Orchesography, or, the Art of Dancing

Orchesography, or, the Art of Dancing - The Art of Dancing by Characters and Demonstrative Figures

But notwithstanding this blind Hint of Arbeau, to do Justice to Mons. Beauchamp, we must attribute to him the Invention of this Art, who in all Probability, could no more see the former Book, than Mons. Feuillet. But as no Art was ever invented and perfected at once; so it remaind for Mons. Feuillet, to raise the compleat and finishd Superstructure on Mons. Beauchamps Foundation; and it must be allowed, that Mons. Feuillet has carryd this Art to a very great Perfection, and taken a great deal of Pains in the Improvement of the Character, and given Rules so just, and a Method so proper, that I cannot imagine any Man can flatter himself with an Ability of designing a better, or more regular manner. For this Reason I chose rather to follow his Method entirely, than attempt any Alteration of my own, which I have done with that Care and Diligence, that I think I may assure the Reader I have omitted nothing that he has deliverd. I have also made it my Business to bring the Reader acquainted with the Meaning of my Author, as well as his Words, which is a Happiness every Translator has not the Power of arriving at, as generally either ignorant of the Subject or Language he translates from, or into, or both. Another Fault of our common Translators I have avoided with all the Industry I could: Some of them pretending to meddle with Books of Art, and not understanding the Terms of Art, give us such an odd Jargon, that we can never understand it without the Interpretation of a Master, or having Recourse to the Original itself. I have therefore renderd all the French Terms into English, but with so much Caution of doing Justice to the Author, and the Art, that I would not defend on my own Judgment, but let none pass without the Approbation of the best English Masters. The Perfection, which Dancing is now come to in England, seems to point this Time out at the fittest Juncture, for the Publication of a Book of this Nature; since we now enjoy in this Nation, Performers and Masters of greater Excellence than any other part of Europe; who shew every Beauty of the Art in its full Glory and Perfection. For whoever shall consider the Masterly Compositions of Ball-Dances by Mr. Isaac, which are so well adapted to the manner of our School-teaching, (peculiar to England, no other Nation having any such thing as publick Dancing-Schools) whoever shall see the admirable Compositions of Mons. LAbb in Ballet, and his Performance, with that of M. Desbargues, M. Du Ruel, and M. Cherrier, can hope to see nothing in this Art of greater Excellence, unless any wonderful Genius should arise, and advance this once celebrated Art to that Perfection, which drew the Eyes, and employd the Pens of the old Greeks and Romans; a lively Description of which, the Reader may see in this Epigram, by an unknown Hand Mascula foemineo derivans Pectora Sexu, Atq; aptans lentum Sexum at utrumq; latus, Egressus Scenam Populum faltator adorat Solerti pendet predere verba Manu. Nam cum grata Chorus diffundit cantica dulcis Qu resonat Cantor, motibus ipse probat. Pugnat, ludit, amat, Bacchatur, Vertitur, adstat, Illustrat verum, cuncta decore replet. Tot Lingu, quot Membra viro, Mirabilis est Ars, Qu facit Articulos voce silente loqui. From this Epigram, it is plain, that the ancient Dancing had something more than Motion, Measure, and Figure, and expressd the Passions and Actions of Mankind, was a sort os silent Poetry, and the Painting, tho without Colours, so expressive, as to touch and charm every Beholder. There will be no need to enforce the Use of this Art, and by Consequence recommend the Book that teaches it, to all Lovers of Dancing, since it carries its own Evidence with it self, and has already convincd them of its Benefit and Advantage; and I question not but others will find the same Satisfaction from their Study, which I have done, since by a close Application to this Character, I have made such a Progress in it, as to be able to communicate all Dances to the rest of the Profession at any Distance. I have a great deal of Reason to believe, that had not I first undertaken to make Mons.Feuillet speak English, this Character had yet a longer while remaind a Secret to this Nation; those who had made their private Market of it, not being willing to admit any Rivals in an Art, which chiefly distinguishd them from others of their Profession. I must undeceive some, who may perhaps mistake the Design of the following Treatise, and take it for an Instruction, or some Improvement in the Art of Dancing, or Method of Teaching. But I must assure them, that I am not yet Master of Vanity enough to venture upon a Task so difficult, and so invidious, since I am of Opinion, that there are not better Masters for instructing Scholars in a genteel Movement and Address, than the English. I shall not therefore detain the Reader any longer in the Porch, but leave him now to enter, and improve. Ingredere ut proficias. A List of the Dancing-Masters, Subscribers to this Undertaking. A Monsieur LAbb. B Mr. Bosely of Norwich. C Mr. Tho. Caverly. Mr. Ant. Caverly. Monsieur Camille. Monsieur Cherrier. Mr. Claxton. Mr. Coucb. Monsieur Cottin. Mr. Counley of Barbadoes. Mr. Cragg. Mr. Christian. D Monsieur Debargues. Mr. Delamain of Dublin. Monsieur Le Duc. Mr. Douson. E Monsieur DElisle. Mr. Essex. G Mr. Groscourt. Mr. Gery. H Mr. Walter Holt, Sen. Mr. Walter Holt, Jun. Mr. Rich. Holt. Mr. Heale of Salisbury. IMr. Isaac. LMr. Lally. Mr. Char. Lewis. NMr. Nicholson. OMr. Orlabeer. PMr. Pawlet. Mr. Pemberton. Mr. Porter of Darby. Mr. Pritton. RMonsieur Du Ruell. Mr. Rogers. SMonsieur Serancour. Monsieur LSac. Mr. Sexton of York. Mr. Shirley. This Undertaking bas also been encouraged by the Subscriptions of several of the Nobility and Gentry ERRATA. Dedication, page 2. line 1. for Phrases, read Praises. P. 8.l.3. f. the, r.a. P.17.1.3, f. afterwards, r. forwards.. P.34.1.7. after Page, add as E F do the upper end of the Room, G H the lower part. P. 40. 1. 2, f. behind, r. before. P. 47. 1. 4. f. Rigandons, r.Rigandons. [Transcribers note: corrections to text made] Orchesography. OR, The ART of DANCING BY Characters and Demonstrative Figures. By which any Person, who understands Dancing, may of himself easily learn all manner of Dances. The Explanation of the Terms belonging to DANCING, seem to be altogether needless, since they are so plain and intelligible of themselves: But lest the Reader should put wrong Constructions on those Terms of Art which the Dancing-Masters make use of, I shall give the following Explanation of them. Dancing is composed of Positions, Steps, Sinkings, Risings, Springings, Capers, Fallings, Slidings, Turnings of the Body, Cadence or Time, Figures, &c. Positions, are the different Placings of the Feet in Dancing. Steps, are the Motions of the Feet from one place to another. Sinkings, are the Bendings of the Knees. Risings, are when we rise from a Sink, or erect our selves. Springing, is a rising or leaping from the Ground. Capers, are when in rising or leaping from the Ground, one Leg beats against the other, which we call Cutting. Fallings, are when the Body, being out of its proper Poise, falls by its own Weight. Slidings, are when, in moving, the Foot slides on the Ground. Turnings, are when the Body turns either one way or the other. Cadence or Time, is a right understanding of the different Measures, and Observation of the most remarkable places in the Tune. Figures, are Tracts made by Art, on which the Dancer is to move. Before I proceed to demonstrate what I have already explaind, I shall describe the Room or Stage, where Dancing is performd; as also the different Tracts or Figures to be made thereon, and the Posture and Presence of the Body, in which the Performer ought to stand. Of the Stage, Room, or School. The Stage or Dancing-Room, I shall represent by an Oblong, as in the Figure A B C D, of which the upper end is A B, the lower end C D; the right side B D, and the left side A C. The Presence of the Body. The Posture or Presence of the Body, is to have respect to that part of the Room, to which the Face or Fore-part of the Body is directed, which I describe by the Figure F G H I, of which F G shews the two Sides of the Body, H the Face or Fore-part, and I the Back or Hinder-part. The Face of Forepart of the Body up. The Face down. The Face to the right side. The Face to the left side. Of the Tract. The Line on which the Dances are described, I call the Tract. Which Tract serves for two Ends, the first to direct the Steps and Positions, and the other to represent the Figure of the Dance. All Steps and Positions may be described upon two Lines, viz.upon a Right Line, and a Diametrical Line; but because the Tract must also be made use of for the Explanation of the Figure of Dances, I shall add to these Lines, the Circular and i>Oblique. A Right Line, I call that which extends it self in Length, from one end of the Room to the other, as by the Line markd K. A Diametrical Line, is that which goes cross the Room from side to side, as is shewn by the Line L. The Circular Line, is that which goes round the Room, as is expressd by the Letter M. The Oblique Line, is that which goes cross the Room, from Corner to Corner, as may be seen by the Line N. Every one of these Lines, or Tracts, may jointly or separately form the Figure of a Dance, on which may be described the Positions and Steps, as in Figure O. The beginning of which Tract, is shewn by the Character representing the Posture or Presence of the Body, which must be joind to it, to shew the Position of the Body at the beginning of the Dance. Of the Positions. There are ten Sorts of Positions generally usd in Dancing, which are divided into True and False. The True, are when the Feet are placd uniform, and have the Toes turnd out equally. The False, are some of them uniform, others not, and differ from the True, in that, the Toes are turnd inward, or one in, and the other out. In all Positions whatsoever, the Form of the Foot is known by these Marks, viz. That which resembles an O, represents the Heel; the Line joind to it, the Ankle; and the Extremity of that Line, the Point of that Foot. A half Position. This Figure of the Foot, is but a half Position, because it represents but one Foot, whereas a whole Position does that of two, as in the Figure A B. Position Tis to be observd, that the Letter A, in the foregoing Figure, represents the left Foot, and B, the right. Of true Positions. There are five true Positions. The first is when the two Feet are joind together, the Heels being one against the other. First Position. The second is when the Feet are open, or separate, on a Line, one distant from the other the length of the Foot. Second Position. The third is when the Heel of one Foot is joind to the Ankle of the other, which I shall hereafter term inclosd. Third Position. The fourth is when the two Feet are placd one before the other, the distance of a Foot in length. Fourth Position. The fifth is when the two Feet are crossd, the Heel of one directly opposite to the Toe of the other. Fifth Position. Of false Positions. There are also five of these. The first is when the Toes are turnd inwards, and touch each other, the Heels being open on the Line. First Position. The second is when the Toes are turnd inwards, there being the distance of a Foots Length between the Toes; the Heels as before. Second Position. The third is when the Toe of one Foot is outwards, and the other inwards, the one parallel towards the other. Third Position. The fourth is when the Toes are turnd inwards, so that the Toe of one Foot points to the Ankle of the other. Fourth Position. The fifth false Position, is markd like the fifth true one, and seems to be the same Position; but notwithstanding, they are very different, for whereas in the true one, the Toes are turnd outwards, in the false, they are turnd inwards, crossing each other, so that the Heel of one Foot is right against the Toe of the other, and is to be distinguishd from the true one by a small Bar between the Position. Fifth Position. Of Steps. Altho Steps made use of in Dancing, are almost innumerable, I shall nevertheless reduce them to five, which serve to express the different Figures the Leg makes in moving: These I shall call, a straight plain Step, an open Step, a circular or round Step, a waving Step, and a beaten Step. A straight Step, is when the Foot moves in a right Line; which is to be made two ways, forwards, and backwards. The open Step, is when the Leg opens; which is to be done three ways, one outwards, another inwards, both which make an Arch or half Circle, and the third sideways, which may also be called a straight Step, because the Motion of it is in a direct Line. The round or circular Step, is when the Foot, in moving, makes a circular Figure; of this there is two ways, one outwards, and another inwards. The waving Step, is when the Foot, in moving, turns both inwards and outwards. There are three ways of doing this, forwards, backwards, and sideways. The beaten Step, is when one Leg or Foot is beaten against the other. Of this there are also three ways of performing, viz. forwards, backwards, and sideways. A Step is known by the Character following, viz. a black Spot markd A, representing the Position of the Foot, the Line drawn from that Spot, markd B, shewing the Motion, Figure, and Largness of the Step, as from A to D, and lastly, by a small side Stroke joind to the End of the Line C, representing the Foot, of which D is the Heel, and E the Point of the Foot, or Toe. A Demonstration of all the Steps which have been before explaind. A straight Step forwards. The same backwards. An open Step outwards. The same inwards. The same sideways. A circular Step outwards. The same inwards. A waving Step forwards. The same backwards. The same sideways. A beaten Step forwards. The same backwards. The same sideways. To a Step may be added these following Marks, viz. Sinking, Rising, Springing or Bounds, Capers, Falling, Sliding, holding the Foot up, Pointing the Toes, placing the Heel, turning a quarter Turn, a half Turn, a three quarter Turn, and a whole Turn. The Mark for a Sink, is a little Stroke inclining towards the little black Head. A Sink. The Mark for a Rise from a Sink, is when there is a little straight Stroke upon the Step. A Rise. The Mark of a Spring or Rise from the Ground, is when there are two of the aforesaid Strokes, which is sometimes calld a Bound.A Spring, or Bound. The Mark for a Caper, is when there are three Strokes. A Caper. The Mark for a Falling Step, is when at the End of the little straight Stroke, another straight one is joind parallel to the Step, and pointing to the Mark for the Foot. A falling Step. The Mark of a Slide, is when at the End of the little Stroke, a small Bar is placd parallel to the Step.A Slide. The Mark for the Foot up, is when the Step is cut off. The Foot up. The Mark for pointing the Foot, without the Bodys bearing upon it, is when there is a Point directly at the End of that which represents the Toe. To point the Foot. The Mark for placing the Heel, without the Bodys bearing upon it, is when there is a Point directly behind that which represents the Heel. To place the Heel. A quarter Turn of the Body, is shewn by a quarter of a Circle placd on the Step. A quarter Turn. A half Turn, is represented by a half Circle. A half Turn. A three quarter Turn, is shewn by a three quarter Circle. A three quarter Turn. A whole Turn, is represented bya whole Circle. A whole Turn. Steps may have Several Marks. Sink and Rise. Rise and Sink. Sink and Bound. Bound and Sink. Sink, Bound and Sink. Sink and Caper. Rise and Fall. Sink, Rise and Slide. Sink and Hop. Sink, Bound and Turn. Sink, Rise, and point the Toe. Sink, Bound, & place the Heel. How to place the Marks in their proper Order. It is necessary first to know, that a Step has three Divisions, viz. a Beginning, Middle, and End: You must also consider the Foot, as well in Steps as Positions, has two Sides, an Inside and an Outside. The Beginning of the Step, is the Beginning of the Line, joining the little black Spot, as is shewn by the Letter A. The Middle, is the middle of the Line, as at Letter B. And the End, is the Extremity of the Line, joining that which represents the Foot, as at Letter C. The Outside of the Foot, is between the Heel and the end of the little Toe, markd D E; and the Inside, is that which is between the Heel and End of the great Toe, as is markd F G. There are three ways of Sinking, viz. before the Foot moves, in moving, and after it has moved. When there is the Mark of a Sink at the beginning of a Step, the Sink must be made before the Foot moves. Sink before the Foot moves. When the Sink is markd in the middle of the Step, the Sink is not to be made till the Foot has made half the Step. A Sink in moving. When the Sink is markd at the end of the Step, the Sink must not be made till the Step is finishd. A Sink after Movement. It is the same thing in the Marks of a Rise. Rise before the Foot moves. Rise in moving. Rise after Movement. Sink and Rise before the Foot moves. Sink and Rise in moving. Sink and Rise after moving. Sink before Moving, and Rise in Moving. Sink as before, and Rise after Moving. Sink in Moving, Rise after the Movement. Observations upon Springings. Springings may be performd two ways, viz. with both Feet at once, or with one Foot only. The Springings which are made on both Feet, are markd upon the Positions, as hereafter will appear; whereas the Springings that are made in moving, are markd upon the Steps, as has been already shewn, and will again appear by the Sequel. Of Springing Steps. A Springing Step, is performd two ways, either by springing and falling on the same Foot which moves forward, which I shall, for the future, call a Bound; or springing and falling on the Foot that does not move forward, which I shall call a Hop. When there is a Mark of a Spring upon the Step, and no Mark for the holding up of the Foot after it, it shews, that the Spring is to be made with the Foot that moves, which is calld a Bound A Bound. But when there is a Mark for a Spring, and afterwards a Mark for the Foot up, it signifies, that the Spring must be made on the Foot that does not move forwards, which is calld a Hop. A Hop. The mark for falling, has no proper Place assignd it, and I shall only observe, that in rising, when it is in Order to fall, it is necessary the Mark for a Rise, should be near the beginning of the Step. Rise and Fall. The mark for a Slide, has likewise no proper Place, when it is single on a Step; but when it is accompanied with other Marks, as sinking, rising, &c. then it must be placd last. Sink, Rise, and Slide. If after the Mark of a Slide, there be also the Mark for the Foot up, you must Slide no farther than that Mark shewing the Foot up. Slide, and afterwards hold the Foot up. The Mark for the Foot up, may be placd either in the Middle, or the End; when it is in the Middle, it shews, that the Foot is only up, in Order to be set down afterwards. Foot up, and then put down. But when it is at the End, it signifies, that the Foot must remain up. Foot up. To point the Toe, and afterwards the Heel, there must be a Point on the outside of that which represents the Toe, and another on the inside of that which represents the Heel. To point the Toe, and after to place the Heel. To place the Heel, and afterwards point the Toe, there must be a point on the outside of that which represents the Heel, and another on the inside of that which represents the Toe. To place the Heel, and afterwards point the Toe. It is to be observed, that in the two foregoing Examples, the Point which is on the Outside of that which represents either the Toe or Heel, is the Point from whence you must always begin. When there is a Point at the end of that which represents the Toe, and another behind that which shews the Heel, it shews, that the Foot must be set down flat. A flat Foot. Marks for Turning, have no proper Places assignd them, no more than the falling or sliding Mark ; but you must then observe to which side to turn, whether to the right or left. You must observe, that the beginning of the turning Mark, is to be taken from that Part which is nearest to the black Spot. After having thus shewn the beginning of each turning Mark, you must observe exactly which way to turn, whether to the right or left, as appears by the following Examples: A quarter turn to the Right. A quarter Turn to the Left. A half Turn to the Right. A half Turn to the Left. Three quarter Turn to the Right. Three quarter Turn to the Left. The beginning of a whole Turn, or turn quite round, is more difficult to find out, because the Circle, which is the Mark of it, has neither beginning nor End: But it is nevertheless to be known by a Point placd on the side of the Step; from which Point the beginning being known, you make Use of the same Rules as above. A whole Turn to the Right. A whole Turn to the Left. When a Turn is to be made but half a quarter round, it must be markd a quarter of a Circle on the side of the Step, without joining it to the Step. A half quarter Turn to the Left. A half quarter Turn to the Right. I have already shewn, that all Steps and half Positions, which have but one Point at either of their Extremities, signify either the pointing of the Toe, or placing the Heel, without the Bodys bearing on it; but when there happens to be two Points, it then shews, that the Body must bear upon it. To bear the Body on the Toe. To bear the Body on the Heel. Having explaind all the before-mentiond Marks, I hope it will not be thought improper to shew when Sinkings, Risings, Springings, and Slidings, are to be made upon the Toe, Heel, or flat Foot, as the following Examples will demonstrate. When there is a Point at the end of the sinking Mark, it shews, that the Toe must be bent downwards. Sink, the Toe towards the Ground. When there is a Point behind the sinking Mark, it denotes, that the Heel must be bent downwards. Sink, the Heel towards the Ground. When there is a Point at the end of the sinking Mark, and another behind, it shews the Sink must be with a flat Foot. Sink, the Foot flat. When there is a Point at the end of a rising Mark, it shews the Rise must be made on the Toe. Rise on the Toe. When there is a Point behind the rising Mark, it shews, that the Rise must be made on the Heel. Rise on the Heel. When there is a Point at the end of a rising Mark, and another behind, it shews, that the Rise must be on a flat Foot. Rise on a flat Foot. When there is a Point at the end of a springing Mark, it shews, that the Spring, Hop, or Bound, must be made on the Toe. Spring on the Toe. When there is a Point behind the springing Mark, it shews, that the Spring, Hop, or Bound, must be made on the Heel. Spring on the Heel. When there is a Point at the end of the springing Mark, and another behind, it signifies, that the Spring, Hop, or Bound, must be made on a flat Foot. Spring on a flat Foot. When there is a Point at the end of the sliding Mark, towards the Mark representing the Foot, it shews, that the Slide must be made on the Toe. Slide on the Toe. When there is a Point at the other end of the sliding Mark, it shews, that the Slide is to be made on the Heel. Slide on the Heel. And when there is a Point at each end of the sliding Mark, it denotes, that the Slide must be made with a flat Foot. Slide with a flat Foot. Of marking the Positions. All the Marks which have been hitherto demonstrated, may be placd as well upon the half Positions or Positions, as upon the Steps, the sliding Marks only excepted. If there were, for Example, a sinking Mark upon a half Position, it would shew, that the Knee of that Leg only was to be bent; but if sinking Marks should be on the whole Position, then both Knees are to be bent at the same time. The same is to be observd for Rising, Springing, &c. The Marks on the Positions, have no appointed Place, as they have on Steps, excepting Points, which are to be placd in the same manner as on Steps. Sink on one Foot. Sink on both Feet. Rise on one Foot. Rise on both Feet. Spring on one Foot. Spring on both Feet. Caper on one Foot. Caper on both Feet. One Foot up. Foot up, and then down. To point the Toe. To be on both Toes. To place the Heel. To be on both Heels. To point the Toe, and then the Heel. To be first on the Toes, and then the Heels. To place the Heel, and point the Toe. To be first on the Heels, and then the Toes. To be on the flat Foot. Both Feet flat. A Turn on the Foot to the Rise. A Turn on both Feet to the Rise. Turn on one Foot to the Left. Turn on both Feet to the Left. Of Positions and half Positions having several Marks at once. Positions and half Positions may have several Marks together, as Steps have; and it must be observd of the Marks for Sinking, Rising, Springing, and Capers, that the Mark placd nearest to the O, is what must be first made; but when there is the Mark for the Foot up, that must certainly be the last performd. Sink, and rise on one Foot. Sink, and rise on both Feet. Rise, and sink on one Foot. Rise, and sink on both Feet. Sink, and spring on one Foot. Sink, and spring on both Feet. Spring, and sink on one Foot. Spring, and sink on both Feet. Sink, spring, and sink on one Foot. Sink, spring, and sink on both Feet. Sink, and caper on one Foot. Sink, and caper on both Feet. Sink, and spring a half Turn to the Left on one Foot. The same on both Feet. Sink, caper a three quarter Turn to the Right on one Foot. Sink, caper on both Feet a whole Turn to the Right. Turn on the Toes a half Turn to the Left. The same on the Heels. Sink, rise, and turn a half Turn on the Toes to the Right. The same on the Heels. All the Marks of sinking and rising, which have been already demonstrated upon the Step, have Relation to the Bendings and Risings of both the Knees: But when it shall happen, that in moving in a Dance, one Knee only ought to bend or rise, the following Rules must be observed. It will be necessary upon this Occasion, to understand when one Leg moves, what the other ought to do; to demonstrate which, I shall make use of a half Position and a Step, which must be tyd together by a Small Line, of which, one end is joind to that which represents the Heel of the half Position, and the other to the Head of the Step. This Union denotes, that the half Position and the Step, are both to act at the same time. To bend the left Knee, while the right moves extended. To bend, and rise the left Knee, while the right moves extended. To bend the left Knee, moving the right half way extended and afterwards to bend in moving. To bend the left Knee, the right moving extended, and sink in the middle of the Step, and rise on the Toes. To bend the right Knee in moving, and rise towards the end, the left continuing extended. Two Steps tyd together at the Heads, shew they are both to move at once, which can only be performd by springing, which I shall hereafter call a starting Step. These kind of starting Steps, may be practisd two ways, viz. with both Knees stiff, or falling with the Knees bent. The first of these needs no other Mark for Direction, but the sliding Mark; but the other must have the sliding and falling Marks together. To Spring with both Feet open at once. With one Foot forwards, and the other backwards, both at once. A starting Step, with both Feet open, the Knees stiff. A starting Step, one Foot forwards, the other backwards, the Knees stiff. A starting Step, with both Feet open, and falling with both Knees bent. The same, one Foot backwards, the other forwards. Of waving Positions, and half Positions. A Waving Position, or half Position, is when the Foot waves or turns inwards or outwards, whether upon the Toe, the Heel, or with the Foot up, which is explaind by a kind of Half-Moon proceeding from that place which represents either the Heel or Toe, and which demonstrates the Motion the Heel or Toe ought to make in Waving. If it be to wave upon the Toe, the Crescent or Half-Moon ought to be placd where the Heel is represented, tending towards the Toes on that side you are to wave; on the contrary, if the waving Step is to be done on the Heel, or with the Foot up, the Crescent must be in the place which represents the Toes tending towards the Heel. Waving on the Toe, the Heel opening outwards. The same on both Toes. Waving on the Heel, the Toe closing inwards. The same on both Heels. Waving with the Foot up, the Toe closing inwards. Of Positions and half Positions, which are wavd and unwavd. Positions and half Positions, wavd and unwavd are when the Heel or Toe returns to the place from whence either of them movd, which is explaind by the Crescent being doubled, returning to the place from whence it came. Waving and unwaving, the Heel opening outwards, and then closing inwards. Th ......Buy Now (To Read More)

Product details

Ebook Number: 9454
Author: Feuillet, Raoul-Auger
Release Date: Dec 1, 2005
Format: eBook
Language: English

Contributors

Translator: Weaver, John, 1673-1760