ere 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 Bourres, Ballotes,
Jetes 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 fete given b