Isaac Robert Cruikshank and George Cruikshank, ‘Tom, Jerry and Logic making the most of an Evening at Vauxhall’ in Pierce Egan, Life in London (1821), showing people dancing outside in front of a bandstand which contains both black and white military musicians, courtesy Birmingham Museum of Art, Collection of the Art Fund, Inc. at the Birmingham Museum of Art; Catherine H. Collins Collection, AFI.674.1998.

References to British Dance Instrumentation 1820s

Iconography

Thomas Rowlandson, A Ball at Scarborough, c.1820, Yale Center for British Art, Paul Mellon Collection https://collections.britishart.yale.edu/catalog/tms:46536

Costume Ball in a Public Assembly Room (London: S&J Fuller, c.1820), Victoria and Albert Museum, London http://collections.vam.ac.uk/item/O103057/print-fuller-s-j/ See also http://collections.vam.ac.uk/item/O1362045/masquerade-paper-peepshow-baynes-thomas-mann for a later version which combines the related image below.

Costumed Gathering in an Assembly Room (London: S&J Fuller, c.1820), Victoria and Albert Museum, London http://collections.vam.ac.uk/item/O103063/print-fuller-s-j/

Edward Francis Burney, ‘The Waltz’, 1820s, Victoria and Albert Museum, London http://collections.vam.ac.uk/item/O1069218/the-waltz-watercolour-burney-edward-francis/ The date is drawn from the Yale Center for British Art, which holds two preparatory drawings of ‘The Waltz’.

Isaac Robert Cruikshank, ‘The Devil's Ball; or, There Never Were Such Times!!’ (London: Thomas Dolby, 1820), British Museum https://www.britishmuseum.org/collection/object/P_1990-1109-62

Charles Williams, ‘Low Life Above Stairs’ ([London]: ? August 1820), British Museum https://www.britishmuseum.org/collection/object/P_1868-0808-8426

Isaac Robert Cruikshank and George Cruikshank, illustrations from Pierce Egan, Life in London; or, the Day and Night Scenes of Jerry Hawthorn, Esq. and his Elegant Friend Corinthian Tom, accompanied by Bob Logic, the Oxonian, in their Rambles and Sprees through the Metropolis (London: Sherwood, Neely and Jones, 1820-1821), https://www.bl.uk/romantics-and-victorians/articles/tom-and-jerry-life-in-london and http://www.romanticlondon.org/life-in-london-map/#13/51.5074/-0.0877

  • ‘An Introduction. Gay moments of Logic, Jerry, Tom and Corinthian Kate’

  • 'Lowest “life in London” – Tom, Jerry and Logic, among the unsophisticated Sons and Daughters of Nature, at “ALL-MAX,” in the East’

  • ‘Highest Life in London. Tom & Jerry Sporting a Toe, among the Corinthians, at Almacks in the West’

  • ‘Tom and Jerry "Masquerading it" among the Cadgers in the "Black Slums," in the Holy Land’

  • ‘Tom, Jerry and Logic making the most of an Evening at Vauxhall’

Denis Dighton, Colour scene with dancers in a tavern, marked as 'Pl.12' on the top right (London: Rowney & Forster’s Lithographic Press, May 1821), Victoria and Albert Museum, London http://collections.vam.ac.uk/item/O1137507/h-beard-print-collection-print-denis-dighton/

Thomas Rowlandson, ‘Quæ Genus, in the Sports of the Kitchen’ from William Combe and Thomas Rowlandson, The History of Johnny Quæ Genus the Little Foundling of the Late Doctor Syntax (London: Rudolph Ackermann, 1 August 1821), Metropolitan Museum of Art https://www.metmuseum.org/art/collection/search/789255

Quadrilling; A favourite Song, ascribed to the Authors of "Rejected Addresses." The Decorations designed and executed by William Hawkes Smith (Birmingham: W. Hawkes Smith, [c.1817-1821]), British Museum https://www.britishmuseum.org/collection/object/P_1896-1028-31 Copies in the British Library are dated 1820-1822.

‘Takes Lessons in Dancing’ in John Careless (pseud.), The Old English Squire. “A Jovial Gay Fox Hunter, Bold, Frank and Free.” A Poem, in Ten Cantos (London: Printed for Thomas McLean, 1821), British Library General Reference Collection L.R.40.b.4 access.bl.uk/item/viewer/ark:/81055/vdc_100036061170.0x000001#?c=0&m=0&s=0&cv=81&xywh=-911%2C0%2C3719%2C2972&r=90

‘Scenes from Life in London. Tom, Jerry and Logic, at All-Max in the East’ (J.L. Marks, 1822), Victoria and Albert Museum, London http://collections.vam.ac.uk/item/O1318081/tom-jerry-and-logic-at-print-j-l-marks/

John F.R.S. Burnet, ‘The Dancing Dolls’ (London: Hurst, Robinson & Co. (late Boydell), 29 January 1822), Victoria and Albert Museum, London ttp://collections.vam.ac.uk/item/O1160301/george-speaight-punch-judy-collection-print-burnet-john-frs/

'Lawful Liberty’ (London: G. Humphrey, 25 March 1822), Victoria and Albert Museum, London http://collections.vam.ac.uk/item/O1137505/h-beard-print-collection-print-g-humphrey/

George Cruikshank, ‘The Dancing Lesson’ (London: George Humphrey, 8 July 1822), British Museum https://www.britishmuseum.org/collection/object/P_1935-0522-7-249-b

The Seventeenth Set of Quadrilles, The Subjects taken from La Gazza Ladra, With a Flute Accompt (ad Lib) Composed, Arranged, and (By Express Permission) Inscribed to The Countess St Antonio by P. Musard, as Performed at the Nobilities Balls, Almacks, &c. by the Band of Messrs. Collinett [sic], Michau & Musard (London: J. Power, [1822]), volume belonging to Mrs Butler Danvers, Houghton Library, Harvard University, Theatre Collection http://id.lib.harvard.edu/alma/990119320220203941/catalog The title page is illustrated with a group of figures dancing to a harp and a wind instrument. The same illustration, on a slightly different title page, can be seen at https://imslp.org/wiki/Quadrilles%2C_Set_17_(Musard%2C_Philippe)

Thomas Sword Good, The Power of Music, 1823, Laing Art Gallery https://artuk.org/discover/artworks/the-power-of-music-37123

George Cruikshank, ‘Dancing Dolls _ or _ “Les Marionettes à Londrés”’ (London: George Humphrey, 15 January 1823), The Lewis Walpole Library, Yale University https://hdl.handle.net/10079/digcoll/974974

George Cruikshank, ‘The Wedding Ball! or Ma'am'selle M.-R.-C.-A.-N.-D.O.T,-I's Highland Fling into High Life!!’ (London: John Fairburn, 7 April 1823), British Museum https://www.britishmuseum.org/collection/object/P_1868-0808-12963

William Heath, ‘An O.P.ra Ball, finishing with a Scotch Reel, to the tune of Catch him & keep him!’ (London: S.W. Fores, 16 April 1823), British Museum https://www.britishmuseum.org/collection/object/P_1868-0808-8589

‘The, Dancing Lesson, Plt,​​ 5’ (London: S.W. Fores, 9 December 1824), The Lewis Walpole Library, Yale University https://hdl.handle.net/10079/digcoll/975086

‘The, Dancing Lesson. Plt 6’ (London: S.W. Fores, 9 December 1824), The Lewis Walpole Library, Yale University https://hdl.handle.net/10079/digcoll/975136

George Hunt, ‘Mr. Owen's Institution, New Lanark. (Quadrille Dancing.)’ (London: Pyall & Hunt, January 1825), Jerome Robbins Dance Division, New York Public Library Digital Collections https://digitalcollections.nypl.org/items/04b21590-06de-0132-b099-58d385a7bbd0

Isaac Robert Cruikshank, ‘High Life below Stairs’ (London: G. Tregear, [1825?]), The Lewis Walpole Library, Yale University https://hdl.handle.net/10079/digcoll/976889

George Cruikshank, ‘L’Etè The Dancing Lesson Pt 3’ (London: George Humphrey, 1 March 1825), The Lewis Walpole Library, Yale University https://hdl.handle.net/10079/digcoll/975196

George Cruikshank, ‘The Minuet. The Dancing Lesson_ P:t 2.’ (London: Thomas McLean, [July 1825]), The Lewis Walpole Library, Yale University https://hdl.handle.net/10079/digcoll/976922 Note that a version from 1824 is located at Fine Arts Museums of San Francisco https://art.famsf.org/george-cruikshank/dancing-lesson-19633032706

George Cruikshank, ‘The Sailors Hornpipe The Dancing Lesson Pt 4’ (London: Thomas McLean, [1 August 1835?]), The Lewis Walpole Library, Yale University https://hdl.handle.net/10079/digcoll/975748 Reissue of a print from 1825.

George Cruikshank, ‘Sailors Carousing, or a peep in the Long room’ (London: J. Robins & Co., 1 October 1825), British Museum https://www.britishmuseum.org/collection/object/P_1862-1217-453

Isaac Robert Cruikshank, illustrations from Charles Molloy Westmacott, The English Spy: An Original Work, Characteristic Satirical, and Humorous. Comprising Scenes and Sketches in Every Rank of Society, being Portraits of the Illustrious, Eminent, Eccentric, and Notorious. Drawn from the Life by Bernard Blackmantle (London: Sherwood, Jones, & Co., 1825-1826)

George Cruikshank, ‘“At Home” in the Nursery, or The Masters & Misses Twoshoes Christmas Party’ (London: S. Knights, 3 January 1826), The Lewis Walpole Library, Yale University https://hdl.handle.net/10079/digcoll/2755636

George Cruikshank, ‘Breaking-up’ (London: S. Knights, 12 December 1826), British Museum https://www.britishmuseum.org/collection/object/P_1935-0522-140

J.D. Kirchner, The Brighton Almack Quadrilles. Containing the favorite Airs Fly away pretty Moth! The Bee I’d be a Butterfly! Hurrah! for the Bonnets of blue &c &c &c To which is added the New German Stop Waltz Arranged for the Piano Forte and respectfully Dedicate to The Ladies Patronesses, The Honble Mrs St John Mrs Fitzherbert & The Honble Mrs Herbert by I.D. Kirchner (London & Dublin: I. Willis & Co., Royal Musical Repository, c.1825-1827), Goucher College Digital Library https://cdm16235.contentdm.oclc.org/digital/collection/p16235coll17/id/27 and the Spellman Collection of Victorian Music Covers, University of Reading https://www.vads.ac.uk/digital/collection/SCVMC/id/2395/rec/1 The dating is derived from Frank Kidson, British Music Publishers, Printers and Engravers (London: W.E. Hill & Sons, 1900).

Robert Seymour, ‘The Triumph’, in First Book for the Instruction of Students in the King’s College (London: 1828), British Museum https://www.britishmuseum.org/collection/object/P_1871-0211-144-

‘Tom Raw Rather Aukward at the Dance’ in Charles D’Oyly, Tom Raw, the Griffin: A Burlesque Poem, in Twelve Cantos…Descriptive of the Adventures of a Cadet in the East India Company’s Service, from the Period of his Quitting England to his Obtaining a Staff Situation in India (London: R. Ackermann, 1828), Beinecke Rare Book and Manuscript Library, Yale University http://hdl.handle.net/10079/digcoll/3346639

Isaac Robert Cruikshank, illustrations from Pierce Egan, The Finish to the Adventures of Tom, Jerry, and Logic, in their Pursuits Through Life In and Out of London, first published in 1829.

Robert Seymour, ‘Search after the "comfortable." Frolic & Fashion. Pl.1.’ (London: Thomas McLean, 1 July 1829), British Museum https://www.britishmuseum.org/collection/object/P_1870-0514-58

Cecil Elizabeth Drummond, watercolour drawing showing a ballroom scene or a dancing lesson, dated September 20, probably 1829, Victoria and Albert Museum, London http://collections.vam.ac.uk/item/O732208/watercolour-drawing-drummond-cecil-elizabeth/

William Heath, ‘An Election Ball’ (London: Thomas McLean, c.1829), British Museum https://www.britishmuseum.org/collection/object/P_1995-0930-37

 

Documentary Sources

Morning Post 29 May 1820

BALL AT FISHMONGER’S HALL

“Country dances, commencing with Chandos Lodge, taking the lead…Mr. PAINE, at the head of 22 musicians, gave an indescribable effect to the scene, by a most harmonious concert: it was perhaps the best band ever heard in the city of London. A military band (the first Life Guards) occupied one of the avenues.”

 

Richard McGrady, ‘Joseph Emidy: an African in Cornwall’, The Musical Times 127, no. 1726 (1986)

“Those towns which had a regular military or naval presence – and that includes both Truro and Falmouth in the anxious Napoleonic years – not only had a wider social mix to enliven the assemblies with the attendance of officers and their families but could also call upon the militia bands regularly to provide music for the balls. Nevertheless, in spite of the popularity of the militia bands, Emidy managed to build up a wide group of contacts with the assemblies and his presence at a ball provided an attraction to the participants. As well as work in Truro and Falmouth, he had a connection with the assemblies of Helston, Lostwithiel and Bodmin: his advertisement in the West Briton of 1 December 1820 gives some indication of the peripatetic nature of his work in an area where travel was not easy, as well as the range of services he offered to the gentry of Cornwall:

Violin, Tenor, Bass-Viol, Guitar, and Spanish Guitar, taught as usual; Balls and Assemblies attended; Harps tuned, and Piano-Fortes buffed, regulated and tuned, according to the directions of Messrs. BROADWOOD and SONS, in any part of the County.

Balls were normally preceded by a concert, and here we find evidence of Emidy’s working with most of the harmonic societies which met regularly for more sophisticated musical pleasures.” [p. 621]

Emidy was a violinist but was also reported as playing the viola, cello and teaching the piano, cello, clarinet and flute.

 

Jane Fiske, ed., The Oakes Diaries: Business, Politics and the Family in Bury St Edmunds 1778-1827, vol. 2, Suffolk Records Society vol. 33 (Woodbridge and Rochester: The Boydell Press, 1991)

1 January 1821 [p. 260]

“New year’s Day I enterd my 80th year, the 7th of last Nov. My Son James’s Family from Tostock came to pass 2 or 3 Days with me. I had the whole of my Family to dine & pass the Evening with me…18 at my long Table & 4 at [a] side Table. After Tea had the dining Room cleard: had a Dance for the young People, chiefly Qhadrilles [sic], 2 or 3 Country Dances. Mr Reeve playd by himself the whole Eveng. I gave him one Guinea. They continued until after one o’clock then withdrew.”

For possible further information on Reeve, see https://www.eatmt.org.uk/grays-tune-book/ by Katie Howson and also the diary entry on 1 January 1818.

 

Freeman’s Journal 3 February 1821 [Ireland]

BALLS AND QUADRILLE PARTIES.

“MONS. SIMON,

Professeur de Danse, Composer and Direcotr [sic] of Quadrilles to the Irish Court, Nobilities Balls, &c.

RESPECTFULLY informs the Public in general that he has just received from his Brother in Paris, the newest and most Fashionable Quadrilles, Waltzes, &c. which he has arranged for his much admired Band, that gave so much satisfaction last Winter. Commands addressed to Mons. Simon. No. 3, Westmorland-street, respecting terms for instruction, (at home or abroad) or attendance with his own Band, at Balls or Evening Parties, will meet punctual attention.

For the convenience of Private Parties, Mons. Simon has arranged his favourite Quadriles [sic], in Quartets for 2 Violins, Flute or Clarionet, and Bass, producing the most effective Music of the kind.”

 

Lorna Davidson, “A Quest for Harmony: The Role of Music in Robert Owen’s New Lanark Community”, Utopian Studies 21, no. 2 (2010)

“Here in the pages of the ledger is the evidence for the extensive program of musical education that Owen funded…Musical instruments – and repairs thereto – feature frequently, and the ledger provides details of purchases and the cost of repairs for flutes, bassoons, clarinets, trumpets, violins, and drums…There was a dedicated professional dancing master, one David Budge, who was earning £4.11 a month in 1819, rising to £4.14.6 in 1820. Moreover, he was supplied with dancing pumps and, periodically, travel expenses to Hamilton or Edinburgh…The presence of the Village Instrumental Band is also well documented…Concerts and dances were held regularly in the institute. One poster, advertising a Concert and Children’s Ball in April 1821, has survived…From the poster, we learn: ‘A Concert will be performed at the New Lanark Institution, by the New Lanark Vocal and Instrumental Bands.’” [pp. 239-240]

“Charles Thomas Woosnam of Newtown, visiting New Lanark on October 22, 1822, commented favorably and in considerable detail:

‘In the dancing lesson the lad who played was one of the old scholars of the Musical class. He played with great correctness and spirit. I have never witnessed any dancing by children that equalled the class at Lanark, not even when I have seen them introduced on the boards of the Opera and Theatre…They danced quadrilles, waltzes, reels and country dances…All the boys except one danced without shoes or stockings, and many of the girls also.’” [p. 244]

Taken from Charles Thomas Woosnam, The Views of the late Charles Thomas Woosnam of Newtown on the Principles of Robert Owen the Socialist, National Library of Wales, Aberystwyth, Powysland Box 33, 11.

“Dr. Anthony Todd Thomson of London visited in 1823… ‘In one of the rooms upstairs was a party of children performing country dances. Although the only music was execrable scraping on a violin, the steps were pretty well executed.’” [pp. 244-245]

Taken from Dr. Anthony Todd Thomson, Travel Diary, 1823, private collection.

“Another visitor, whose account was published under the pen name of Observator in the Edinburgh-based newspaper The Scotsman in September 1824, described the scene thus: ‘The dancing was regular and exact. They went through a variety of beautiful movements, where fine shape, regular turns, and firm steps, were most required. Two or three fiddles guided both the singing and the dancing, and if we could have forgotten the appearance of the little children before us, we might have fancied ourselves in the ball-room, where waltzing and quadrilling, were in their simplest and most natural forms.’” [p. 243]

 

Galignani’s Messenger 9 May 1821

“The Ball at Carlton House was most splendidly attended…Dancing then commenced, consisting of quadrilles…In the course of the evening there was also some waltzing.  The parties for dancing were most elegantly arranged in different portions of the grand ball room, by Sir R. Chester [Master of Ceremonies], who likewise called the tunes.  The band was very fine, consisting chiefly of performers from the Opera and other leading places of public amusement.”

 

Journal of John Thornton, June-October 1821, covers Northamptonshire [Brockhall] and a holiday at Cromer, Th 3184, Northamptonshire archives

8 August 1821

“Wednesday 8. The morning was very wet. Dr Smith & his Son din’d here. We danced Quadrilles in the Evening from 9 till ½ past 11. Your [?] Dobney played”

A Michael Dobney was a composer and master of the Northamptonshire militia band who died in 1823, so it may have been him or a relative.

 

The Times 29 August 1821 [Ireland]

HIS MAJESTY’S VISIT TO THE ROYAL DUBLIN SOCIETY-HOUSE

SPLENDID FETE CHAMPETRE

“Preparations on the most splendid and extensive scale were made by the Society to receive our most gracious Sovereign on the occasion of his visit to this establishment yesterday…Three harpers, robed in the antique garb of minstrels, were stationed close to the Sovereign’s tent; and a little to the left a platform, 56 feet by 22, was erected for dancers; this stage was adorned with a deep border of laurel.”

 

Morning Post 21 January 1822

“TO QUADRILLE PARTIES. – T.W. LLOYD, Director of Quadrilles, has the honour of offering to the Nobility and Gentry, the ATTENDANCE of his ASSISTANTS at the PIANOFORTE, and accompanied by the harp, flageolet, &c. or a band, if preferred; he begs to notice, their performing at his Weekly Practice of Quadrilles give them a decided superiority.”

 

Georgian Papers Online, GEO/MAIN/29044-29044a, Royal Collection Trust https://gpp.rct.uk

Invoice and receipt, 11-18 June 1822

Christian Kramer

For attendance of Michl Weippert & 2 other Musicians at the Cottage in Windsor Park for 8 days to 11. June 1822

Quadrille Band

Michael Weippert & two assistants attending at his Majestys Cottage eight Days at £2-2-0 each per day

£50-8-0

Post Chaise to the Park 2-3-0

Do returning to London 2-3-0

[total] £54-14-0

 

Morning Post 17 June 1822

THE KING’S FULL DRESS BALL.

“This Ball, which was given on Friday, was understood to be in honour of the Prince and Princess of DENMARK, and to meet their Royal Highnesses several branches of the Royal Family, as well as nearly the whole of the Diplomatic Corps and their Ladies, a number of distinguished foreigners who are now in London, the Cabinet Ministers and their Ladies, the Great Officers of State and their Ladies…His MAJESTY having received the Royal Strangers, his Royal Relatives, and those of the Company invited who had arrived, proceeded to the Ball Room, where, by the KING’s command, the band assembled in a temporary Orchestra fitted up in the recess of the centre window which was taken out for that purpose. The Band consisted of sixteen eminent Performers, under the direction of Mr. PAINE and Mr. COLINET [sic]. The flageolet was heard with the most delightful effect in all the dances. Waltzing commenced at a quarter before eleven o’clock; a Quadrille followed, but Waltzing was the favourite during the night, as there were frequently two waltzes between a quadrille.”

 

Alan Farquhar Bottomley (ed.), The Southwold Diary of James Maggs 1818-1876, vol. 1 (Woodbridge: Published for the Suffolk Records Society by The Boydell Press, 1983)

“Announcement of a ball to be held at the “New Swan” August 14 1823 [pp. 146-147]

Southwold August 21. – This attractive little Town still continues thronged with fashionable company. The Ball at Garrod’s on the 14th instant was honoured (exclusive of the resident Visitors) with the attendance of the nobility and principal gentry in the neighbourhood…The Band of the East Norfolk Regiment of Militia occupied the orchestra and the dancing was kept up with great spirit until a late hour in the morning…”

 

Knight’s Quarterly Magazine, vol. 1, June-October 1823 (London: Printed for Charles Knight and Co., 1823)

ON QUADRILLES. [pp. 235-236]

“I HAVE resolved never again to dance; - and yet this is a cruel resolution at two-and,thirty. For ten years I have been a happy member of our social assemblies in the pleasant town of M---…I shall never forget the night when the seeds of your destruction were first sown. Louisa W. had to call, and I was her delighted partner. The eager hands were clapped, the discordant strings were screwing up into tune, and we were debating with the venerable leader of our country band the relative merits of “the Honey-Moon” and “Speed the Plough.” With the most correct taste, Louisa had decided for “right and left,” a preference to “la poussette,” – we were ready. At that instant a handsome officer of dragoons – the coxcomb – advanced to Louisa, and in the most humble tone – the puppy – ventured to recommend a quadrille. Louisa’s eyes consulted mine, and I boldly consulted the leader. I knew the range of his acquirements, and I was safe; - we went down with “the Honey Moon;” but the evil was rooted. Within a fortnight there was a special meeting of the subscribers to our assembly-room to discuss an important question. It was convened at the particular desire of a lady of fashion, who had become a temporary resident amongst us. I knew there was mischief brooding, and, as I was petulant, I staid away. Poor Kit the master of our band, and his faithful followers, were dismissed after thirty years’ duteous service; and four fiddlers, from Paine’s I think they said, came from London by the coach – fine-powdered fellows in silk stockings – but no more to compare with Kit’s crew for strength and untiring execution than a jew’s-harp to a hand organ.”

 

Hull Packet 29 September 1823

YORKSHIRE MUSICAL FESTIVAL.

“The First Festival Ball was held this evening, when the Assembly Rooms were filled to over-flowing with such an assemblage of rank, fashion, and beauty, as has been seldom (if ever) witnessed in York…The Dancing was confined to Quadrilles and Waltzes, and when we say that COLLINETT’s [sic] charming Flageolet was supported by a carefully selected band of nearly thirty musicians of the first eminence, our readers must feel convinced that the music must have been most excellent.”

 

Mrs. William Parkes, Domestic Duties; or, Instructions to Young Married Ladies, on the Management of their Households, and the Regulation of their Conduct in the Various Relations and Duties of Married Life (London: Longman, Hurst, Rees, Orme, Brown, and Green, 1825)

“The music should always be good, as much of the pleasure of dancing depends upon it. Violins, with harp and flute accompaniments, form the most agreeable band for dancing.” [p. 83]

 

Chester Chronicle, and Cheshire and North Wales Advertiser 4 February 1825

GRAND BALL GIVEN BY The Earl Grosvenor to his Tenantry, AT EATON HOUSE.

“Thursday last, being the Anniversary of the Birth of Viscount Belgrave, the annual ball was given to the numerous tenantry of his Lordship’s Estates, at the Family Seat, Eaton House…The room selected for the Ball was the Tenants’ Hall, - a superb apartment on the basement floor, under the great Library, an apartment nearly 130 feet in length…The Orchestra, which was very complete, (including violins, violoncellos, double-bass, bassoon, horn, and tabor and pipe) was placed at the upper or south end of the room.”

 

The Globe 5 July 1825

THE KING’S GRAND BALL AND SUPPER.

“Yesterday the first Grand Entertainment was given by his Majesty at his Palace at St. James’s, since the alterations and improvements which that ancient building has undergone…The King’s private band, under the direction of Mr. Kramer, their master, were stationed in the presence-chamber, and commenced playing on the arrival of the company, and continued during the evening at intervals. The dancing commenced in the ball-room about 11 o’clock, which was accompanied by a band engaged for the dances, consisting of Messrs. Mazard [sic], Michau, Collinette [sic], and 14 other choice performers, who were stationed in a temporary orchestra, erected in a recess in one of the windows”

 

Lady Theresa Lewis (ed.), Extracts from the Journals and Correspondence of Miss Berry from 1783 to 1852, vol. 3 (London: Longmans, Green, and Co., 1865)

Letter from Lady Charlotte Lindsay to Miss Berry, Wroxton Abbey, 9 August 1825 [p. 363]

“Lord Dudley and W. Ponsonby came here last Sunday from Leamington; and yesterday my brother got a letter recommending to his civilities the Comtesse de Korzchakoff (or some such name), with her two daughters, who are making a tour in England, and they arrived last night, and we amused them by making them dance, with the Greek professors, to the wretched scraping of three Banbury violins.”

 

Chester Chronicle, and Cheshire and North Wales Advertiser 9 September 1825

FESTIVITIES AT HIGH LEIGH.

“During the present week, the Mansion of George John Legh, Esq. of High Legh, has been the scene of continued festivity and hospitality, to celebrated the joyous event of his eldest son, George Cornwell Legh, Esq. coming of age….Thursday evening, the Grand Ball and Supper was graced by an assemblage of the Nobility and Gentry of this and the neighbouring Counties…the votaries of Terpsichore were enlivened by the Band of the Royal Cheshire Militia, and the celebrated Manchester Quadrille Band.”

 

York Herald 17 September 1825

THE SECOND Yorkshire Grand Musical Festival.

MONDAY – THE BALL

“Upwards of 700 persons attended this opening of the amusements of the Festival.  The dancing was confined to Quadrilles and Waltzes, and the delightful band of COLLINET, whose flageolet was sweetly conspicuous, guided the “mazy dance” in its intricate and elegant evolutions.”

 

Chester Chronicle, and Cheshire and North Wales Advertiser 25 November 1825

CHRISTENING OF HUGH LUPUS GROSVENOR.

“Grand preparations had been made at Eaton for a splended [sic] Ball and Supper to be given in honor of the event…the Tenants’ Hall, on the basement floor, was admirably adapted for the Ball…Quadrilles were principally called for; and there was an excellent Band in the Orchestra, conducted by Mr. Harding.”

 

Morning Post, 2 January 1826

“WEIPPERT’S celebrated FLAGEOLET PIANO. – The Nobility and Gentry are most respectfully informed, the above celebrated Instrument (late the property of Mr. Challinger), having undergone considerable alterations and improvements, may be had nightly for Quadrille Parties, by applying to J. Weippert, 30, Dean-street, Soho-square. Superior Quadrille Bands and Piano-forte Performers provided.”

 

Letter from Anne Sturges Bourne at Holme Park, Reading, to Marianne Dyson at Lavington, Petworth, 24 January 1826, 9M55/F4/2, Hampshire archives

“I met the Newbolts at Mrs. Fleming’s ball, & had a little talk with them. I do not know whether they liked it better than I did, but there was a sad want of management, nobody told the quadrilles when to begin, or where to stand up, or what figures to dance, so there was usually one quadrille in each room, consisting of 28 or 32; Marianne seemed quite frightened by it, & certainly the darting or striding from one end of the room to the other in Eté & Poule before the rows of stationary dancers, was somewhat tremendous. I was at a much nicer thing the next night, a dance on the carpet with the lady of the house playing to us, & every body standing up for the country dances, wh after all are so much the merriest pleasantest things.”

 

Chester Chronicle, and Cheshire and North Wales Advertiser 3 February 1826

ANNUAL TENANTS’ BALL AT EATON.

“On Friday last, this delightful entertainment, which Earl Grosvenor annually gives to his numerous tenantry, took place at his Lordship’s mansion…The day selected for the entertainment was the anniversary of Lord Belgrave’s birth-day…After the ceremonies of the tea-table were dismissed, the guests repaired to the Ball-room, which is denominated the Tenants’ Hall, a spacious apartment on the basement floor, under the Great Library, nearly 130 feet in length…The orchestra, which included violins, violencellos [sic], double bass, bassoon, horn, tabor and pipe, and consisted of twelve performers, was placed at the south end of the room…The dance and good cheer were kept up without interruption till from two to three in the morning, when a good deal of the tenantry separated, though no inconsiderable number remained till about half past four. How the musicians (led by Mr. Fletcher, and Mr. Harding) managed their strains for eight hours and upwards, it is not easy to say; but if any of the party rejoiced at the termination of this agreeable and respectable entertainment, it may be presumed they were among the foremost.”

 

Morning Post 22 April 1826

GRAND FANCY BALL

“The Ball at the Opera House last night was given in a style of almost unexampled splendour…On the right side an orchestra was erected for the celebrated French Band, of thirty performers, led by Messrs. COLINET, MICHAUD, and MUSARD. In the Great Concert Room was a full Military Band”

 

Chester Chronicle, and Cheshire and North Wales Advertiser 13 October 1826

BOW-MEETING – GRAND BALL and SUPPER AT EATON HALL.

“On Friday last, THE ROYAL BRITISH BOW-MEN, under the direct patronage of the King, held their last Meeting for the season, at Eaton Hall. The room designated for the Ball, was the superb dining-room, on one side of which was placed a commodious orchestra, ably occupied by a numerous company of musicians. The band was led by Mr. J. Jones, of Liverpool, a young man of very superior talents, who has the conducting the performances at the Liverpool Wellington-rooms; with whom was associated Mr. Charles Harding, of this city…Quadrilles may be considered as the general character of the Ball, which were, however, occasionally changed for country dances.”

 

Chester Chronicle, and Cheshire and North Wales Advertiser 26 January 1827

EATON TENANTS’ BALL.

“On Tuesday evening, this annual treat was given by Lord Grosvenor, at Eaton Hall…The room selected for the dance, is what is denominated the Tenants’ Hall, and forms the whole extent of the wing last added to this superb structure…It was splendidly lighted, and a temporary orchestra tastefully fitted up at the extremity of the room, which was ably filled by nine or ten professional gentlemen from Chester, under the superintendence, we believe, of Mr. Charles Harding. The long anticipated and wished-for moment had now arrived; the dancers were paired, and we observed the first touch of the catgut produced an involuntary and instinctive movement in the younger and more ardent portion of them. Soon after six, the merry dance commenced, and we may here observe, once for all, that it continued with very little intermission, for ten hours, that is, till past four o’clock in the morning. “Thinks I to myself,” said a bye-stander, just before the conclusion, “who would be a fiddler?”

 

Morning Post, 3 April 1827

“Mr. JOHN WEIPPERT, Professor of the Harp, and Conductor of the Nobilities’ Balls, begs leave most respectfully to acquaint the Nobility and Gentry, that he provides and conducts QUADRILLE BANDS of every description; being honoured with the patronage of Royalty, and several of the first Ladies of distinction, it emboldens him to state he feels confident of giving general satisfaction to those who kindly honour him with their commands, as his Bands consists [sic] of the first Performers in the Kingdom, selected from the Orchestras of the King’s Theatre, principal Concerts, &c. – J.W. begs leave to state, he still resides at No. 30, Dean-street, Soho-square, where along his celebrated Band can be engaged, and has no connection with any other person of the name of Weippert.”

 

Chester Chronicle, and Cheshire and North Wales Advertiser 1 February 1828

LORD GROSVENOR’S TENANTS’ BALL.

“The annual entertainment of a ball and supper to the numerous agricultural tenants of Earl Grosvenor was given on Monday evening last, at the Noble Earl’s magnificent seat, Eaton Hall…The room appropriated for the ball was that called the Tenants’ Hall…The orchestra was placed at the southern end, and the band was under the direction of Mr. Harding, of this city….Dancing, however, commenced, and as the spirit-stirring sound of the violins, or the force of example…or some other cause, moved the minds of the wavering – the undetermined, they gradually joined in the delightful recreation”

 

Macclesfield Courier 12 April 1828

STOCKPORT FANCY DRESS BALL.

“The Fancy Dress Ball for the benefit of the Stockport Dispensary, took place on Tuesday night…The ball was given in the National School at Stockport…Splendid ottomans were placed at either end of the room [ball room], which was fitted up so as to resemble a tent. An excellent band of music was placed in an orchestra adorned with a degree of splendour…A regimental band was stationed here [lower room] also for the entertainment of the promenaders…We had almost forgot to state that Mr. Horrabin was very effective on the harp.”

 

Morning Advertiser 17 May 1828

THE KING’S JUVENILE BALL.

“His Majesty gave a Ball on Thursday evening at his Palace in St. James’s, to the juvenile branches of the Nobility and Gentry…A temporary orchestra (similar to the one erected for the same purpose at the King’s Grand Ball) was constructed in the Ball-room for the reception of the quadrille band, which consisted of fifteen performers, led by Colinet [sic]…The band of the Royal Horse Guards was stationed in the Armory-room, and received the Members of the Royal Family as they passed to the State-rooms with “God save the King.” This band performed various pieces of music during the night. The silver kettle-drums, presented by the late King to the Regiment, were used on this occasion”

 

London Evening Standard 28 May 1828

HIS MAJESTY’S GRAND BALL.

“The King gave a ball at his palace in St,. James’s on Monday evening…The orchestra for the quadrille band was equally divided between the two rooms – one half being on either side of the pavilion which separated them…The armoury leading to the Presence Chamber was, in the present instance, set apart for the band of the Life Guards, who were stationed here in their state dresses, and who played several pieces in the course of the night…About half-past ten o’clock, the King having taken his seat in the ball-room, surrounded by his royal relatives, the dancing commenced. The band, which was led by Colinet [sic], Michow [sic], and Musard, consisted of thirty performers of the first-rate talent…Quadrilles, with waltzing at intervals, were danced during the night.”

 

Chester Chronicle, and Cheshire and North Wales Advertiser 26 September 1828

HEIR OF HAWARDEN CASTLE. COMING OF AGE OF SIR STEPHEN R. GLYNNE.

“At half-past seven o’clock the temporary building, which was also appropriated for the Tenant’s Ball and Supper, was thrown open…Dancing commenced soon after eight o’clock, when Mr. Cunnah, of Rhuabon, touched the strings of his “golden harp” with exquisite taste and ability; this gentleman was assisted occasionally by the band.”

 

Morning Post 4 May 1829

THE DUKE OF DEVONSHIRE’S FETE

“The fete given by his Grace in honour of the Lady BLANCHE HOWARD, on Friday night, was a scene approaching to enchantment…Here was the celebrated French Band, under MUSARD and COLLINET; and in the principal drawing-room was stationed that belonging to WEIPPERT, with his excellent new Parisian instruments”

 

Morning Post 9 May 1829

MRS. DENISON’S BALL.

“This Lady received a large circle of Fashionables at her Mansion, in Portman-square, on Thursday evening…Dancing commenced at eleven with a new set of Quadrilles from Masaniello; the music with the Parisian instruments went off with great eclat, under the direction of WEIPPERT.”

 

Morning Post 18 May 1829

LADY JOHNSTON’S BALL.

“Her Ladyship received a circle of 270 persons of Rank and Fashion, at her elegant Mansion in Great Cumberland-place, on Friday evening last…Dancing commenced at half-past eleven o’clock, and continued without intermission until a late hour in the morning, to LITOLFF and ADAMs’s Band, who played alternately Quadrilles and Waltzes in a most finished style. The Quadrille from the Opera of Masaniello, and the Post Horn Waltz (wherein the new instruments were introduced with surprising effect), were most admired.”

 

Morning Chronicle 30 May 1829

THE KING’S GRAND JUVENILE BALL.

“After the dinner party on Thursday, the King gave a ball to the juvenile branches of the Nobility and Gentry, which was rendered very interesting by the introduction of the young Queen of Portugal and the Princess Victoria…In the middle of one of the sides of the ball-room, a temporary orchestra was fitted up for the quadrille band, which consisted of between twenty and thirty performers…Quadrilles only were danced previous to supper – generally the first set…On the departure of the Juveniles from the ball room to supper, waltzing was introduced by the Duke of Devonshire, Lord Leveson Gower, and others of the company; a new waltz was introduced, in which were a beautiful obligato movement for a trumpet. The waltz delighted the company so much that they called for a repetition.”

Accessed: 26-04-2024