Polka, mazurka)
57. The Ladies' Moulinet—Le Moulinet des Dames. (Polka, mazurka)
58. The Little Rounds—Les Petits Ronds. (Polka, mazurka)
59. The Double Moulinet—La Double Moulinet. (Polka, mazurka)
60. The X of the Gentlemen—L'X Des Cavaliers. (Polka, mazurka)
61. The X of the Gentleman and his Lady—L'X de Cavaliers et de la Dame. (Polka, mazurka)
62. The English Right and Left—La Grande Chaine Anglaise. (Polka, mazurka)
63. The Graces—Les Graces. (Polka, mazurka)
64. The Contrary Rounds—Les Ronds Contrarieés (Polka, mazurka)
65. The Genuflexions—Les Genuflexions. (Polka, mazurka.)
66. The Right and Left—Les Chaines à Quatre. (Polka, mazurka)
67. The Crossed Chains—Les Chaines Croiseés (Polka, mazurka)
68. The Double Pastourelle—La Double Pastourelle. (Polka, mazurka)
69. The Double Chain—La Double Chaine. (Polka, mazurka)
70. The Uninterrupted Chains—Les Chaines Continues. (Polka, mazurka)
71. The Inconstants—Les Cavaliers Changeants. (Polka, mazurka)
72. The Ladies Back to Back—Les Dames Dos à Dos. (Polka, mazurka)
73. Four Hands Round—Les Ronds à Quatre. (Polka, mazurka)
74. The Genuflexion of Four—La Genuflexion à Quatre. (Polka, mazurka)
75. The Change of the Moulinet—La Moulinet Changé. (Polka, mazurka)
76. The Changing Triangle—La Triangle Changeant. (Polka, mazurka)
77. The Chains in Line—Les Chaines en Ligne. (Polka, mazurka)
78. The Labyrinth—La Labyrinth. (Waltze, polka, mazurka)
79. The Polka in Right and Left varied—La Polka en Chains Diverses. (Polka)
80. The Basket—La Corbeille. (Mazurka).
81. The Triple Pass—La Triple Passe. (Mazurka)
82. The Lady to the left—La Dame à Gauche. (Mazurka)
83. The Reunion of Couples. (Mazurka)
Conclusion of the Cotillon
XIX. Last observations on the Ball-Room Orchestra, etc.
First Figure—Le Pantalon
Third Figure—La Poule
Fourth Figure—Trenise, or La Pastourelle
THE work which I now offer to the public under the title of "Drawing-room Dances," contains a faithful and complete collection of my
My pupils had for a long time pressed me to unite in one volume those precepts of the dance and waltze, which I had the happiness of
instilling into them. Such a volume, they said, would profit all—the novice, who would be instructed by the perusal, and the
proficient, who would find a pleasure in recollection. These wishes, being constantly repeated, became to me at last an indispensable
duty. I imagined, moreover, that a work which would be as a manual of the modern dancer and waltzer, must have some utility for the
teaching and practice of the art in general.
The new dances, such as the polka, mazurka, valse a deux temps, &c. which have become popular during the last few years, met at
first, like most other novelties, with considerable opposition. Many persons, even at present, judging of them when exaggerated
instead of when truly executed, still speak of them with prejudice. It is time, therefore, as I think, to explain what these dances
really are, to fix their rules, to define their character, and to prove that the drawing-roo may admit them without in any way
derogating from their traditional elegance and good taste.
In this volume, I have treated of every sort of dance, which obtains at present in the world, from the French country-dance to the
newest waltzes, even to those which can scarcely as yet be said to be adopted. Some quadrilles also and waltzes, arranged, or invented
by myself, have of necessity found a place in this collection. The flattering approbation of many persons of fashion has imposed
this upon me.
The cotillon, that essential finale of every ball, has been the object of my peculiar care, and I have been able to bring together
more than eighty figures, each different from the other. This ensemble will offer, I
should think, a field sufficiently extensive for the dancers, and henceforth the
will not be under the necessity of stopping short in the middle of their functions.
Is it necessary to add that this work,—which is dedicated to waltzers much more than to readers, and made rather to lie on
the piano than in the book-case,—cannot have the least literary pretensions? Need I crave indulgence for pages written in
very brief intervals of rest, or more frequently amidst the noise of polkas and waltzes? Still I must confess that I have not
composed them without a lively sense of gratification. Employed from infancy in the practice of an art, to which I have always
been passionately devoted, I have found in the imparting of it a pleasure no less real.
The hours past in my lessons and courses, are above all things to me an agreeable pastime. The essays of my pupils; my continual
observations on their progress; their practice, in which I never fail to take a part, persuaded that it is above all in dancing
that the professor should teach by example; and the success of many who delight in reminding me that they have been formed under
my eyes—these are things, which are more than enough
to recompense me for the trouble and fatigue of teaching.
To conclude, in writing the
Drawing-room Dances, I have again found myself in the midst of my pupils, I have beheld them waltze, I have waltzed myself,
and that is enough to show the nature of my ambition.
May this book help to spread the taste for dancing; may it augment, if that be possible, the number of good and skillful waltzers,
and I shall for once have taken up the pen by chance, without seeming to quit the sphere wherein the favour of the public has
thought proper to assign me a rank so precious.
Drawing Room Dances
by Henri Cellarius
See images of the original pages starting at