"From the death of Elizabeth, until after the restoration of Charles II., the turbulence of the times, and the peculiar character of the age, prevented this art, which flourishes only in 'the bowers of peace and joy,' from making much progress; but in the days of the merry monarch it began to revive, and advanced more, or less, in all the succeeding reigns. The celebrated Beau Nash, who was, for a long time, M.C. at Bath, may be considered the founder of modern ball-room dancing; which, however, has been divested of much of its cold formality, and improved in various other respects since the time of that singular person. It is, nevertheless, a matter of regret, that the graceful and stately Minuet has been entirely abandoned in favour of the more recently-invented dances.
"The French country dances, or Contre-Danses (from the parties being placed opposite to each other,) since called Quadrilles (from their having four sides) which approximate nearly to the Cotillon, were first introduced to France about the middle of Lewis the Fifteenth's reign. Previously to this period, the dances most in vogue were La Perigourdine, La Matelotte, La Pavane, Les Forlanes, Minuets, &c. Quadrilles, when first introduced, were danced by four persons only: four more were soon added, and thus the complete square was formed; but the figures were materially different from those of the present period. The gentlemen advanced with the opposite ladies, menaced each other with the fore-finger, and retired clapping their hands three times; they then turned hands of four, turned their own partners, and grand rond of all concluded the figure. The Vauxhall d'Hiver was, at that time, the most fashionable place of resort: the pupils of the Royal Academy were engaged to execute new dances; a full and effective band performed the most fashionable airs, and new figures were at length introduced and announced as a source of attraction; but this place was soon pulled down, and re-built on the ground now occupied by the Theatre du Vaudeville. The establishment failed, and the proprietor became a bankrupt. A short time after, it was re-opened by another speculator; but on such a scale, as merely to attract the working classes of the community. The band was now composed of a set of miserable scrapers, who played in unison, and continually in the key of G sharp; amid the sounds which emanated from their instruments, the jangling of a tambourin, and the shrill notes of a fife were occasionally heard. Thus did things continue until the French Revolution; when, about the time the Executive Directory was formed, the splendid apartments of the Hotel de Richelieu were opened for the reception of the higher classes, who had then but few opportunities of meeting to 'trip it on the light fantastic toe.' Monsieur Hullin, then of the Opera, was selected to form a band of twenty-four musicians, from among those of the highest talent in the various theatres: he found no difficulty in this, as they were paid in paper-money, then of little or no value; whereas, the administrators of the Richelieu establishment paid in specie. The tunes were composed in different keys, with full orchestral accompaniments, by Monsieur Hullin; and the contrast thus produced to the abominable style which had so long existed, commenced a new era in dancing: the old figures were abolished, and stage-steps were adopted;--Pas de Zephyrs, Pas de Bourrés, Ballotés, Jetés Battus, &c. were among the most popular. Minuets and Forlanes were still continued; but Monsieur Vestris displaced the latter by the Gavotte, which he taught to Monsieur Trenis and Madame de Choiseul, who first danced it at a fête given by a lady of celebrity, at the Hotel de Valentinois, Rue St. Lazar, on the 16th of August, 1797; at this fête, Monsieur Hullin introduced an entirely new set of figures of his own composition.--These elicited general approbation: they were danced at all parties, and still retain pre-eminence. The names of Pantalon, L'Eté, La Poule, La Trenis, &c. which were given to the tunes, have been applied to the figures. The figure of La Trenis, was introduced by Monsieur Trenis's desire, it being part of the figure from a Gavotte, danced in the then favourite ballet of Nina.