The Triplet Quadrille — Three-Tune Modular Set combining Triplet Galop (10 figures), Valse à Deux Temps, and Polka (7 figures); alternate tune names The Grosvenor Galop / The Sutherland (London publisher, c.1860; precise imprint OCR-illegible)

Dance manual/reference by London publisher (precise imprint not legible in OCR; fragment 'DLLUNV tUHIUN' in line 1 may be a corrupted publisher mark). Undated; estimated c.1860 from (i) the explicit framing-aim — 'The object of this dance is to combine, and reduce to order, the three dances now so popular. And while retaining all their animation, and vivacity, to prevent the present crowding, confusion, and collisions, so generally complained of' — characteristic of the late-1850s/early-1860s ballroom-management response to the multi-dance-popularity of Galop + Polka + Valse à Deux Temps; (ii) the Valse à Deux Temps's central position (at peak London popularity 1855-1865); (iii) the alternate tune names 'The Grosvenor Galop' and 'The Sutherland' — Grosvenor and Sutherland being prominent London-Society family names of the mid-19th century; (iv) the 'à tiroir' and 'reverse waltz' vocabulary of the figure descriptions, consistent with c.1855-1865 London ballroom pedagogy. Source: Richard Powers collection (POWERS/ABBYY TXT/Triplet_Q.txt — 32 lines OCR; engraved instructional card). Three-section structure: (I) THE TRIPLET GALOP — 10 figures (4 couples as quadrille; 8 bars before beginning; Fig.1 four couples galop into next couples place + turn half round + same to places; Fig.2 first couple galop alone to each couple's place repeated by 2/3/4; Fig.3 four couples advance with 4 slow setting steps to centre + galop round to left to places; Fig.4 = Fig.1 repeated; Fig.5 first couple galop between opposite couple and return outside [à tiroir] + side couples same; Fig.6 = Fig.3 repeated; Fig.7 = Fig.1 repeated; Fig.8 first couple do Valse galop round centre + 2/3/4 same; Fig.9 = Fig.5 repeated; Fig.10 = Fig.1 to finish); (II) VALSE À DEUX TEMPS — modular waltz section (first couple valse round 2nd/3rd/4th couples + outside set to places for 32 bars; other couples do same for 96 bars); (III) THE POLKA — 7 figures (1st part played once before beginning; Fig.1 four couples set with two steps + waltz with two steps into next couples places done four times round to places [16 bars]; Fig.2 1st & 3rd couples advance and retire with one waltz step + one setting step + waltz with four steps into each other's places + advance and retire and waltz round to own places + side couples same; Fig.3 = Fig.1 repeated; Fig.4 first gentleman advances [partner retiring] with four steps + reverse waltz to places four steps + 2/3/4 do same; Fig.5 = Fig.1 repeated; Fig.6 1st & 3rd couples waltz into each other's places + reverse waltz round to own + side couples same + repeated; Fig.7 = Fig.1 to finish). Historical value: first-corpus three-tune modular-quadrille publication explicitly framed as a ballroom-management response to the c.1860 problem of Galop / Polka / Valse à Deux Temps competing for floor time — a unique document of mid-19c-London ballroom-floor-management thinking. Predates and prefigures the later 1880s-1890s Glide / Two-Step / Schottische three-tune compilation publications. Has_Step_Detail=Partial (explicit bar-counts for each figure + 'à tiroir' / 'reverse waltz' / 'Valse galop' step-name call notation; no CBM/sway/rise-and-fall — pre-Silvester technical nomenclature). (1860). Imported from local collection.