Countess of Moira’s Lilt

"A Selection of Elegant & Fashionable Country Dances Reels Waltzes &co for the ensuing season 1808 including those much admired Neapolitan & Maltese Pandean Airs, arranged for the Piano Forte or Harp also Flute or Patent Flageolet, with an accompaniment for the piano forte or harp by August Voigt" included the dance the Countess of Moira's Lilt.

A Lilt was a Scottish term for a cheerful tune.

Elizabeth Rawdon, Countess of Moira in the Peerage of Ireland (23 March 1731 – 11 April 1808), was a literary patron and antiquarian; she also held five English peerages in her own right. She was born at Donington Park, Leicestershire, England and died in Moira, County Down, Ireland.

Born as Elizabeth Hastings, she was the daughter of Theophilus Hastings, 9th Earl of Huntingdon and Selina Shirley, founder of the Countess of Huntingdon's Connexion religious denomination. Elizabeth was 16th Baron Botreaux and 15th Baron Hungerford, in her own right (suo jure), inheriting the titles on the death of her brother Francis Hastings, 10th Earl of Huntingdon. She was the third wife of John Rawdon, 1st Earl of Moira.

Her husband was Earl of Moira and Baron Rawdon of Moira, in the Irish Peerage; as his wife, she was Countess of Moira and Baroness Rawdon. She also inherited five English baronies from her brother Francis Hastings, 10th Earl of Huntingdon: Baroness Botreaux, Baroness Hungerford, Baroness de Moleyns, Baroness Hastings of Hastings and Baroness Hastings of Hungerford.

In 1780, Lady Moira archaeologically investigated the remains of a bog body found on her husband's land and published her findings in 1785 in the periodical Archaeologia. It was the first documented scientific investigation of the remains of a bog body find ever.

After she died in 1808, her son inherited the baronies and proved his right to be Baron Hastings - he had also taken the family name of Rawdon-Hastings according to his uncle's will.

Augustus Voigt was a German composer who lived in London early in the nineteenth century. He composed many popular tunes, but he was better known for his skill in improving an existing melody. 

He was born in Germany and was said to have been a musical prodigy. He found himself in London in July 1803, just as the French took possession of Hanover. He decided to remain in London and worked as a jobbing composer and arranger. Over time, he built a substantial reputation in the world of dance music and collaborated with a number of the leading music publishers of the period.

A Derby rematch in Bath in 1780

Starting on the 19th of September 1780, there was a four-day race meeting on Claverton Down.

The first day started with a race for a £50 plate, which only attracted two runners.

The next race was a 50 Guinea sweepstakes for four-year-olds, which was cancelled.

This was followed by a race for three-year-olds over one 2-mile course. The entries advertised before the race were:

His Royal Highness the Duke of Cumberland’s colt Polydore, by Eclipse out of a Spectator Mare

The Duke of Cumberland

Mr Luttrell’s bay colt Tetrarch, by Herod, dam by Careless

Mr R. Brereton’s chestnut colt by Lycurgus, out of an unknown mare

Mr. Davis’s chestnut colt by Conundrum, dam by Chrysolite

Sir John Lade’s brown filly Lady Ann, by Eclipse, dam by Snap

Mr. C Pigott’s bay filly by Cardinal Puff, out of Duenna’s dam

Mr O’Kelly’s colt Budroo by Eclipse, out of a Sweeper mare

Dennis O'Kelly, gambler, pimp, horse breeder 
and dealer

Mr Parker’s brown colt by Matchem, out of an Old England mare

Mr Brereton, Mr Davis, Sir John Lade, and Mr Pigott decided to pay a forfeit and withdraw their horses from an impressive entry.

In fact, Budroo and Polydore had competed in the Epsom Derbyfirst running of, Polydore coming 6th and Budroo coming 2nd out of a field of nine.

On this day, Budroo won, and Polydore came last.

The following year, Budroo beat the winner of the first Derby, Sir Charles Bunbury's Diomed,  at a 300 guinea rematch at Newmarket.

Budroo and Polydore were both the progeny of Eclipse, a remarkable animal who changed racehorse breeding and from whom most modern thoroughbreds are descended. Eclipse also connects O'Kelly, who owned him, with The Duke of Cumberland, whose uncle bred him.

Another Dancer Sparks a Riot

 The theatres of the eighteenth century often suffered from audience riots, and popular dancers failing to appear was often the trigger event.

An example is recounted in the 'Life of Mr James Quin', [1] Quin was a well-known actor-manager who retired to Bath.

"A new pantomime brought out at Drury Inne Theatre, which was to end with a grand dance; Madam Chateauneuf, the head dancer at that time was to have been the principal performer; but she being taken ill, the dance was necessarily set aside, though the managers published her name three successive nights, without making any apology for the omission.  The first night the audience remained pretty quict: the second, they only hissed; but on the third night, they ushered out the ladies and began demolishing the house. The first motion that was made, and by a noble marquis, was to fire it, but that being carried in the negative, they began with the orchestra, broke the harpsichord and bass viols, together with the looking glasses, scenes and chandeliers, pulled up the benches in the pit, broke down the boxes, and even the royal arms."

Madam Chateauneuf was born in France on 15 April. 1721 and was orphaned while very young. She was adopted and brought up by. a dancer named Chateauneuf, who later married her.

She first appeared in London under the name "Mlle" Chateauneuf, dancing in the French company managed by Francisque Moylin, which played at the Little Theatre in the Haymarket about 116 times from 26 October 1734 through 3 June 1735. How many times did Mlle Chateauneuf dance that season is not recorded

1. Quin, James. The Life of Mr. James Quin, Comedian, with the History of the Stage from His Commencing Actor to His Retreat to Bath Illustrated with Many Curious and Interesting Anecdotes of Several Persons of Distinction, Literature and Gallantry. To Which Is Added a Supplement of Original Facts and Anecdotes Arranged from Authentic Sources Together with His Trial for the Murder of Mr. Bowen. London: Reader, 1887. Print.

Proper positioning for dancing or conversing

TOMLINSON, Kellom (ca 1690-1753). The Art of Dancing Explained by Reading and Figures 1735

"Let us, therefore, to draw nearer to the Subject in hand, inquire into the Nature of those Positions that must be observed, in order to attain this sine [sic] and becoming Presence: And that our Readers may be furnished with proper Directions to arrive at the fame, tho' perhaps, our Rules may not be so perfect as could have been wished, we flatter ourselves they will be of no small Use and Advantage; wherefore, without farther Apology, I shall enter upon the Description of Possum in general.

Position, then, is the different Placing or Setting our Feet on the Floor, whether in Conversation or Dancing; and those for Conversation, or when we stand in Company, are when the Weight rests as much on one Foot as the other, the Feet being considerably separated or open, the Knees straight [sic], the Hands placed by the Side in a genteel Fall or natural Bend of the Wrists, and being in an agreeable Fashion or Shape about the Joint or Bend of the Hip, with the Head gracefully turning to the Right or Left, which compleats [sic] a most Heroic Posture; and, tho' it may be improper, in the Presence of Superiors, among Familiars, it is a bold and graceful Attitude, called the Second Positions: Or, when the Heel of the right or left Foot is inclosed or placed, without Weight, before the Ancle [sic] of that Foot by which the Poise is supported, the Hands being put between the Folds or Flaps of the Coat, or Waiste-coat [sic] , if the Coat is unbuttoned, with a natural and easy Fall of the Arms from the Shoulders, this produces a very modest and agreeable Posture, named the Third Position inclosed [sic] Or, if the inclosed [sic] Foot be moved open from the other, sideways, to the Right or Left, about the Distance of half a Foot, or as far as, in setting it down to the Floor, the Weight of the Body resting on the contrary Foot is not disordered by it, with the Toes handsomely turning out, the Hat under one Arm, and the other in some agreeable Action, the Head also turning a little from the Foot on which the Poise rests, this we stile the Fourth Position open, and it may be very justly esteemed a most genteel and becoming Posture."

“The Positions, from which Dancing dates its Original, consist of five Principles: As, first, when the Toes turning outwards, the two Heels are equally placed together. Secondly, when both Heels are ”
confidently separated or open. Thirdly, when the Poise rests upon one Foot, the other being inclosed or placed before the Ancle of that Foot by which the Weight is supported. Fourthly, when the inclosed Foot is advanced upon a right line, about the Length of a Step in Walking. And, Fifthly, when, the Heel of the advanced Foot is so crossed and placed before the Toe of that Foot on which the Body rests, as that the Turning may be made, and yet one Foot not. in the lead, interrupt the other. 

France in an Uproar

Published by Cahusac in 1790 [1]

Since 1789, France had indeed been in an uproar as the French Revolution began with the storming of the Bastille.

1. Twelve Country Dances, with their basses, for the year. 1790: with proper directions to each dance.

• London : T. Cahusac, [1790]

Round Top and Bottom Couples

This diagram is taken from Thomas Wilson's "English Country Dancing", published in 1820.

Wilson describes this as one of the many "new" figures he is introducing to country dancing.

Hoops

Bath Chronicle and Weekly Gazette - Thursday 19 September 1765

'Ther will be a ball as usual at Mr Simpson's Rooms on Monday next, being the anniversary of their Majestyies [sic] Coronation; subscribers of which are taken in at both Rooms No Ladies to be admitted to dance a minuet, without a lappetted head and full dress hoop; and such minuet dancers as chuse [sic] to dance country-dances must be attended by a woman servant to put the hoops off, as no hoops (be their size large or small) are allowed in country dances.'

The sheer size of hoops made them a problem when moving around, and carriages and doorways had to be modified; even then, women often had to enter rooms sideways; small rails were put in place around tables to stem the risk of small objects being swept off the top by entrant hooped skirts. For this reason, they were increasingly not permitted in country dances which at the Assemblies meant large numbers dancing in close proximity. At one court ball in 1780, the ladies were said to have worn such large hoops that they took up as much room as four people[1]. Mr Neal, the treasurer of the Charitable Musical Society of Dublin, made it a proviso for attendees at his new music hall that women remove the hoops from their skirts and men remove their swords so that 700 people could be squashed in.

1. Peg Plunkett: Memoirs of a Whore by Julie Peakman