Instructions for the More Ready and Perfect Attainment of the Cotillon or French Country Dances. By Monsieur Gherardi, Rathbone Place, Soho. (London Magazine Vol XXXVII, 1768, pp.380-381)

Dance manual/reference by London Magazine, or Gentleman's Monthly Intelligencer, Vol XXXVII (1768) — printed by Richard Baldwin, Pater-noster-Row, London (licensed by George III, 13 Oct 1759, for 14y term). The Cotillon-Instructions section appears in the July 1768 issue, pp.380-381, attributed to Monsieur Gherardi, Rathbone Place, Soho — an Italian/French dancing-master active in late-1760s Soho London. Source file: DATA/LIBRARY_OF_DANCE/ABBYY TXT/1768-Gherandi-Instructions_(Goog).txt (Google-Books OCR of Vol XXXVII; filename slug 'Gherandi' is OCR-misspelling of 'Gherardi'). STRUCTURE: 5 numbered Rules + closing pas-list. Rule 1: First-violin must repeat or shorten the air to keep dancers in time at end of first part. Rule 2: Ladies and gentlemen should hear the tune played once over before dancing, particularly noticing where the figure of the first part ends and where the second part figure begins. Rule 3: Practise the second-part figure (without music) before dancing, to ensure exactness. Rule 4: Make an obeisance (the same as in commencement of a minuet) when the musicians begin to play the first part — 'a requisite politeness in the Cotillons, and always practised by the French nobility'. Rule 5: A pas-list of 11 essential Cotillon pas, presented as a single inline French-language enumeration: 'Balance pas de Rigodon; Deux Chassés assemblé, pas de Rigodon; Chassé à trois pas assemblé, pas de Rigodon; Deux Glissades, assemblé, pas de Rigodon; Contre-tems en avant, contre-tems en arrière, contre-tems en tournant; Chassé en tournant; Demi contre-tems d'un pied et de l'autre; Brizé à trois pas d'un pied et de l'autre; Chassé à trois pas d'un pied et de l'autre.' Gherardi explicitly notes the master's assistance is required even when the dancer knows the figure, since without these few easy steps it is 'impossible to perform these fashionable and entertaining dances with precision'. HISTORIC SIGNIFICANCE: THE EARLIEST KNOWN ENGLISH-LANGUAGE NAMED-COTILLON PAS-VOCABULARY PUBLICATION IN A LONDON GENTLEMAN'S-MAGAZINE FORMAT. Slots between Cuisse 1762 (LOC-1762-CUISSE — Paris cotillon-treatise with full pas-definitions) and Longman 1768 (LOC-1768-LONGMAN-COTS — London engraved cotillon-collection without pas-definitions). The Gherardi pas-set is essentially Cuisse's 1762 cotillon-pas-vocabulary transmitted to the English ballroom 6y after Cuisse, via a Rathbone-Place Soho dancing-master and a Pater-noster-Row monthly periodical. ROSETTA STONE LINKS: each named pas in Rule 5 is Rosetta-mappable to an existing canonical previously seeded by Cuisse 1762 (LOC-1762-CUISSE) and Saltator (1802) Minuet step-set (H-BAR-MIN-F0042..F0060). Cohort: LOC-1762-CUISSE → LOC-1762-MALPIED → LOC-1768-GHERARDI (THIS RUN, EARLIEST ENGLISH-LANGUAGE COTILLON-PAS-LIST) → LOC-1768-LONGMAN-COTS → LOC-1769-HURST → LOC-1770-MALPIED. CONTEXT: published in the same Vol XXXVII (1768) issue as the Royal Society of Arts 'Catawba Indians vs Shawanese' Charles-Town SC dispatch, the Vienna Abbe Winckelman murder report, the Boston commissioners-of-customs riot following the Liberty seizure — placing the Gherardi pas-list firmly in the trans-Atlantic gentleman's-magazine reading-public of mid-late 1760s. Has_Step_Detail = Partial (pas-name enumeration with brief execution-prose for Rule 5; no foot-position / mouvement / cadence-detail; no engraved chorégraphie plates). (1768). Imported from local collection.