CHAPTER V.Society Dancing, the 15th to 18th Centuries. Out-of-door Dances. Chamber Dancing. Comic Dances. The Ball. Illustrations from Italian 15th Century, German 15th and 16th Centuries, French 15th, 16th, 17th, English 15th, 16th and 18th Centuries Dancing.Italian dance. From an engraving, end of 15th century, attributed to Baccio Baldini.Fig. 37: Italian dance. From an engraving, end of 15th century, attributed to Baccio Baldini.Italian dancing, the end of the 15th century.Fig. 38: Italian dancing, the end of the 15th century.Concerning the dance as a means of social intercourse, it does not appear to have been formulated as an accomplishment until late in the thirteenth century, and at a later date was cultivated as a means of teaching what we call deportment, until it became almost a necessity with the classes, as is shown by the literature of that period. The various social dances, such as the Volte, the Jig and the Galliard, although in early periods, not so numerous, required a certain training and agility. These, however, soon became complicated with many social and local variations, the characteristics of which are a study in themselves. The dances (figs. 37 and 38) in a field of sports, from an Italian engraving of the fifteenth century, show us nothing new; indeed, with different costumes it is very like what we have from Egypt (fig. 3), only a different phase of the action, and the attitude of this old dance is repeated even to our own time.Chamber dance, 15th century. From a drawing by Martin Zasinger.Fig. 39: Chamber dance, 15th century. From a drawing by Martin Zasinger.Dancing in a 'pleasure garden,' end of the 15th century. French, from the 'Roman de la Rose,' in the British Museum.Fig. 40: Dancing in a "pleasure garden," end of the 15th century. French, from the "Roman de la Rose," in the British Museum.In the Chamber dance by Martin Zasinger (fig. 39), of the fifteenth century, no figures are in action, but we see an arrangement of the guests and musicians, from which it is evident that the Chamber dance as a social function had progressed and that the "Bal paré," etc., was here in embryo.The flute and viol are evidently opening the function and the trumpets and other portions of the orchestra on the other side waiting to come in.The stately out-door function, in a pleasure garden, from the "Roman de la Rose" (fig. 40) illustrates but one portion of the feature of a dance, another of which is described in Chaucer's translation:"They threw y fereTher mouthes so that through their playIt seemed as they kyste alway."Fancy dress dance of Wildemen of the 15th century. From MS. 4379 Harl, British Museum.Fig. 41: Fancy dress dance of Wildemen of the 15th century. From MS. 4379 Harl, British Museum.Comic dance to pipe and tabor, end of 15th century. From pen drawing in the Mediaeval House Book in the Castle of Wolfegg, by the Master of the Amsterdam Cabinet.Fig. 42: Comic dance to pipe and tabor, end of 15th century. From pen drawing in the Mediaeval House Book in the Castle of Wolfegg, by the Master of the Amsterdam Cabinet.Fancy dress and comic dances have handed down the same characteristics almost to our own time. The Wildeman costume dance (fig. 41) is interesting in many respects, it not only shows us the dance, but the costume and general method of the Chamber.The fifteenth century comic dancers in afête champétre(fig. 42) and those of the seventeenth century by Callot (fig. 52) are good examples of this entertainment—in the background of the latter a minuet seems to be in progress. The Morris dance (fig. 50) shows us the development that had taken place since the fourteenth century.A dance of Angels and Saints at the entrance to Heaven. Fra Angelico.Fig. 43: A dance of Angels and Saints at the entrance to Heaven. Fra Angelico.Dancing angels. From a 'Nativity' by Sandro Botticelli, circa 1500 A.D.Fig. 44: Dancing angels. From a "Nativity" by Sandro Botticellicirca1500 A.D.Albert Dürer, 1514 A.D.Fig. 45: Albert Dürer, 1514 A.D.Albert Dürer.Fig. 46: Albert Dürer.Allusion has already been made to the beautiful paintings of Botticelli and Fra Angelico, which tell us of Italian choral dances of their period; these do not belong to social functions, but are certainly illustrative of the custom of their day. Albert Dürer (figs. 45, 46) has given us illustrations of the field dances of his period, but both these dances and those drawn by Sebald Beham (fig. 47) are coarse, and contrast unfavourably with the Italian, although the action is vigorous and robust.Scenes from dances. German, dated 1546, by Hans Sebald Beham.Fig. 47: Scenes from dances. German, dated 1546, by Hans Sebald Beham.The military dance of Dames and Knights of Armour, by Hans Burgkmair, on the other hand, appears stately and dignified (fig. 48). This may illustrate the difference between chamber and garden or field dancing.A torchlight military dance of the early 16th century. From a picture by Hans Burgkmair.Fig. 48: A torchlight military dance of the early 16th century. From a picture by Hans Burgkmair.At the end of the sixteenth century we get a work on dancing which shows us completely its position as a social art in that day. It is the "Orchésographie" of Thoinot Arbeau (Jean Tabouret, Canon of Langres, in 1588), from which comes the illustration of the "Galliarde" (fig. 49) and to which I would refer the reader for all the information he desires concerning this period. In this work much stress is laid on the value of learning to dance from many points of view—development of strength, manner, habits and courtesy, etc. Alas! we know now that all these external habits can be acquired and leave the "natural man" beneath.La Galliarde. From the "Orchésographie" of Thoinot Arbeau (Jean Tabourot), Langres, 1588.Fig. 49:La Galliarde. From the "Orchésographie" of Thoinot Arbeau (Jean Tabourot), Langres, 1588.Desirable, therefore, as good manners and such like are, they do not fulfil all the requirements that the worthy Canon wished to be involved by them.[1]We have have seen from the fourteenth century (figs. 35 C, 36 A, 46) how common the bagpipe was in out-of-door dances; in the illustrations from Dürer (fig. 46) and in fig. 53 from Holtzer it has developed, and has two accessory pipes, besides that played by the mouth, and the player is accompanied by a sort of clarionet. This also appears to be the only accompaniment of the Trio (fig. 58).Morris dancers. From a window that was in the possession of George Tollett, Esq., Birtley, Staffordshire, 16th century.Fig. 50: Morris dancers. From a window that was in the possession of George Tollett, Esq., Birtley, Staffordshire, 16th century.Court dance. From a drawing by Callot, 1635 A.D.Fig. 51: Court dance. From a drawing by Callot, 1635 A.D.In the sixteenth century certain Spanish dances were introduced into France, such as la Pavane, which was accompanied by hautboys and sackbuts.Comic dancers. By Callot, from the act entitled "Balli di Sfessama," 1609 A.D.Fig. 52: Comic dancers. By Callot, from the act entitled "Balli di Sfessama," 1609 A.D.Country dance. From a drawing by John Evangelist Holtzer, 17th century.Fig. 53: Country dance. From a drawing by John Evangelist Holtzer, 17th century.A ball-room dance, Le Bal Paré, of the 18th century. From August de l'Aubin.Fig. 54: A ball-room dance,Le Bal Paré, of the 18th century. From August de l'Aubin.A dance in the 18th century. From a painting by Hogarth.Fig. 55: A dance in the 18th century. From a painting by Hogarth.There were, however, various other dances of a number too considerable to describe here, also introduced. The dance of the eighteenth century from Derby ware (fig. 59) seems to be but a continuation in action of those of the sixteenth century, as out-of-door performances.Caricature of a dancing master. Hogarth.Fig. 56: Caricature of a dancing master. Hogarth.We have now arrived at the modern style of ball, so beloved by many of the French Monarchs. Henry IV. and Napoleon were fond of giving these in grand style, and in some sort of grand style they persist even as a great social function to our own time. The Court balls of Louis XIII. and XIV. at Versailles were really gorgeous ballets, and their grandeur was astonishing; this custom was continued under the succeeding monarchs. An illustration of one in the eighteenth century by August de l'Aubin (fig. 54) sufficiently shows their character. There is nothing new in the postures illustrated, which may have originated thousands of years ago. As illustrating the popular ball of the period, the design by Hogarth (fig. 55) is an excellent contrast. Thecontredanserepresented was originally the old country dance exported to France and returned with certain arrangements added. This is a topic we need not pursue farther, as almost every reader knows what social dancing now is.chapterfooterSpring dancing away from winter. From a drawing by Watteau.Fig. 57: Spring dancing away from winter. From a drawing by Watteau.The Misses Gunning dancing. End of the 18th century, from a print by Bunbury, engraved by Bartolozzi.Fig. 58: The Misses Gunning dancing. End of the 18th century, from a print by Bunbury, engraved by Bartolozzi.Dancing. Close of the 18th century. From Derby ware.Fig. 59: Dancing. Close of the 18th century. From Derby ware.Spanish dance in the Hall of Saragoza, 19th century.Fig. 60: Spanish dance in the Hall of Saragoza, 19th century.FOOTNOTESFootnote 1: The advice which he gives is valuable from its bearing on the customs of the 16th century. It even has great historical value, indicating the influence dancing has had on good manners. That the history of dancing is the history of manners may be too much insisted upon. For these reasons we insert these little known passages. The first has reference to the right way of proceeding at a ball."Having entered the place where the company is gathered for the dance, choose a good young lady (honneste damoiselle) and raising your hat or bonnet with your right hand you will conduct her to the ball with your left. She, wise and well trained, will tender her left and rise to follow you. Then in the sight of all you conduct her to the end of the room, and you will request the players of instruments to strike up a 'basse danse'; because otherwise through inadvertance they might strike up some other kind of dance. And when they commence to play you must commence to dance. And be careful, that they understand, in your asking for a 'basse danse,' you desire a regular and usual one. Nevertheless, if the air of one song on which* the 'basse danse' is formed pleases you more than another you can give the beginning of the strain to them.""Capriol:—If the lady refuses, I shall feel very ashamed."Arbeau:—A well-trained lady never refuses him who so honours her as to lead her to the dance."Capriol:—I think so too, but in the meantime the shame of the refusal remains with me."Arbeau:—If you feel sure of another lady's graciousness, take her and leave aside this graceless one, asking her to excuse you for having been importunate; nevertheless, there are those who would not bear it so patiently. But it is better to speak thus than with bitterness, because in so doing you acquire a reputation for being gentle and humane, and to her will fall the character of a 'glorieuse' unworthy of the attention paid her.""When the instrument player has ceased" continues our good Canon "make a deep bow by way of taking leave of the young lady and conduct her gently to the place whence you took her, whilst thanking her for the honour she has done you." Another extract is not wanting in flavour: "Hold the head and body straight, have a countenance of assurance, spit and cough little, and if necessity compels you, turn your face the other side and use a beautiful white handkerchief. Talk graciously, in gentle and honest speech, neither letting your hands hang as if dead or too full of gesticulation. Be dressed cleanly and neatly 'avec la chausse bien tirée et Pescarpin propre.'"And bear in mind these particulars."
CHAPTER V.
Society Dancing, the 15th to 18th Centuries. Out-of-door Dances. Chamber Dancing. Comic Dances. The Ball. Illustrations from Italian 15th Century, German 15th and 16th Centuries, French 15th, 16th, 17th, English 15th, 16th and 18th Centuries Dancing.
Fig. 37: Italian dance. From an engraving, end of 15th century, attributed to Baccio Baldini.
Fig. 38: Italian dancing, the end of the 15th century.
Concerning the dance as a means of social intercourse, it does not appear to have been formulated as an accomplishment until late in the thirteenth century, and at a later date was cultivated as a means of teaching what we call deportment, until it became almost a necessity with the classes, as is shown by the literature of that period. The various social dances, such as the Volte, the Jig and the Galliard, although in early periods, not so numerous, required a certain training and agility. These, however, soon became complicated with many social and local variations, the characteristics of which are a study in themselves. The dances (figs. 37 and 38) in a field of sports, from an Italian engraving of the fifteenth century, show us nothing new; indeed, with different costumes it is very like what we have from Egypt (fig. 3), only a different phase of the action, and the attitude of this old dance is repeated even to our own time.
Chamber dance, 15th century. From a drawing by Martin Zasinger.Fig. 39: Chamber dance, 15th century. From a drawing by Martin Zasinger.Dancing in a 'pleasure garden,' end of the 15th century. French, from the 'Roman de la Rose,' in the British Museum.Fig. 40: Dancing in a "pleasure garden," end of the 15th century. French, from the "Roman de la Rose," in the British Museum.
Fig. 39: Chamber dance, 15th century. From a drawing by Martin Zasinger.
Fig. 40: Dancing in a "pleasure garden," end of the 15th century. French, from the "Roman de la Rose," in the British Museum.
In the Chamber dance by Martin Zasinger (fig. 39), of the fifteenth century, no figures are in action, but we see an arrangement of the guests and musicians, from which it is evident that the Chamber dance as a social function had progressed and that the "Bal paré," etc., was here in embryo.
The flute and viol are evidently opening the function and the trumpets and other portions of the orchestra on the other side waiting to come in.
The stately out-door function, in a pleasure garden, from the "Roman de la Rose" (fig. 40) illustrates but one portion of the feature of a dance, another of which is described in Chaucer's translation:
"They threw y fereTher mouthes so that through their playIt seemed as they kyste alway."
"They threw y fereTher mouthes so that through their playIt seemed as they kyste alway."
Fancy dress dance of Wildemen of the 15th century. From MS. 4379 Harl, British Museum.Fig. 41: Fancy dress dance of Wildemen of the 15th century. From MS. 4379 Harl, British Museum.Comic dance to pipe and tabor, end of 15th century. From pen drawing in the Mediaeval House Book in the Castle of Wolfegg, by the Master of the Amsterdam Cabinet.Fig. 42: Comic dance to pipe and tabor, end of 15th century. From pen drawing in the Mediaeval House Book in the Castle of Wolfegg, by the Master of the Amsterdam Cabinet.
Fig. 41: Fancy dress dance of Wildemen of the 15th century. From MS. 4379 Harl, British Museum.
Fig. 42: Comic dance to pipe and tabor, end of 15th century. From pen drawing in the Mediaeval House Book in the Castle of Wolfegg, by the Master of the Amsterdam Cabinet.
Fancy dress and comic dances have handed down the same characteristics almost to our own time. The Wildeman costume dance (fig. 41) is interesting in many respects, it not only shows us the dance, but the costume and general method of the Chamber.
The fifteenth century comic dancers in afête champétre(fig. 42) and those of the seventeenth century by Callot (fig. 52) are good examples of this entertainment—in the background of the latter a minuet seems to be in progress. The Morris dance (fig. 50) shows us the development that had taken place since the fourteenth century.
A dance of Angels and Saints at the entrance to Heaven. Fra Angelico.Fig. 43: A dance of Angels and Saints at the entrance to Heaven. Fra Angelico.Dancing angels. From a 'Nativity' by Sandro Botticelli, circa 1500 A.D.Fig. 44: Dancing angels. From a "Nativity" by Sandro Botticellicirca1500 A.D.Albert Dürer, 1514 A.D.Fig. 45: Albert Dürer, 1514 A.D.Albert Dürer.Fig. 46: Albert Dürer.
Fig. 43: A dance of Angels and Saints at the entrance to Heaven. Fra Angelico.
Fig. 44: Dancing angels. From a "Nativity" by Sandro Botticellicirca1500 A.D.
Fig. 45: Albert Dürer, 1514 A.D.
Fig. 46: Albert Dürer.
Allusion has already been made to the beautiful paintings of Botticelli and Fra Angelico, which tell us of Italian choral dances of their period; these do not belong to social functions, but are certainly illustrative of the custom of their day. Albert Dürer (figs. 45, 46) has given us illustrations of the field dances of his period, but both these dances and those drawn by Sebald Beham (fig. 47) are coarse, and contrast unfavourably with the Italian, although the action is vigorous and robust.
Scenes from dances. German, dated 1546, by Hans Sebald Beham.Fig. 47: Scenes from dances. German, dated 1546, by Hans Sebald Beham.
Fig. 47: Scenes from dances. German, dated 1546, by Hans Sebald Beham.
A torchlight military dance of the early 16th century. From a picture by Hans Burgkmair.Fig. 48: A torchlight military dance of the early 16th century. From a picture by Hans Burgkmair.
Fig. 48: A torchlight military dance of the early 16th century. From a picture by Hans Burgkmair.
At the end of the sixteenth century we get a work on dancing which shows us completely its position as a social art in that day. It is the "Orchésographie" of Thoinot Arbeau (Jean Tabouret, Canon of Langres, in 1588), from which comes the illustration of the "Galliarde" (fig. 49) and to which I would refer the reader for all the information he desires concerning this period. In this work much stress is laid on the value of learning to dance from many points of view—development of strength, manner, habits and courtesy, etc. Alas! we know now that all these external habits can be acquired and leave the "natural man" beneath.
La Galliarde. From the "Orchésographie" of Thoinot Arbeau (Jean Tabourot), Langres, 1588.Fig. 49:La Galliarde. From the "Orchésographie" of Thoinot Arbeau (Jean Tabourot), Langres, 1588.
Fig. 49:La Galliarde. From the "Orchésographie" of Thoinot Arbeau (Jean Tabourot), Langres, 1588.
Desirable, therefore, as good manners and such like are, they do not fulfil all the requirements that the worthy Canon wished to be involved by them.[1]
We have have seen from the fourteenth century (figs. 35 C, 36 A, 46) how common the bagpipe was in out-of-door dances; in the illustrations from Dürer (fig. 46) and in fig. 53 from Holtzer it has developed, and has two accessory pipes, besides that played by the mouth, and the player is accompanied by a sort of clarionet. This also appears to be the only accompaniment of the Trio (fig. 58).
Morris dancers. From a window that was in the possession of George Tollett, Esq., Birtley, Staffordshire, 16th century.Fig. 50: Morris dancers. From a window that was in the possession of George Tollett, Esq., Birtley, Staffordshire, 16th century.Court dance. From a drawing by Callot, 1635 A.D.Fig. 51: Court dance. From a drawing by Callot, 1635 A.D.
Fig. 50: Morris dancers. From a window that was in the possession of George Tollett, Esq., Birtley, Staffordshire, 16th century.
Fig. 51: Court dance. From a drawing by Callot, 1635 A.D.
In the sixteenth century certain Spanish dances were introduced into France, such as la Pavane, which was accompanied by hautboys and sackbuts.
Comic dancers. By Callot, from the act entitled "Balli di Sfessama," 1609 A.D.Fig. 52: Comic dancers. By Callot, from the act entitled "Balli di Sfessama," 1609 A.D.Country dance. From a drawing by John Evangelist Holtzer, 17th century.Fig. 53: Country dance. From a drawing by John Evangelist Holtzer, 17th century.A ball-room dance, Le Bal Paré, of the 18th century. From August de l'Aubin.Fig. 54: A ball-room dance,Le Bal Paré, of the 18th century. From August de l'Aubin.A dance in the 18th century. From a painting by Hogarth.Fig. 55: A dance in the 18th century. From a painting by Hogarth.
Fig. 52: Comic dancers. By Callot, from the act entitled "Balli di Sfessama," 1609 A.D.
Fig. 53: Country dance. From a drawing by John Evangelist Holtzer, 17th century.
Fig. 54: A ball-room dance,Le Bal Paré, of the 18th century. From August de l'Aubin.
Fig. 55: A dance in the 18th century. From a painting by Hogarth.
There were, however, various other dances of a number too considerable to describe here, also introduced. The dance of the eighteenth century from Derby ware (fig. 59) seems to be but a continuation in action of those of the sixteenth century, as out-of-door performances.
Fig. 56: Caricature of a dancing master. Hogarth.
We have now arrived at the modern style of ball, so beloved by many of the French Monarchs. Henry IV. and Napoleon were fond of giving these in grand style, and in some sort of grand style they persist even as a great social function to our own time. The Court balls of Louis XIII. and XIV. at Versailles were really gorgeous ballets, and their grandeur was astonishing; this custom was continued under the succeeding monarchs. An illustration of one in the eighteenth century by August de l'Aubin (fig. 54) sufficiently shows their character. There is nothing new in the postures illustrated, which may have originated thousands of years ago. As illustrating the popular ball of the period, the design by Hogarth (fig. 55) is an excellent contrast. Thecontredanserepresented was originally the old country dance exported to France and returned with certain arrangements added. This is a topic we need not pursue farther, as almost every reader knows what social dancing now is.
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Spring dancing away from winter. From a drawing by Watteau.Fig. 57: Spring dancing away from winter. From a drawing by Watteau.The Misses Gunning dancing. End of the 18th century, from a print by Bunbury, engraved by Bartolozzi.Fig. 58: The Misses Gunning dancing. End of the 18th century, from a print by Bunbury, engraved by Bartolozzi.Dancing. Close of the 18th century. From Derby ware.Fig. 59: Dancing. Close of the 18th century. From Derby ware.Spanish dance in the Hall of Saragoza, 19th century.Fig. 60: Spanish dance in the Hall of Saragoza, 19th century.
Fig. 57: Spring dancing away from winter. From a drawing by Watteau.
Fig. 58: The Misses Gunning dancing. End of the 18th century, from a print by Bunbury, engraved by Bartolozzi.
Fig. 59: Dancing. Close of the 18th century. From Derby ware.
Fig. 60: Spanish dance in the Hall of Saragoza, 19th century.
FOOTNOTESFootnote 1: The advice which he gives is valuable from its bearing on the customs of the 16th century. It even has great historical value, indicating the influence dancing has had on good manners. That the history of dancing is the history of manners may be too much insisted upon. For these reasons we insert these little known passages. The first has reference to the right way of proceeding at a ball."Having entered the place where the company is gathered for the dance, choose a good young lady (honneste damoiselle) and raising your hat or bonnet with your right hand you will conduct her to the ball with your left. She, wise and well trained, will tender her left and rise to follow you. Then in the sight of all you conduct her to the end of the room, and you will request the players of instruments to strike up a 'basse danse'; because otherwise through inadvertance they might strike up some other kind of dance. And when they commence to play you must commence to dance. And be careful, that they understand, in your asking for a 'basse danse,' you desire a regular and usual one. Nevertheless, if the air of one song on which* the 'basse danse' is formed pleases you more than another you can give the beginning of the strain to them.""Capriol:—If the lady refuses, I shall feel very ashamed."Arbeau:—A well-trained lady never refuses him who so honours her as to lead her to the dance."Capriol:—I think so too, but in the meantime the shame of the refusal remains with me."Arbeau:—If you feel sure of another lady's graciousness, take her and leave aside this graceless one, asking her to excuse you for having been importunate; nevertheless, there are those who would not bear it so patiently. But it is better to speak thus than with bitterness, because in so doing you acquire a reputation for being gentle and humane, and to her will fall the character of a 'glorieuse' unworthy of the attention paid her.""When the instrument player has ceased" continues our good Canon "make a deep bow by way of taking leave of the young lady and conduct her gently to the place whence you took her, whilst thanking her for the honour she has done you." Another extract is not wanting in flavour: "Hold the head and body straight, have a countenance of assurance, spit and cough little, and if necessity compels you, turn your face the other side and use a beautiful white handkerchief. Talk graciously, in gentle and honest speech, neither letting your hands hang as if dead or too full of gesticulation. Be dressed cleanly and neatly 'avec la chausse bien tirée et Pescarpin propre.'"And bear in mind these particulars."
FOOTNOTES
Footnote 1: The advice which he gives is valuable from its bearing on the customs of the 16th century. It even has great historical value, indicating the influence dancing has had on good manners. That the history of dancing is the history of manners may be too much insisted upon. For these reasons we insert these little known passages. The first has reference to the right way of proceeding at a ball.
"Having entered the place where the company is gathered for the dance, choose a good young lady (honneste damoiselle) and raising your hat or bonnet with your right hand you will conduct her to the ball with your left. She, wise and well trained, will tender her left and rise to follow you. Then in the sight of all you conduct her to the end of the room, and you will request the players of instruments to strike up a 'basse danse'; because otherwise through inadvertance they might strike up some other kind of dance. And when they commence to play you must commence to dance. And be careful, that they understand, in your asking for a 'basse danse,' you desire a regular and usual one. Nevertheless, if the air of one song on which* the 'basse danse' is formed pleases you more than another you can give the beginning of the strain to them."
"Capriol:—If the lady refuses, I shall feel very ashamed.
"Arbeau:—A well-trained lady never refuses him who so honours her as to lead her to the dance.
"Capriol:—I think so too, but in the meantime the shame of the refusal remains with me.
"Arbeau:—If you feel sure of another lady's graciousness, take her and leave aside this graceless one, asking her to excuse you for having been importunate; nevertheless, there are those who would not bear it so patiently. But it is better to speak thus than with bitterness, because in so doing you acquire a reputation for being gentle and humane, and to her will fall the character of a 'glorieuse' unworthy of the attention paid her."
"When the instrument player has ceased" continues our good Canon "make a deep bow by way of taking leave of the young lady and conduct her gently to the place whence you took her, whilst thanking her for the honour she has done you." Another extract is not wanting in flavour: "Hold the head and body straight, have a countenance of assurance, spit and cough little, and if necessity compels you, turn your face the other side and use a beautiful white handkerchief. Talk graciously, in gentle and honest speech, neither letting your hands hang as if dead or too full of gesticulation. Be dressed cleanly and neatly 'avec la chausse bien tirée et Pescarpin propre.'
"And bear in mind these particulars."