The Cotillon is rarely seen in English ball-rooms, but on the
Continent, especially in Italy, it is a great favourite. It occupies
a somewhat similar position to our own Sir Roger de Coverley, being
generally the concluding dance of the evening, in which every one
joins. It can be prolonged at pleasure by the introduction of more
figures, for it has no definite beginning or end. It is, in fact, more
like a long game performed to the accompaniment of valse music than a
dance.
We shall describe the Cotillon as we have seen it in the palaces
of Italy, where it is danced with enthusiasm, and diversified by an
innumerable variety of figures, only a few of which we can undertake
to remember. It is never commenced till towards the close of the ball,
at so advanced an hour that all the sober portion of the assembly have
retired, and only the real lovers of dancing remain, who sometimes
prolong this their favourite amusement till a late hour in the
morning.
It is customary for gentlemen to select their partners for the
Cotillon early in the evening, while the other dances are in progress;
for, as it lasts so long a time, it is necessary to know beforehand
how many ladies feel inclined to remain during its continuance.
A circle of chairs is arranged round the room, the centre being left
clear; the spectators stand behind the chairs, so as not to interfere
with the dancers. Each gentleman leads his partner to a seat, taking
another beside her. To these same seats they return after every
figure, it being the etiquette of the dance that no couple should
appropriate any chairs but their own, taken at the commencement. When
the dancers are arranged round the room, the orchestra strikes up the
spirited music of the Cotillon, which consists of a long series of
valse movements at the usual _tempo_ of the _Deux Temps_. There
are generally several leaders of the Cotillon, who decide upon the
succession of the figures. If there are many couples dancing, one
leader attends upon a group of six or eight couples, to ensure that
all shall take part. We are aware of no fixed rule for the succession
of the figures, which depends upon the caprice of the leaders. A good
leader will invent new combinations, or diversify old figures; thus
securing an almost endless variety. One of the most popular is the
following:--
Several gentlemen assume the names of flowers or plants, such as the
honeysuckle, woodbine, ivy, &c. A lady is then requested to name her
favourite flower; and the fortunate swain who bears its name springs
forward and valses off with her in triumph. It is usual to make one,
or at most two, turns round the room, and then restore the lady to her
own partner, who in the meantime has perhaps been the chosen one of
another lady. All having regained their places, each gentleman valses
with his own partner once round the room, or remains sitting by her
side, as she may feel inclined.
Baskets filled with small bouquets are brought in. Each gentleman
provides himself with a bouquet, and presents it to the lady with whom
he wishes to valse.
Sometimes a light pole or staff is introduced, to the top of which are
attached long streamers of different coloured ribbons. A lady takes
one of these to several of her fair companions in turn, each of whom
chooses a ribbon, and, holding it firmly in her hand, follows the
leading lady to the room. Here they are met by an equal number of
gentlemen, likewise grouped around a leader who carries the pole,
while each holds a streamer of his favourite colour, or that which
he imagines would be selected by the _dame de ses pensées_. The merry
groups compare notes: those who possess streamers of the same colour
pair off in couples, and valse gaily round the room, returning to
places as before.
Six or eight ladies and the same number of gentlemen form in two
lines, facing each other. The leading lady throws a soft worsted ball
of bright colours at the gentleman with whom she wishes to dance. He
catches it, throws it back to the fair group, and valses off with his
partner. Whoever catches the returning ball, has the right to throw
next; and the same ceremony is repeated until all have chosen their
partners, with whom they valse round the room, returning to places as
usual. Sometimes a handkerchief is substituted for the ball; but the
latter is better, being more easily thrown and caught.
Six or eight chairs are placed in a circle, the backs turned inwards.
Ladies seat themselves in the chairs, gentlemen move slowly round in
front of them. Each lady throws her handkerchief or bouquet at the
gentleman with whom she wishes to dance as he passes before her. Valse
round as usual and return to places.
Sometimes a gentleman is blindfolded, and placed in a chair. Two
ladies take a seat on either side of him; and he is bound to make his
selection without seeing the face of his partner. Having done so, he
pulls the covering from his eyes, and valses off with her. It is a
curious circumstance that mistakes seldom occur, the gentleman being
generally sufficiently _clairvoyant_ to secure the partner he desires.
We have here described a few of the most striking figures of the
Cotillon. We might multiply them to an extent which would equally tax
the patience of our readers and our own powers of remembrance; but
we forbear. Enough has been told to show the graceful, coquettish
character of the dance, which adapts itself admirably to the Italian
nature, and is as much beloved by them as the Valse by the Germans or
the Cachucha by the dark-eyed maidens of Spain. We should rejoice to
see this charming stranger naturalised in English ball-rooms. It is
especially adapted to sociable gatherings, where most of the guests
are friends or acquaintances.
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