Mr I Walkers Fancy 1808

Mr I Walker's Fancy taken from "Goulding’s Select Collection of Twelve Favorite Country Dances for the year 1808" Published by Goulding, Phipps and D’Almaine.

At the time of publication Goulding, Phipps, & D’Almaine also known as Goulding & Co were based at 124 New Bond street and were official music sellers to the Prince and Princess of Wales.

Lanstram wake a dance from the 1730s

Taken from "Twenty-Four Dances for the year 1738 with proper tunes Figures or Directions for each Dance." published by Benjamin Cooke in 1738.

Benjamin Cooke (? - 1743) was an organist, music publisher and music seller based at the Golden Harp in New Street, Covent Garden, from 1726 to 1743. Cooke had, in 1723, married the widow of John Jones, who had operated as an instrument maker and music publisher at the Golden Harp until 1720.

His second wife, Elizabeth Wayet, the sister-in-law of Lancelot (Capability) Brown, gave birth to the composer Benjamin Cooke(1734 - 1793).

In addition to collections of dance music, Cooke's production included a seminal edition of the collected works of Arcangelo Corelli in study scores comprising all five books of sonatas and the twelve concerti grossi. Indeed, Cooke was, in many ways, a pioneering music publisher with his insistence on sourcing music from composers or their agents rather than other publishers' material.

The Foolscap and Bells

Taken from:

"Le Sylphe. An elegant collection of twenty-four country dances, the figures by Mr Wilson, for the year 1814, adapted for the German flute, violin, flageolet or oboe."

Of the Step called Jéte

ELEMENTS OF THE ART OF DANCING; WITH A DESCRIPTION OF THE PRINCIPAL FIGURES IN THE QUADRILLE. By ALEXANDER STRATHY TEACHER OF DANCING. EDINBURGH: Published in 1822.

"Of the Step called Jéte, performed in the Fifth Position.

THIS step is derived from the Assemblé, and, to perform it, follow the same rule as for the Assemblé in the fifth position.

The body being placed as directed for the deportment, the feet in the fifth position, balance the body entirely on the leg that is before, which will disengage the foot that is behind; bend on the leg that is before, and at same time raise the foot that is behind on the point, which will make the knee fold a little; keep the knee well turned outward; extend it by sliding the foot on the point, just to the second position; then raise yourself on the foot you stand upon, and at the same time slide the other foot from the second position, into the fifth position before; but, instead of falling on both feet, as in the Assemblé, fall entirely on the foot that is before, and at the same moment raise the foot that is behind, by folding the knee to the side, the point of the foot turned directly down, and kept near the floor, but without touching it. Keep the knees turned to the side, in order to preserve the outward position.

The foot that is behind being now disengaged, slide it upon the point to the second position, bending at same time on the other leg, in order to repeat the step with the other foot, and so on alternately.
In order to perform this step behind, observe the same rule as to perform it before. Balance the body entirely on the leg that is behind, which will disengage the foot that is before; bend on the leg that is behind, and at the same time raise the foot that is before to the point; slide it to the second position, gradually extending the knee and instep, as you bend on the other leg; then raise yourself on the point of the foot you rest on, and at the same time slide the other foot from the second position into the fifth position behind; fall upon it, raising at the same moment the foot that is before, the point turned down, and the foot kept near the leg that is behind, the knees well turned outward.

The foot that is before being now disengaged, slide it on the point to the second position, bending at the same time on the other leg, in order to do the same step with the other foot, and so on alternately.”

Bath fashions 1808

Morning Walking Dresses

Evening Dresses

The principal dress styles of this period were:

The high-necked dress made of one piece, of transparent material, with a high waist, and usually without a train. Since it had a high neck, fill-ins were not necessary. A fill-in was worn with a dress with a low-rounded decolletage. One style of fill-in worn with this type of dress was bodice de l'enfant, made with a drawstring around the neck to decrease the size of the large opening.

The dress with a square decolletage was worn with a fill-in during the daytime and without in the evening.

The chemise robe was closed with buttons all the way down the front.

The stomacher-front gown might have a train.

The tunic dress was intended mainly for evening wear. As its name implies, it consisted of a tunic hung over the dress but not falling to the entire length of the dress.

The hoop dress of the 1790s continued to be worn but mainly for court occasions.

At this time, the term mantle was used to describe any loose-fitting, shaped outer garment similar to a cape.

A Pelisse

A pelisse was originally a short fur-lined or fur-trimmed jacket that was usually worn hanging loose over the left shoulder of hussar light cavalry soldiers, but by this time, when military clothing was often used as inspiration for fashionable ladies' garments, the term was applied to a woman's long, fitted coat with set-in sleeves and the fashionable Empire waist. Although initially, these Regency-era pelisses copied the Hussars' fur and braid, they soon lost these initial associations and, in fact, were often made entirely of silk and without fur at all. They did, however, tend to retain traces of their military inspiration with frog fastenings and braid trim.

Sarsnet is a fine soft silk fabric formerly from Italy.

Short Stays

Sarsnet

A habit shirt is a type of shirt worn by women as part of a riding habit.

Tuckers were lace pieces fitted over the bodice and the origin of the phrase best bib and tucker.

By 1800 women were beginning to wear their hair shorter. 

Wigs might still be seen, but they were less widely worn after the introduction of the Hair Powder Tax in 1795.

The Queen's Birthday Ball in Bath 1765

The Bath Chronicle of 24th January 1765 reported:

"On Friday last [18th January] being the Celebration of the Queen's Birthday"

Queen Charlotte

Since Queen Charlotte was born on the 19th May this must have been the date set for the official birthday celebrations a practice introduced in the reign of George III's grandfather George II. In 1765, Charlotte was 21.

The Chronicle's account continues:

"the same was observed here with the greatest Marks of Loyalty and Rejoicing; the Morning was ushered in with ringing at One o'Clock at Noon the Guns at Mr Simpsons were fired off, at night the was a subscription ball in his rooms by the order of the Master of the Ceremonies,"

Samuel Derrick

At this time, the Master of Ceremonies was the notorious Irish writer Samuel Derrick. The Chronicle's account continues.

"........ the appearance of the company was more splendid than was ever known: there were near fifty minuets danced, and it is thought there were near six hundred people present; who were all dressed with a brilliancy [sic] and elegance that seemed peculiarly adapted to the night."

It is worth noting that Simpson's rooms were 50 feet in length; 36 feet in breadth and feet 30 in height so 600 people would have had 3 square feet each if they were all in the ballroom and this ignores the additional space required for the numerous servants and the musicians and the furniture including benches to allow people to sit and watch. [1]

It seems that the evening did not go off entirely smoothly as the Chronicle goes on to tell us that:

"The Master of the Ceremonies at Bath finds himself under the necessity to republish the following rules.

1. That no Gentleman present himself  for a minuet, except in full dress; or at least in a full dress French frock suit. Regimentals are an exception, being every where a proper dress.

2, That no Lady can dance minuets, without a full dress hoop and lappet head.

3. That no Lady can dance country dances with A HOOP OF ANY KIND, and no lady that attempts it can be angry at being desired to sit down, her standing up being against rule:"

Bearing in mind the restricted space and the large numbers the re-iteration of and emphasis in this rule suggest that Derrick and his assistance must have faced some very awkward situations on the night.

He goes on to point out to Ladies that:

"there is a retirement, always ready, and a maid-servant to assist those that chuse [sic] to put off their hoops."

The last rule is a little harder to understand.

"4, Gentlemen in LEATHER-BREECHES must undergo the same fate with the country dancers hoops; there being no servant to assist them."

1. The New Bath Guide, or, Useful pocket companion ... To which is added, a Sketch of the life, character &c. of the late Richard Nash, etc.] Bath: C. Pope, [1765?]

A Concert and Ball in Wiltshire's Rooms 1761

David Richards who was to benefit from the proceeds of this event was a leading Bath bandleader and violinist of this time.

Wiltshire's Rooms were the Assembly Rooms on the Parades, the site is now occupied by York street. They had been called Wiltshire since they had been taken into the ownership of the Wiltshire family in 1744. The Wiltshire's were a very wealthy and influential Bath family who made their money as carriers, transporting high-value goods between London and Bath and as bankers. They also had a monopoly on selling Bath water in London.  In 1761, they were being run by John Wiltshire on behalf of his family.

Giovanni Battista Pergolesi

The Italian Pergolesi had composed his Stabat Mater in 1736 shortly before his death at the age of 26. He was principally known as a composer of operas and, in particular, comic operas. The piece was composed for soprano, alto, string orchestra and basso continuo.

Thomas Norris was at this time singing as a soprano. Norris was born in Wiltshire but had gained his musical education as a chorister a Salisbury Cathedral and later at Oxford University.

Thomas Linley with the support of his many talented children became the leading figure in Bath music. At this time, he was known primarily as a tenor, an organist, harpsichordist and teacher.

At 5s, the ticket price was roughly £20 at today's values.