A New Collection of Forty-four Cotillons, with Figures properly adapted; also, The Music for Six select Dances, Two of which may be used as Cotillons (Gallini, c.1770)

Dance manual/reference by Giovanni-Andrea Gallini, Director of the Dances at the Royal Theatre in the Haymarket; printed for the author, sold by R. Dodsley (Pall Mall), T. Becket and P.A. De Hondt (Strand), J. Dixwell (St. Martin's Lane near Charing-Cross), and Mr. Bremner's Music Shop (opposite Somerset House, Strand) / London, c.1770. Source: 1770-Gallini-Collection_(Goog).txt (760 lines, Google-Books scan). COMPANION VOLUME to Gallini's 1762 'A Treatise on the Art of Dancing' (LOC-1762-GALLINI) — the 1770 Collection is the practical cotillon sourcebook to the 1762 historical-theoretical treatise. Opens with a systematic General Rules / Changes header listing the 9 standard cotillon changes that frame every cotillon between figures: (1) Each Couple join Right hands and turn, then back with the Left; (2) Each Couple join both hands and turn to Right, then back to Left; (3) Ladies Moulinet to Right, then Left; (4) Gentlemen Moulinet to Right, then Left; (5) Ladies join hands and go Round; (6) Gentlemen join hands and go Round; (7) Each Couple Allemande; (8) La Grande Chaine; (9) La Courfe or La Promenade. 16-bar La Grande Chaine / La Courfe / La Promenade / Le Grand Rond; 8-bar other changes. Followed by detailed pedagogical step-descriptions: Chasse (Chasse Battu, Chasse Ouvert — 'step on the right foot and slide the left towards the right'), Jete, Allemande (both step and figure), Rigaudon ('To perform this in the first Position, you must Sink, then Spring, and Fall on the Right foot, bring your left to the first Position, move your Right and return it to the same Position, the knees being straight, Sink, then Spring on both feet and Fall on your Toes in the first Position' — and the parallel third-position description with Right foot foremost). Index of 44 named cotillons (I: Les Fleurs du Printems, II: L'Amour fidelle, III: La Bagatelle, IV: Les Quatre Nimphes, V: La Victoire, VI: L'Aimable Jeunesse, VII: La Zone de Venus, VIII: La Grotesque, IX: Le Bouquet, X: Les Aimables Filles, XI: Les Quatre Saisons / Aimons toujours, XII, XIII: Les Enfants, XIV: Le Berger fidelle, XV: La Rose, XVI: Les Plaifirs de Carel, XVII: La Pouvoir de la Beaute, XVIII: La Promenade a quatre, XIX: L'Impromptu, XX: La Nouvelle Vergne, XXI: La Fantaifie Liegeoife, XXII: Les Petites Folies, XXIII: La Paffe-tems, XXIV: Les Plaifirs Enchantes, XXV: L'Harmonie, XXVI: Le Rondeau de Fischar, XXVII: La Mignonette Francoife, XXVIII: La Choifie, XXIX: La Royale, XXX: Les Amufements de Spa, XXXI: La Tiroloife, XXXII: L'Amour du Village, XXXIII: La Precieufe, XXXIV: Le Bois de Boulogne, XXXV: La Chatouilleufe, XXXVI: Les Plaifirs de Flore, XXXVII: La Bientot faite, XXXVIII: Le Plaifir des Dames, XXXIX: La Bien Aifee, XL: Les Plaifirs Champetres, XLI: La Reverie, XLII: La Belle Veuve, XLIII: La Belle Paifanne, XLIV: La Grazjofetta; plus the 4 select dances appended — Le Charmant Vainqueur, La Fourlane Venetienne, Minuet du Dauphin, Le Paffe-pied de la Reine — plus Allemande standalone as #45, and Le Prince de Galles as #46. HISTORIC SIGNIFICANCE: the most substantial pre-French-Revolutionary English-language cotillon collection, documenting 44 named cotillon repertoire pieces in the Italian-French transplanted-to-London lineage, with Gallini's explicit first-and-third-position Rigaudon and Chasse Battu pedagogy. Bridges Feuillet-era Baroque pedagogy with the pre-Directoire quadrille-ancestor cotillon. Step_Coverage=None; music plates and chorographic figure-descriptions only, not step-table format. (1770). Imported from local collection.