An unusual quadrille : Le Quadrille de la Paix, 1859.

Are you fed up with the First Set?

Fancy something else than the Lancers?

Do you need a new quadrille to spice up your dance lessons?

Here it is, the quadrille you were dreaming of!

This quadrille commemorates a French military victory. I would even say that it tells the story of the war, battle by battle, nearly day by day.

In this article, I will tell you about the surprising Quadrille de la Paix (“Peace Quadrille”). Unusual quadrille, it draws its inspiration in contemporary events of its time.

And of course, we’ll see how it is dances, with specific instructions for that mysterious figure: la chaîne-franco-sarde (“the French-Sardinian chain”).

This article would not have been the same without the precious help of Yvonne Vart and her friends researchers in Trieste: Susanna, Sara and Marisol. Especially Susanna, that identified Reggio’s hymn.

Being a French native speaker, I write in English as good as I can. Please let me know if you sot any error. thank you!

Creation of the Quadrille de la Paix

But let’s begin by the start.

The Quadrille de la Paix is an original choreography by Henri Boizot father, on a music by Henri Boizot son.

The creators

Henri Boizot is a dance teacher; he published several dances. His son Henri is a dance teacher and an orchestra conductor. He led the ball orchestra of the Louvres in 1861.

For more information about the Boizot family, see this French article about Eaubonne city.

Both Boizot worked together to get in France the Caledonian quadrille as rival du quadrille des Lanciers (“competitor to the Lancer’s quadrille”). They also published miscellaneous galops, polkas and waltzes in the 1850s.

I mention especially two dances: Souvenir de la grande armée : grande polka militaire (“Memory of the Grande Armée: great military polka”) by Boizot son in 1857, and La Napoléonide dedicated in 1853 to sa majesté Napoléon III, Empereur des Français (“His Majesty Napoleon III, emperor of the French”). This shed light on the Boizot family’s political views.

We’ll see that these views are also discernible in the Quadrille de la Paix.

Publishing Quadrille de la Paix

What do we know about that dance?

The music sheet and the instructions of the quadrille are published a first time in 1859. A second edition is published the following year, this time with a strong marketing argument: accepté par sa Majesté l’Impératrice des Français (“accepted by her Majesty the Empress of the French”).

Still in 1860, the quadrille de la Paix stands inside the Boizot’s “Répertoire des quadrilles (…)” , pages 53 to 58. It seems to be a last-minute update, as the book includes the instructions for several quadrilles, then the waltz, then the Quadrille de la Paix set apart from the other quadrilles. This third publication is identical to the first two, besides a few orthographic corrections.

The quadrille let few traces outside those documents. But the Boizot tried to publicize it for many years.

In 1859, the newspaper Le ménestrel speaks three times about the quadrille. In August, the publication is announced. The quadrille is said to be “in fashion” in October, and in December it is said to be “highly sought-after”. But no other newspaper speak about the quadrille, so I doubt the quadrille was a success.

Two years later, Le constitutionnel on April 12th writes that Henry (sic) Boizot will play the Quadrille de la Paix during a ball organized by his father.

In the 1863 annuaire-almanach du commerce (…) both Boizot introduce themselves as Boizot père et fils, auteurs de la Mazeppa et du quadrille de la Paix, cours de danse et leçons de musique, St-Honoré, 247. So the Boizot tried very hard to push this quadrille in the ballrooms.

Quadrille de la Paix: military context

Before commenting on the choreography, let’s see how is the international European context in 1859. this is needed to understand well the references throughout the quadrille.

Quadrille de la Paix is dedicated the the French-Sardinian allies. Here is a summary of the case.

In 1859, Austria rules over a good chunk of the Italian peninsula. On the other side, a nationalist movement tries to unify the Italian-speaking territory. At its head, Victor Emmanuel II, king of Sardinia.

The French-Sardinian alliance of 1859 is a military agreement specifying the Plombières Agreement of 1858. France commits to help the kingdom of Sardinia against Austria. In exchange, France would receive Duchy of Savoy, and Nice town.

The occasion to put the alliance in action arrives quickly, as the second Italian War of Independance starts on April 26th, 1859. The war doesn’t last long. Both empires sign an armistice on July 11th. The war officially ends on November 10th or 11th with the treaty of Zürich.

The Quadrille de la Paix gets published on July 15th 1859, right after the armistice. Written to the glory of the French-Sardinian fighters, it summarizes the big steps of the conflict, as we’ll see.

The music for Quadrille de la Paix

Here are the figure names, as well as the pertaining tune :

• Le Lac Majeur, sur l’air du « Chant national sarde » ;
  • Lake Maggiore, on “National Sardinian song”
• L’Entrevue, sur l’air de « La Brabançonne » ;
  • The agreement, on “La Brabançonne“
• Le Bouquet du Quadrilatère sur l’« Hymne de Reggio » ;
  • The Quadrilaterio Bunch, on Reggio’s hymn
• Le Mincio sur « Partant pour la Syrie » ;
  • The Mincio, on “Leaving for Syria“
• La Paix, sur la « Marche nationale turque ».
  • The Peace, on National Turkish March.

The music has never been published as such. The music piece are quite easy to find on CDs, but an important editing work will be necessary to make the music dance-able.

All the musics in the quadrille are “national” hymns. Their choice is sometimes obvious, and sometimes no so obvious. For the obvious ones:

• The National Sardinian song obviously references Italy. That song is actually the base of the current Italian hymn.

• Hortense de Beauharnais, Napoleon III’s mother, is often credited for Leaving to Syria. Composed in 1807, this becomes the unofficial French hymn during Second Empire. The song is inspired by Napoleon I’s invasion of Egypt and Syria. (funnily enough, the French call that episode a military campaign and not invasion).

A Spanish song in a French-Sardinian quadrille?

“Reggio’s hymn” should be understood as Himno de Riego, composed in Spain in 1820. At the time, general Rafael del Riego organizes a pronunciamiento (a coup). He wishes to re-establish a constitutional monarchy, while King Ferdinand VII ruled as an absolute monarch. Evariste San Miguel wrote the lyrics on an older melody.

The dream of a constitutional monarchi in Spain dies in 1823, with the return of Ferdinand VII. However, the hymn became a symbol, a rallying cry for the constitutionalists, then (irony of the story) for the Republicans.

Finally, La Brabançonne and National Turkish March are the hymns for Belgium and Ottoman Empire.

Then, why would they stands in the quadrille? The link with the French-Sardinian alliance is not clear on the first sight.

A Belgian hymn in a French-Sardinian dance?

As a Belgian myself, I have a clue. Austria ruled over the region during the 18th century. In 1789, the Brabant Revolution kicks the Austrian out of the country. The United Belgian States are born. But the Austrian manage to take back the place… before being kickd out again, by the French, in 1792.

Understandably, Belgium left a bitter taste in Austria’s mouth. However, La Brabançonne dates back to the other Belgian revolution, that of 1830.

An Ottoman hymn in the Quadrille de la Paix?

And what about the Turkish March?

The Ottoman Empire is a traditional enemy of Austria. The two countries have long clashed in the Balkans. Vienna was even besieged by the Turks in 1529 and 1683. Another painful memory for Austria.

It could also be seen as a threat. In the 19th century, the Ottoman Empire, the ‘sick man of Europe’, was amputated piece by piece from its enormous territory. Greece gained its independence in 1830. France and the United Kingdom annexed Algeria, Tunisia and Egypt.

Is there any question of dismantling the Austrian Empire in the same way, starting with Italy?

As you see, the choice of music is very deliberate: cheering for France and it allies, playing on national feelings, and event threatening the ennemy.

The names of the figures trace the course of the war.

1. L’entrée en campagne. Le Lac Majeur / Starting the campaign. Lake Maggiore

The French army crossed Lake Maggiore to reach Varese and then San Fermo. Under Garibaldi’s command, they won the first battles of the war (26th and 27th May).

2. L’Entrevue / The interview

Probably the meeting of the French and Piedmontese troops in Milan. Napoleon III and Victor Emmanuel made a triumphal entry through the Arch of Peace (8 June).

3. Le Bouquet du Quadrilatère / The Quadrilaterio bunch

Following several setbacks, including the battle of Magenta (4 June), the Austrians retreated to the ‘quadrilaterio fortresses’. This was an Austrian defence system in Lombardy-Venezia. Linking four major towns in the region, it protected the Po plain.

4. Le Mincio

This did not stop the Franco-Sardinians, who rapidly continued their advance. The battles of Solferino and San Martino pushed the Austrians back beyond the Mincio, a tributary of the Po (24 June).

Boizot did not choose the Mincio by chance. The river gave its name to the Battle of the Mincio (1814), in which Eugène de Beauharnais had brilliantly repulsed the Austrian troops. Eugène was Napoleon III’s uncle.

The choreographer kills two birds with one stone by mentioning this river that brings bad luck to the Austrians.

5. La Paix

Napoleon III unilaterally proposed an armistice to Franz Joseph. It was signed on 11 July at Villafranca. Austria ceded Lombardy to France, which immediately gave it to the Kingdom of Sardinia.

In short, the choice of tunes and names of figures was anything but innocent. They exalt French patriotism and military triumph.

The title Quadrille de la Paix is all the more ironic for that.

Le quadrille de la Paix: chorégraphie

The big piece: chaîne franco-sarde

Reconstructing the choreography is quite straightforward on the first sight. The biggest issue is this new figure: the chapine franco-sarde, in the 1st, 3rd and 4th figures.

Boizot does not giveto explain this figure, which does not exist anywhere else. So we have to analyse the text carefully to find clues to this original figure.

I first interpreted the Franco-Sardinian chain as a chain of men. This idea works well for figures 1 and 3, but not so well for the fourth figure. If you try hard enough, you end up with a fourth figure with a strange, very forced progression. Like Cinderella’s sister’s foot in the glass shoe.

That’s when Yvonne Vart and her friends from Trieste (Susanna, Sara and Marisol) gave me the solution. The Cinderella I’m looking for is quite simply a right and left.

This idea is reinforced by the sequence in the 4th figure:

« Demi-promenade (4 mesures), demi chaîne Franco-sarde (4 mesures) ».

The sequence half-promenade – half right and left is very common in quadrilles, and that convinces me enough.

The Italian searchers also noted that Boizot’s Quadrille américain (as described in Répertoire des quadrilles (…), 1860, p.42) contains chaîne croisée américaine (american crossed hey). So it was customary for the Boizots to rename the figures according to the title of the dance.

Les chercheuses italiennes ont aussi noté que dans le Quadrille américain (repris dans le Répertoire des quadrilles (…) de Boizot père et fils, 1860, p.42), une autre figure est renommée « chaîne croisée américaine ». C’est donc une habitude chez les Boizot de renommer les figures selon le titre de la danse.

Abbreviations

Now that the big piece is reconstructed, let’s see the rest of the choreography. Here are the abbreviated terms:

• « Heads» for couples 1 and 2, « Sides » for couples 3 and 4.
• H = Man, D = Lady
• RH = right hand, LH = left hand
• I count in bars of 2 beats, namely 2 walking steps = 1 bar

Figure 1 : le Lac Majeur – Quadrille de la Paix

 (24 bars, 4 times)

1-4         Heads exchange place with the couple on their Right. Doing so, the Ladies cross in front of their parners, switching places with him.

5-8         Idem 1-4. Everyone sits in front of their starting place.

9-16       Ladies hands across RH (8 steps) than LH (8 steps), going back to their partners (H light nod)

17-20    ½ chaîne franco-sarde : Heads 1/2 roght and left on their L

21-24    Idem 17-20 : Everyone is back to their starting place

Repeat three more times, with Sides, Heads then Sides leading.

Remark :

• “Ladies switching places with their partners” is hard withou help from the Man. He must lead his partner and go backwards, so that she can swiftly pass in front of him. Think about it, especially if you dance in period attire (crinoline).

Figure 2 : l’Entrevue

(24 bars, 4 times)

1-4                        Couple 1 et D4 go forward and backward

5-6                        The same go forward

7-8                        D1/4 switch places, crossing with R shoulder

H1 go backward to his starting place [D1/4 are in centre, facing him]

9-12                     « Chassez-croisé à 3 » : Ladies chassez-croisé together, H1 chassez-croisé alone

13-16                   Cross: D1/4 go to the line of couple 1, H1 goes to the centre

Ladies switch places, crossing R shoulder (they finish facing each other)

17-20                   All three go forward and backward

21-24                  All three circle to L, D4 goes under the arms of couple 1 (arch) back to her place

Repeat three more times, H2, H3 then H4 leading.

Remarks :

• “Going forward” in straight and not diagonally.
• Bars 13-16 are packed: the Man must move swiftly to let time for the Ladies to cross. Still that crinoline issue 🙂
• Bar 17-20, each dancer goes forward and backward alone. Ladies go to the centre and back, while H go forward between the Ladies and back.
• During the final circle, the leading couple must switch hand when getting back to place.

Figure 3 : Le bouquet du Quadrilatère – Quadrille de la Paix

(32 bars, 4 times)

1-4         Heads cross (H go in the middle) and switch places. Finish facing partner

5-8         Idem Sides

9-12       All in couple, balancé

13-16    All 1 1/4 LH turn, Ladies then roll on themselves and out their RH in the centre. They give LH to partner, and have hands crossed in front of them.

17-24    In this position, All a full turn anticlockwise

25-28    Head ½ chaîne franco-sarde to the left

29-32    Idem 25-28, still with the couple on the left

Repeat three more times, with Sides, Heads then Sides leading.

Remarks :

• Balancé is a step that varies wildly during 19th century. In this quadrille I advise you to do 4 slides to the R and 4 to the L. It is the most common in the other sources, as it is not said “balancée on the spot”.
• At the end of the LH-turn, ladies roll in to their L (their L arm is crossed in front of them) and then extend the R arm to the left to form a moulinet. The Ladies are thus facing anticlockwise, holding the other ladies with Rh and their partners with LH.

Illustration :

That matches the instructions, but I still need to check that is is feasible with a crinoline.

Figure 4 : Le Mincio

(32 bars, 4 times)

1-8         H1/D2 cross over with RH, go back to places with LH

9-12       Head Ladies go in front of the couple on their L

13-16    D1/Cple3 & D2/Cple4 cirlce to L. Head Ladies back to places

17-20    Balancés with corner

21-22    2-hands turn with corner

23-24    2-hands turn with partner

25-28    Heads ½ promenade

29-32    Heads ½ chaîne franco-sarde

Repeat 3 more times (H2, 3 then 4 leading).

Figure 5 : La paix – Quadrille de la Paix

(40 bars, 4 times)

1-4         Partners switch places (L in front) and 1/2 LH-turn with the following dancer

5-8         Same as 1-4 to get back to places (1/2 RH-turn with partner)

9-12       All go forward and back

13-16    All Chassez-croisez (aller et retour)

17-20    All Balancez

21-24    All RH-turn partner

25-32    H RH across, holding their partners LH. A full turn in that position

Repeat three more time + 1 time for a final galop général.

Remark

• Bars 9-12: holding RH-RH with partner

I guess Boizot had really given his all in the first four figures. Because there’s something wrong with the fifth.

After the right hand turn to the partner, you would instinctively give the left hand to the centre to form the moulinet. But no! Boizot clearly states: ‘right hand turn with their Ladies (4 bars) and the Man come and give their RIGHT hand to each other forming a cross and their LEFT hand to their Ladies’.

So, at the end of the right hand turn, the Man make a quick ½ turn on themselves, towards their right. During this turn they change hands, giving the left hand to their partner. And they form a right hand moulinet in the centre.

Note also that in this figure, there is no movement specific to one dancer. So the four repeats are exactly the same as the first. This is not so common in a quadrille.

Conclusion: le Quadrille de la Paix, a success?

Quadrille de la Paix is an unusual quadrille, that will pleasantly break the routine of the First Set and the Lancers.

From an historical point of view, it is fascinating. All the names, all the melodies illustrating Napoleon III’s politics in Italy in 1859.

And maybe it’s why the quadrille had no success. Indeed, it must not have been comfortable to dance in the Imperial balls, with ambassadors and representative of foreign nations. The is also doubtful that the topics interessed the countryside bourgeoisie.

Or maybe, the Quadrille de la Paix was a failure because its construction is simply wonky.

Will you dance it anyways? Tell me more! And if you are looking for more historical dance instructions, read the free ebook of Histoire de bal!