I Perswade my self, that before so useful a Curiosity as the following Treatise, it would not be disagreeable to the Reader, to give him an Account of the Origin and Progress of the Art of Orchesography. Furetier, in his Historical Dictionary, tells us of a curious Treatise of this Art by one Thoinet Arbeau, printed 1588, at Langres, from whom Monsieur Feuillet, in his Preface, supposes this Art to date its first Rise and Birth, tho’ he could never procure a Sight of it, as not to be found in Paris. But this very Book falling into my Hands, I took Care to peruse it with some Attention, but found it far short of that Expectation, which such Recommendation had rais’d in me: For tho’ it might perhaps have given the Hint to Mr. Beauchamp; yet it is nothing but an imperfect rough Draught, nor if it confin’d to Dancing, since it treats besides of beating the Drum, playing on the Pipe, and the like.

But notwithstanding this blind Hint of Arbeau, to do Justice to Mons. Beauchamp, we must attribute to him the Invention of this Art, who in all Probability, could no more see the former Book, than Mons. Feuillet. But as no Art was ever invented and perfected at once; so it remain’d for Mons. Feuillet, to raise the compleat and finish’d Superstructure on Mons. Beauchamp’s Foundation; and it must be allowed, that Mons. Feuillet has carry’d this Art to a very great Perfection, and taken a great deal of Pains in the Improvement of the Character, and given Rules so just, and a Method so proper, that I cannot imagine any Man can flatter himself with an Ability of designing a better, or more regular manner. For this Reason I chose rather to follow his Method entirely, than attempt any Alteration of my own, which I have done with that Care and Diligence, that I think I may assure the Reader I have omitted nothing that he has deliver’d. I have also made it my Business to bring the Reader acquainted with the Meaning of my Author, as well as his Words, which is a Happiness every Translator has not the Power of arriving at, as generally either ignorant of the Subject or Language he translates from, or into, or both.

Another Fault of our common Translators I have avoided with all the Industry I could: Some of them pretending to meddle with Books of Art, and not understanding the Terms of Art, give us such an odd Jargon, that we can never understand it without the Interpretation of a Master, or having Recourse to the Original itself. I have therefore render’d all the French Terms into English, but with so much Caution of doing Justice to the Author, and the Art, that I would not defend on my own Judgment, but let none pass without the Approbation of the best English Masters.

The Perfection, which Dancing is now come to in England, seems to point this Time out at the fittest Juncture, for the Publication of a Book of this Nature; since we now enjoy in this Nation, Performers and Masters of greater Excellence than any other part of Europe; who shew every Beauty of the Art in its full Glory and Perfection. For whoever shall consider the Masterly Compositions of Ball-Dances by Mr. Isaac, which are so well adapted to the manner of our School-teaching, (peculiar to England, no other Nation having any such thing as publick Dancing-Schools) whoever shall see the admirable Compositions of Mons. L’AbbÉ in Ballet, and his Performance, with that of M. Desbargues, M. Du Ruel, and M. Cherrier, can hope to see nothing in this Art of greater Excellence, unless any wonderful Genius should arise, and advance this once celebrated Art to that Perfection, which drew the Eyes, and employ’d the Pens of the old Greeks and Romans; a lively Description of which, the Reader may see in this Epigram, by an unknown Hand

Mascula foemineo derivans Pectora Sexu,
Atq; aptans lentum Sexum at utrumq; latus,
Egressus Scenam Populum faltator adorat
Solerti pendet predere verba Manu.
Nam cum grata Chorus diffundit cantica dulcis
QuÆ resonat Cantor, motibus ipse probat.
Pugnat, ludit, amat, Bacchatur, Vertitur, adstat,
Illustrat verum, cuncta decore replet.
Tot LinguÆ, quot Membra viro, Mirabilis est Ars,
QuÆ facit Articulos voce silente loqui.

From this Epigram, it is plain, that the ancient Dancing had something more than Motion, Measure, and Figure, and express’d the Passions and Actions of Mankind, was a sort os silent Poetry, and the Painting, tho’ without Colours, so expressive, as to touch and charm every Beholder.

There will be no need to enforce the Use of this Art, and by Consequence recommend the Book that teaches it, to all Lovers of Dancing, since it carries its own Evidence with it self, and has already convinc’d them of its Benefit and Advantage; and I question not but others will find the same Satisfaction from their Study, which I have done, since by a close Application to this Character, I have made such a Progress in it, as to be able to communicate all Dances to the rest of the Profession at any Distance. I have a great deal of Reason to believe, that had not I first undertaken to make Mons.Feuillet speak English, this Character had yet a longer while remain’d a Secret to this Nation; those who had made their private Market of it, not being willing to admit any Rivals in an Art, which chiefly distinguish’d them from others of their Profession.

I must undeceive some, who may perhaps mistake the Design of the following Treatise, and take it for an Instruction, or some Improvement in the Art of Dancing, or Method of Teaching. But I must assure them, that I am not yet Master of Vanity enough to venture upon a Task so difficult, and so invidious, since I am of Opinion, that there are not better Masters for instructing Scholars in a genteel Movement and Address, than the English.

I shall not therefore detain the Reader any longer in the Porch, but leave him now to enter, and improve.

Ingredere ut proficias.