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Paper 5

The Life of Thomas Wilson, Dancing Master

Contributed by Paul Cooper, Research Editor

If you've spent any time reading the pages here at RegencyDances.org, you'll have noticed that we regularly quote from the works of Thomas Wilson. Wilson is incredibly important to anyone who researches Regency era dancing, he wrote most of the books we rely on; but very little is known about the man himself. I'm hoping to address that in this article.

Figure 1. Waltzing - vide Wilson's Rooms, 1817. ©Trustees of the British Museum.
A complete list of Wilsonian publications is available here.

Wilson wasn't particularly famous in his own day, but he was successful in his chosen profession. It's surprisingly difficult to find any biographical details about his life, outside of those hinted at in his own books. We know that he was associated with the King's Theatre Opera House, we know he hosted Balls, taught dancing, and wrote so many books. But what else is known?

I only know of one portrait of Wilson that ever existed, and unfortunately I don't have a copy. Wilson tells us in his 1811 Supplement to the Treasures of Terpsichore that the first edition of Treasures of Terpsichore included a Portrait of the Author1. I've checked a copy of the 1809 first edition, but not found that portrait. In the absence of that picture, Figure 1 will have to do instead2. It shows an 1817 caricature of a Waltz; I like to imagine it shows Mr and Mrs Wilson enjoying a dance. The subtitle appears to reference Wilson's dancing academy, and the image could be a caricature of Wilson himself. The turn-out of the feet suggest the man is a dancing teacher. The description of the image at the British Museum describes this man as plump, plainly dressed, and very ugly. A further image (also lost) of Wilson and a pupil dancing a Minuet-Waltz was included in an 1817 work called Le Moulinet, &c., the Figure 1 caricature may be adapted from that image.




Wilson in Liverpool?

In the 1885 reprint of an 1852 book called Liverpool, a Few Years Since by An Old Stager, there's a curious passage recounting a local character who lived in Liverpool fifty years since. It reports:

Close to St. Anne’s Church was the house of a celebrated character amongst us, both then and long afterwards. We speak of Mr. Thomas Wilson, profanely called Tommy Wilson, the dancing-master, by his wicked pupils. A good fellow was Tommy, although a strict disciplinarian in “teaching the young idea,” not “how to shoot,” but how to turn out its toes and go through the positions. But, unfortunately, Mr. Wilson grew too ambitious, and, instead of contenting himself with fiddling for boys and girls to dance to, would preside over orchestras and concerts, and cater for the amusement of the public, by which we fear he did not grow too rich. He was a worthy, warm-hearted man in his way, and somewhat of an original, and withal possessing the good opinion of all who knew him.3

Could this ambitious dancing master have been our Thomas Wilson? Perhaps Tommy became weary of not growing too rich, and moved to London shortly after the turn of the Century. It's speculation of course, but a tempting theory. Perhaps he grew up in Liverpool, perhaps he had family there.

A similar retrospective called Recollections of Old Liverpool by J.F. Hughes in 1863 recalls that a Mr. Wilson, the dancing master managed concerts at the Music Hall in Bold-Street, in 18244. Could the 1824 Mr. Wilson have been a relative of our Thomas Wilson? If so, he's reported to have a niece who was married to John Braham, il primo tenore d'Europa. Our Wilson was publishing books in London in 1824, so he's unlikely to have been hosting concerts in Liverpool (though it's not entirely impossible). Braham's mother-in-law was an Elizabeth Bolton (nee Wilson) from Lancashire, I can't confirm a link between her and our Thomas Wilson, though it's clearly possible.

Figure 2. Price list at Wilson's Dance Academy, 1808
Whatever Wilson's origins, he tells us in his 1824 Danciad that he:
was bred to a mechanical business, which, before the expiration of his apprenticeship, he was compelled (with others) to relinquish, (that being entirely ruined through certain financial speculations of Mr. Pitt). Having some taste for dancing, as an amusement, he determined to endeavour to qualify himself so as to follow it, as a profession, and which was only effected after long and unremitting exertions, such as few individuals would encounter.
He also made a passing reference to Liverpool in the Danciad. He said that a fancy dress ball was held in Liverpool some years ago...of the most magnificent description, at which all the families of rank within the surrounding distance of many miles were present. For variety of character and original costume, this splendid Ball has never been surpassed.. It's probably a reference to a Ball he hosted himself - he rarely praised Balls hosted by anyone else!

In one of his later publications, the 1821 The Address, Wilson revealed that he had been a professional teacher of Dancing for more than twenty years, which suggests he started around the start of the 19th Century..

Wilson in Dunstable?

An 1845 article in The Gentleman's Magazine by J.D. Parry provides some further biographical clues. In an article about Dunstable we're told:

there is now in London another respectable and kind-hearted septuagenarian "artist" in his way, and of copious historical and antiquarian lore to boot, who has celebrated his native place in one or two of his poetical "placards" which everybody has seen, whom the writer knew, with his most beautiful and innocent assistant, Miss Margaret M___, 15 years ago, being no less renowned a personage than "Dancing Master Wilson."5

This brief passage reveals a lot. We learn that Wilson lived into his 70s, he was born around 1770, Dunstable was his native place, and that his placards (whatever they are) were widely known. Could Wilson have grown up in Dunstable, moved to Liverpool, then to London? It seems unlikely, but it's not impossible.

Wilson's 'placards' are discussed further in a London Journal article from 1834. This article makes many references to Wilson, and amongst other things says that Wilson always sends us, with his invitations, a placard of equal wit and dimensions, in which he takes patriotic occasion to set forth the virtues of his art.And further: I see it, in imagination, painted in the beautiful red letters of your placard6. I've not found any further information about these placards, or about Wilson's connection with Dunstable; the placards appear to be an advertising mechanism to promote his professional services. Wilson himself warned against placard teachers who bring even the art itself into disrepute in the prologue to his 1824 Danciad7.

It may be significant that the Parry article mentions Wilson's beautiful and innocent assistant, but not his wife. We know there was a Mrs. Wilson as early as 1808, and that she assisted at his dance academy8; references to her disappear in the 1820s, she may have died by 1830 when Parry knew Wilson.


Wilson's Dance Academy

Figure 3. Advertisement for Wilson's 73rd Public Ball, 1817

At some point Wilson opened a London Dance Academy at No. 13, Holborn (opposite Middle Row). He also gave instruction from around the corner at his lodgings No. 9, Bedford Street, Bedford Row8.

In January 1811 Wilson wrote: I must here beg pardon for my intruding vanity of noticing, what constitutes my greatest pride, -- the honour of having taught, in so short a period of my career as five years, upwards of Fifteen Hundred Ladies and Gentleman, besides Children;9. I infer from this that he opened his Holborn Academy in or around 1805 (when he was approximately 35), and taught an average of 300 adults a year. We also know that in 1808 he was present at Holborn every afternoon from 5 till 108, and at Bedford Row every day from 10 till 11 in the Morning, and from 4 till 6 in the Afternoon10. It's a neat trick to be present at two different locations between 5 and 6, every day! He clearly devoted a lot of his time to teaching the public.

Figure 2 shows the price list at Wilson's Academy in 180810. I've also located the price list for 181111. Most of the prices were unchanged over those 3 years, but a few increased; they are the Scotch Minuet, the Allemande, the Ground Hornpipe, the Louvre & the Corsair Hornpipe. Wilson taught many different types of dance; there are social dances, stage dances, courtly dances, and international dances in his repertoire. He intended the public to believe that he was a master of his trade.

At some point Wilson's Academy moved to 2 Greville Street, Hatton Garden12, then to Old Bailey, near Ludgate13. An 1818 advert in The National Register (25th January) shows Wilson's address to be at Old Bailey, and adds: Three Young Ladies of good Character have an opportunity of being instructed in Stage and Ball Room Dancing, to be articled for Three Years. He moved later still to 18, Kirby Street, Hatton Garden14. He published a change of address for this final move in 1823, and requested Two Young Ladies as Apprentices wanted. The Academy was still operating at this address in 182915, and even in 183216.

An 1822 advert in the New Times newspaper (6th March, 1822, with thanks to Alan Taylor for the discovery) indicates that Wilson was running four separate academies at that date. His Central Academy was at 18 Kirby Street, his Western Academy was at the Great Marlborough-Street Assembly Rooms, his Northern Academy was at 103 Goswell Street, and his Residence and City Academy remained at the Old Bailey. He also advertised several new Quadrilles, including his new Arcular Quadrilles composed with a variety of new and Fancy Ball-room Dances. A month later he repeated a similar advert in The Observer of the Times (7th April, 1822), but on this occasion he mentioned his new Circular Quadrilles.

Wilson published a review of his impressive successes to date in 1822 (Bell's Life in London and Sporting Chronicle 24th March 1822):

Mr Wilson, Teacher of Dancing, though so well known to the Public, still feels the necessity of an Advertisement, in hopes of increasing his Pupils, and improving his finances; for although he has had Eighty-six Public BALLS, danced at Twenty-four different Theatres (including Five years at the Opera House) taught almost innumerable Ladies and Gentlemen and Children, having qualified upwards of Thirty persons to become Professors, besides occasionally giving instructions to nearly One Hundred more, having Ten Professional Apprentices, and written more than Ten works on Dancing, besides several Dramatic pieces; having also invented Six new species of Dancing, having now open Four Academies for Dancing, at different parts of the town, which he superintends personally, and where he continues occasionally to teach in Twenty-five different departments of the Art; he has yet his fortune to make; but as he still hopes of keeping his carriage (so requisite to professional eminence) he is determined, in order to facilitate so desirable an object, to be always at home, to give lessons privately (if required) at any time, at his residence Old Bailey; or at his Western, Central or Northern Academies; he considers it only candid towards other Professional persons in general, to say that he cannot engage, like some Teachers, completely to qualify any one for the Ball Room in only a few Lessons; nor can he boast of the lowest prices.
Figure 4. Dates of Wilson's Balls

A later 1832 advert mentioned a new repertoire of dances including the Waltz Cotillion and Mazurka, Sedrilles, Gallopades, Omnibus, with every other department of Modern Dancing. A further advert was published in 183317; it added Spanish Dances, Waltzing, Ecossaise, with every other department of Fashionable Dancing, and once again advertised for new apprentices. This advert also mentions a Juvenile Academy, teaching of stage dances, and a Waltz and Quadrille Party every Saturday Evening. It appears that the academy was still fully active at this date. The Academy was continuously advertised for at least 27 years; that's over 8000 adults, at 300 per year. One of the final adverts was humorously aimed at the political establishment of 1835 (Morning Chronicle, 2nd February 1835):

Whigs, Tories, and Radicals. - The forthcoming meeting of Parliament, the present political state of the British empire, and the great excitement amongst the various parties, make it self-evident that new steps must be instantly taken to guide the vessel of State. Consequently, DANCING MASTER WILSON, of 18 Kirby-street, Hatton-garden, a well-known Inventor of New Steps, takes this opportunity of informing his Majesty's Ministers, the Bishops, Knights of St. Stephen's, and others, that he has a large assortment of New Steps and Figures, adapted to Whig, Tory, and Radical interest. Amongst others, he has some Cheering Capers for the Radicals, Consoling Steps for the Whigs, and some thorough-paced Movements for the Tories, that require no pledges, together with a new version of the well-known dance called Ratting, in which the performers may change sides with eclat.

And for those careless souls, who now don't care a pin
For Whig or for Tory, - who's out or who's in,

he has also some rare novelties adapted to their capabilities. With a variety of New Mazurkas, Quadrilles, Gallopades, Sedrilles, Waltzes and Country Dances, adapted to persons of every age and grade in society. But,

If these treasures you want, mark this, and don't fail-
Bring your cash in your hand - put it down on the nail.



Wilson's Public Balls

Wilson claimed to have hosted at least 89 Public Balls over his career (though there may have been many more), I've found dateable evidence for seven of them. His 56th was in 181018, the 64th in 181419, 71st in 181620, 73rd in 181713 (see figure 3), 75th also in 181721, 81st in 182022, and 89th in 18227. I've plotted them on a graph in Figure 4; if we extend that graph backwards, then it's likely that he started hosting Balls around 1790, when he was approximately 20. If my assumptions about the date of his Holborn Academy are correct, then this is before the Academy opened. It's possible that Wilson was being disingenuous, and didn't start counting at zero. He himself warns us in the 1824 Danciad that some dance masters began numbering their Balls from 20.23
Addenda: I've dated some more of Wilson's Balls using newspaper references: his 63rd Ball was in 1814, his 67th in 1815, his 77th and 78th in 1818, his 79th in 1819, his 82nd in 1821, and both his 86th and 87th were in 1822.

Wilson was careful to feature fashionable dances in his Balls. His 1814 Ball introduced the increasingly popular Waltz, and the 1817 Balls featured the Quadrille in their titles (see Figure 3); they weren't advertised for his 1816 or earlier Balls.

Figure 5. The Great Room at the Crown and Anchor Tavern, 1848

The 1814 Ball was hosted at the Crown and Anchor Tavern. This venue may sound a little basic, but the Grand Ballroom shown in Figure 5 suggests otherwise24. A report in the Berkshire Chronicle for 27th August 1825 described the Crown & Anchor as the very Almack's of way-fairing people.

It's worth reflecting on who attended Wilson's Public Balls. I've only found one brief first-hand account from an attendee who wrote in 1822 (Bell's Life in London and Sporting Chronicle, 21st April 1822):

Last week on the same evening, after looking in at Almack's, we joined a party, by appointment, at Wilson's Fancy Dance Ball; both were crowded by the gay and affluent votaries of fashion; and Quadrilles were predominant. At the latter place we particularly noticed some interesting new Quadrilles and fancy dances, which detained us there till we were obliged to retire.
We know that Wilson advertised in newspapers and magazines. I therefore suspect that his clients were often from the wealthy middle classes. Perhaps the daughters of prosperous tradesmen who wished to experience a society Ball. The advertisement in Figure 3 is especially interesting. We learn that the Ball features the most fashionable dance styles from Almacks and elsewhere, and that stewards will keep out undesirables. One fascinating detail is that it will open with a Minuet Waltz display dance involving Wilson and a young pupil (caricatured in Figure 1 perhaps?). The Minuet had fallen out of favour by the mid 1810s, but Wilson was promoting himself as an elite dancer (of the King's Theatre), so an elegant and modernised Minuet would be a good way to introduce the evening, and to promote himself as the master of ceremonies.

Some of Wilson's Balls had special themes. The Morning Post for January 5th 1809 contains an advert for Wilson's Grand Naval and Military Ball25 (see Figure 6) in honour of the Spanish Patriots, from which should any profits arise, they will be added to the Patriotic Fund, he goes on to say No Gentleman can be admitted out of uniform. The newspapers in the preceeding days had carried stories of military success in the Peninusla Wars; presumably Wilson shared in the national pride. Lieutenant-General Sir John Moore, the British commander in the Peninsula, would be killed in battle just a few days later. A flier advertising a later 1809 Ball can be found here.

The same newspaper for December 29th 1815 contains an advert declaring Wilson's First Winter Ball in 181626. It also says that he had closed his season at Brighton, presumably he'd taken a break and taught dancing at Brighton. The 12th February 1816 issue carried an advert for a Valentines Ball27. It will include a Valentine Waltz in which the several letters forming the word 'Valentine' will be successively displayed by the group of Ladies performing it.

An advert in The Morning Chronicle (11th January, 1821) described Wilson's 82nd Ball, a Christmas Ball, and Twelth Night Entertainment. It promised to feature: the most favourite new Quadrilles danced in Paris and at Almack's, with some composed by Mr. Wilson, with every other department of modern dancing. The Ball will be opened at eight o'clock, with the Quadrille Minuet composed by Mr. Wilson. It is intended to conduct part of the Evening's Entertainment in conformity with the good old customs of our ancestors at this season, that some idea may be formed of ancient festivities compared with modern Christmas amusements. The Twelth Night Characters will be drawn at elevent o'clock; in addition to the usual cake, Mr. Wilson will have the honour to regale his guests with a social cup from the great Wassal Bowl, according to ancient custom; and some ancient English Dances will be introduced. As several Ladies and Gentlemen have determined to support their characters to the best of their ability, Mr. Wilson flatters himself their efforts will be supported by the rest of the company. The prologue written by Mr. Wilson, and to be spoken by Mr. Gibbs. Single Tickets, 10s6d. Double, 12s.

The last Wilsonian Balls for which I have definitive evidence were held in 1835 and 1836. An advert in The Morning Post for 8th April 1835 reports Mr. Wilson, Teacher of Dancing, from the King's Theatre, Opera House...acquaints his Pupils and the Public that his GRAND BALL will take place... THIS EVENING, April 8. The Ball will be opened at Nine o'Clock by Mr. Wilson and Miss French, one of his pupils, with the Waltz Minuet, composed by Mr. Wilson. In the course of the evening will be introduced Mr. Wilson's new dance, entitled "The Rival Beauties" by thirty-four young Ladies. He ends reporting Sixteen Gentlemen Ushers will be in attendance to prevent the intrusion of improper persons.. A similar advert from The Morning Post for 13th February 1836 reports on Wilson's 26th Annual Valentine Ball, it continues The Ball will be opened at nine o'clock with an Introductory Address, written by Mr. Wilson, and spoken by Mr. Roderick in the character of St. Valentine, and introduce the Valentine Dance (composed by Mr. Wilson).



Figure 6. Advert for Wilson's 1809 Grand Naval and Military Ball.
Image © THE BRITISH LIBRARY BOARD. ALL RIGHTS RESERVED. Image reproduced with kind permission of The British Newspaper Archive (www.britishnewspaperarchive.co.uk)

Wilson's Publications

I've found evidence for around 50 Wilsonian publications in the years between 1808 and 1830, most related to dancing, several running to multiple editions. I intend to write a further article on Wilson's books, so I'll not go into all of the details here.

The first book I know about is the 1808 An Analysis of Country Dancing28. This work was dedicated to Madame Deshayes, a principal dancer at the King's Theatre Opera House (see Figure 7). It sought to catalogue and explain all of the figures used in English Country Dancing, at that time. It was published through the financial assistance of a list of subscribers, and sold out within 3 years. A second edition was published in 181129, and appears to have sold out immediately. A third edition was also published in 181130 (see Figure 7); it had a print run of 2000 copies, and had sold out by 181431. Wilson's influence and fame must have been growing during this time. A curiosity in the third edition is that the dedication changes to Madame Angiolini, another principal dancer at the King's Theatre Opera House; I don't know why. He also changed publishers between the first and third editions, moving from W. Calvert to James Gillet. He worked with at least 6 different publishers throughout his career.

The list of subscribers for three of Wilson's works are known: the 1808 Analysis of Country Dancing32, the 1811 Supplement to the Treasures of Terpsichore33, and the 1816 Description of the Correct Method of Waltzing34. There are a few subscribers that appear in more than one of these lists, most notably a Mr. Thomas who prepaid for 6 copies of 'Analysis', and 6 of 'Terpsichore'. A valuable customer.

Wilson was kept very busy in the second half of the 1810s. He published approximately 15 new titles between 1815 and 1820, not including subsequent editions of earlier works. He had been working on a major update of the Analysis of Country Dancing since at least 181631, but publication was regularly delayed by more urgent projects (he announced it multiple times in 181635, and again in 181936 with double the number of engravings). He eventually released this Magnus Opus in a completed form as The Complete System of English Country Dancing in 182037. It could be argued that this work came to market too late, interest in Country Dancing having significantly reduced by 1820. His works on Waltzing and Quadrilles were more timely.

It's not clear how much Wilson made from his publishing, but he tells us in a footnote to the 1816 Companion to the Ball Room that there would be no fear of the Author of this work being envied as a publisher, either by the public or professional persons, if they knew how little he has hitherto got by publishing his several works on Dancing38 (see Figure 8). He says a similar thing in his introduction to the 1824 epic poem, the Danciad. In a self deprecating lampoon, he tells us:


Figure 7. Title pages to the First and Third editions of An Analysis of Country Dancing
The author has, on dancing, published more
Than any teacher ever did before.
His works, though praised by teachers of renown,
And bought by half the masters in the town,
Have never yet enabled him to dine
On sumptuous viands, nor with Tokay wine.
39

Wilson published many other works, the last of which appears to have been the c.1846 The Art of Dancing. He also produced a number of dramatic works in verse, and even (according to an advert in the Morning Chronicle, November 16th 1820) produced his own ballet!



Wilson and the King's Theatre

The one widely known biographic detail of Wilson's life is that he was a Dance Master from the King's Theatre Opera House (see Figure 9 for an image of the Theatre40). He proudly announced this on the cover of most of his books, and it's repeated in the contemporary reviews of his work. However, I've not found any corroborating evidence to describe his involvement there. The King's Theatre is also referred to as The Italian Opera House in many sources.

Wilson declared his association with the King's Theatre in 'Analysis' in 1808, and continued to do so through to the 'Danciad' in 1824. Yet throughout, he used the phrase Dancing Master from the King's Theatre rather than Dancing Master at the King's Theatre (see, for example, Figures 7, 6 and 3). I therefore wonder if his work at the Theatre had ended before he began publishing. It's just a theory, but if he was at the Theatre in 1811, then it can't have been for many hours a day; as discussed above, he was available to the public at Holborn between 10 and 11 every morning, and 4 and 10 every evening. And by 1822 he was running four separate dancing academies, which presumably occupied most of his time. He admitted in an 1822 advert (Bell's Life in London and Sporting Chronicle, 24th March 1822) that he'd only worked at the King's Theatre for five years.

Could he have been invited to London from Liverpool to train as a dance master at the Opera House? I can't say, but it makes a good story. Perhaps he left in 1805 to start his own Academy.

Whatever his role was, he retained access to the dancers. He dedicated several of his books to them, and listed them as subscribers. There was another Dance Master known to have been at the King's Theatre in the late 1810s, a certain G.M.S. Chivers. Wilson is particularly scathing about Chivers in the 'Danciad', suggesting a personal animosity41. Could Chivers have replaced Wilson at some point? Another teacher, Mr. Cunningham, advertised his dancing services in 1818, also with the phrase late of the King's Theatre; and a Monsieur Leon described himself as Ballet Master at the King's Theatre on the cover of his c.1819 Opera Quadrilles. A Mr. Le Gross described himself as from the Opera House when opening his Dancing Academy in 1812 (advertised in The Morning Chronicle, 5th December, 1812). A Mr. Nathan advertised himself as Dancing Master, from the King's Theatre, Opera House in 1820 (The Morning Post, 1st February), and James Platts made a similar statement on the cover of his 1820 Quadrilles. Other significant masters from the King's Theatre include Mr Bemetzrieder, inventor of the Circassian Circle dance form c.1820, James Harvey D'Egville, a choreographer who left c.1809, George Weippert c.1823, and Mr J. Bertram in 1824. Wilson certainly wasn't the only Dance Master at the King's Theatre during this era; indeed, almost all of the significant London based dancing masters of the early 19th century claimed an association with the King's Theatre! It's likely that most of them had served as dancers, and subsequently retired from the stage to teach social dancing.

Figure 8. Ah, poor Wilson; a footnote from 1816.



Wilson's Legacy

Wilson is very important to modern researchers, he documented the dancing styles of his day to a much greater extent than any other contemporary writer. However, as a modern researcher it's possible to put too much emphasis on his work. He often complains in his books that other dancing masters get things wrong, and that his way of doing things are the only correct way; this implies that other contemporary dancing masters were likely to have disagreed with some of Wilson's teaching.

He published an advert in his 1821 The Address that listed the new dance forms he'd invented and shared with the world:
The Quadrille Country Dancing, first introduced at his Waltz and Quadrille (being his 79th) Public Ball.
The English Waltzing, first introduced at his 68th public Ball, at the Crown and Anchor Tavern, and danced by 48 of his Pupils.
The Waltz Country Dancing, was first introduced at his 69th public Ball, at the New London Tavern.
The Eccossaise, first introduced and generally danced at his 76th public Ball.
The New Reels, for 3, 4, 5, and 6 Persons, first published in the Analysis of Country Dancing.
The New Circular System of English Country Dancing, first introduced at his Waltz and Quadrille (being his 77th public) Ball, at the Crown and Anchor.
also
A Variety of other Dances, composed by Mr. Wilson, as New Quadrilles, New Cotillions, New Spanish Contra Dances, &c.

It's difficult to find any independant contemporary accounts that recognise Wilson as a dancing master of influence, but one 1817 review in La Belle Assemblée stands out. They report: We may almost venture to affirm that no one has brought the Waltz to such perfection in this country as Mr. Wilson42. If it's true that his personal influence helped to popularise and perfect the Waltz in England, then that may be an even more important legacy than that of his books!

Figure 9. Interior of the King's Theatre, 1843.


Anyway, that's it for now. The information I've located about Wilson is fragmentary; if anyone out there can fill in some of the gaps, do please get in touch.





References

1. Wilson, 1811, Supplement to the Treasures of Terpsichore

2. Cruikshank, 1817, Waltzing-Vide Wilson's Rooms

3. An Old Stager, 1852, Liverpool, A Few Years Since

4. J. F. Hughes, 1863, Recollections of Old Liverpool

5. J. D. Parry, 1845, The Gentleman's Magazine

6. Leigh Hunt, 1834, London Journal, Dancing and Dancers

7. Wilson, 1824, Danciad

8. Wilson, 1808, Analysis of Country Dancing, first edition

9. Wilson, 1811, Supplement to the Treasures of Terpsichore

10. Wilson, 1808, Analysis of Country Dancing, first edition

11. Wilson, 1811, Analysis of Country Dancing, third edition

12. Ackermann, 1814, The Repository of Arts

13. Ackermann, 1817, The Repository of Arts

14. The London Morning Post, Oct 10, 1823, News

15. Scott & Taylor, 1829, The London Magazine

16. True Sun, Sep 24, 1832, News

17. The Sunday Herald, Apr 21, 1833, News

18. Wilson, 1811, Supplement to the Treasures of Terpsichore

19. Ackermann, 1814, The Repository of Arts

20. Harvard, Illustrated Ticket to a Ball (WorldCat Entry)

21. Ackermann, 1817, The Repository of Arts

22. McLeod, 2012, Wilson's advert quoted in Lesley-Anne McLeod's Blog

23. Wilson, 1824, Danciad

24. 1848, Illustrated London News

25. The Morning Post, London, Jan 05, 1809 News

26. The Morning Post, London, Dec 29, 1815 News

27. The Morning Post, London, Feb 12, 1816 News

28. Wilson, 1808, Analysis of Country Dancing, first edition

29. 1811, The European Magazine, and London Review

30. Wilson, 1811, Analysis of Country Dancing, third edition

31. Wilson, 1816, The Description on the Correct Method of Waltzing

32. Wilson, 1808, Analysis of Country Dancing, first edition

33. Wilson, 1811, Supplement to the Treasures of Terpsichore

34. Wilson, 1816, The Description on the Correct Method of Waltzing

35. 1816, The New Monthly Magazine, and Universal Register

36. Nichols, 1819, The Gentleman's Magazine

37. Wilson, c.1820, The Complete System of English Country Dancing

38. Wilson, 1816, The Companion to the Ball Room

39. Wilson, 1824, The Danciad

40. 1843, Interior of the King's Theatre (then known as Her Majesty's Theatre)

41. Wilson, 1824, The Danciad

42. La Belle Assemblée, 1817 Varieties Critical, Literary, and Historical



 

 

 

 

 

 

 

 

 

 

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