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Rh Many of our ballad-tunes were not fitted for dancing, and therefore were not included in The Dancing Master; but a considerable number of these is supplied by the ballad-operas which were printed after the extraordinary success of The Beggars’ Opera in 1728.

I might name many other books which have contributed their quota, especially Wit and Mirth, or Pills to purge Melancholy, with its numerous editions from 1699 to 1720,—but all are indicated in the work. I cannot, however, refrain from some notice of the numerous foreign publications in which our national airs are included. Sometimes they are in the form of country dances,—at others, as songs, or as tunes for the lute. I have before me three sets of country dances printed in Paris during the last century, and as one of these is the “5ême Recueil d’Anglaises telle qu’elles se dansent ché la Reine,” there must have been at least four more of that series. Many of my readers may not know that the “Quadrille de Contredanses” in which they join under the name of “a set of Quadrilles,” is but our old “Square Country Dance” come back to us again. The new designation commenced no longer ago than 1815,—just after the war.

Horace Walpole tells us in his letters, that our country dances were all the rage. in Italy at the time he wrote, and, as collections were printed at Manheim, Munich, in various towns of the Netherlands, and even as far North as Denmark, it is clear that they travelled over the greater part of Europe. The Danish collection now before me consists of 296 pages, with a volume of nearly equal thickness to describe the figures.

Some of the works printed in Holland during the seventeenth century, which contain English airs, have materially assisted in the chronological arrangement. Of these, Vallet’s Tablature de Luth, entitulé Le Secret des Muses, was published at Amsterdam in 1615. Bellerophon, of Lust tot Wysheit, in 1620, and other editions at later dates. Valerius’s Nederlandtsche Gedenck-Clanck, at Haerlem, in 1626. Starter’s Friesche Lust-Hof, and his Boertigheden, in 1634, and other editions without dates. Camphuysen’s Stichtelycke Rymen, 1647, 1652, and without date. Pers’s Gesangh der Zeeden, 1662, and without date. Urania, 1648, and without date.

It is only necessary to remark upon the chronological arrangement, that, in order to ascertain what airs or ballads were popular in any particular reign, the reader will have occasion to refer also to those which precede it. Without endless repetition, it could not have been otherwise.

Facsimiles of a few of the manuscripts will be found in the following pages.

I have now the pleasing duty of returning thanks to those who have assisted me in this collection; and first to Edward F. Rimbault, LL.D., and Mr. G. A. Macfarren. Dr. Rimbault has been the largest contributor to my work, and a contributor in every form. To him I am indebted for pointing out many airs which would have escaped me, and for adding largely to my collection of notices of others; for the loan of rare books; and for assisting throughout with his extensive musical and bibliographical knowledge. To Mr. G. A. Macfarren for having volunteered to re-arrange the airs which were to be taken from my former