{"id":1965,"date":"2024-12-30T18:04:57","date_gmt":"2024-12-30T17:04:57","guid":{"rendered":"https:\/\/www.histoiredebal.com\/?p=1965"},"modified":"2025-02-16T13:39:49","modified_gmt":"2025-02-16T12:39:49","slug":"un-quadrille-original-le-quadrille-de-la-paix-1859","status":"publish","type":"post","link":"https:\/\/www.histoiredebal.com\/en\/2024\/12\/30\/un-quadrille-original-le-quadrille-de-la-paix-1859\/","title":{"rendered":"An unusual quadrille : Le Quadrille de la Paix, 1859."},"content":{"rendered":"\n<p>Are you fed up with the <em>First Set<\/em>?<\/p>\n\n\n\n<p>Fancy something else than the <em>Lancers<\/em>?<\/p>\n\n\n\n<p>Do you need a new quadrille to spice up your dance lessons?<\/p>\n\n\n\n<p>Here it is, the quadrille you were dreaming of!<\/p>\n\n\n\n<p>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.<\/p>\n\n\n\n<p>In this article, I will tell you about the surprising <em>Quadrille de la Paix<\/em> (&#8220;Peace Quadrille&#8221;). Unusual quadrille, it draws its inspiration in contemporary events of its time.<\/p>\n\n\n\n<p>And of course, we&#8217;ll see how it is dances, with specific instructions for that mysterious figure: <em>la cha\u00eene-franco-sarde<\/em> (&#8220;the French-Sardinian chain&#8221;).<\/p>\n\n\n\n<p><em>This article would not have been the same without the precious help of <a href=\"https:\/\/www.histoiredebal.com\/2021\/02\/16\/yvonne-vart-quand-recherche-rime-avec-plaisir\/\">Yvonne Vart<\/a> and her friends researchers in Trieste: Susanna, Sara and Marisol. Especially Susanna, that identified Reggio&#8217;s hymn.<\/em><\/p>\n\n\n\n<p><em>Being a French native speaker, I write in English as good as I can. Please let me know if you spot any error. thank you!<\/em><\/p>\n\n\n\n<h2 class=\"wp-block-heading\">Creation of the Quadrille de la Paix<\/h2>\n\n\n\n<p>But let&#8217;s begin by the start.<\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"655\" height=\"656\" src=\"https:\/\/www.histoiredebal.com\/wp-content\/uploads\/2020\/06\/QuadrilleDeLaPaix1860.png\" alt=\"music sheet cover for quadrille de la paix, 1860 french sardinian allies\" class=\"wp-image-205\" srcset=\"https:\/\/www.histoiredebal.com\/wp-content\/uploads\/2020\/06\/QuadrilleDeLaPaix1860.png 655w, https:\/\/www.histoiredebal.com\/wp-content\/uploads\/2020\/06\/QuadrilleDeLaPaix1860-300x300.png 300w, https:\/\/www.histoiredebal.com\/wp-content\/uploads\/2020\/06\/QuadrilleDeLaPaix1860-150x150.png 150w\" sizes=\"auto, (max-width: 655px) 100vw, 655px\" \/><figcaption class=\"wp-element-caption\">Boizot father (choreography), Henri Boizot (music),<em> Quadrille de la paix (&#8230;)<\/em>, Boizot, Paris, 1860.<\/figcaption><\/figure>\n<\/div>\n\n\n<p>The <em>Quadrille de la Paix<\/em> is an original choreography by Henri Boizot father, on a music by Henri Boizot son.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">The creators<\/h3>\n\n\n\n<p>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.<\/p>\n\n\n\n<p>For more information about the Boizot family, see this French article about <a href=\"http:\/\/chroniques.eaubonne.free.fr\/henri-boizot-faisait-danser-toute-eaubonne.html\" target=\"_blank\" rel=\"noreferrer noopener\">Eaubonne <\/a>city.<\/p>\n\n\n\n<p>Both Boizot worked together to get in France the Caledonian quadrille as <em>rival du quadrille des Lanciers<\/em> (&#8220;competitor to the Lancer&#8217;s quadrille&#8221;). They also published miscellaneous galops, polkas and waltzes in the 1850s.<\/p>\n\n\n\n<p>I mention especially two dances: <em>Souvenir de la grande arm\u00e9e&nbsp;: grande polka militaire<\/em> (&#8220;Memory of the <a href=\"https:\/\/en.wikipedia.org\/wiki\/Grande_Arm%C3%A9e\" target=\"_blank\" rel=\"noreferrer noopener\">Grande Arm\u00e9e<\/a>:  great military polka&#8221;) by Boizot son in 1857, and <em>La Napol\u00e9onide<\/em> dedicated in 1853 to <em>sa majest\u00e9 Napol\u00e9on III, Empereur des Fran\u00e7ais<\/em> (&#8220;His Majesty Napoleon III, emperor of the French&#8221;). This shed light on the Boizot family&#8217;s political views.<\/p>\n\n\n\n<p>We&#8217;ll see that these views are also discernible in the <em>Quadrille de la Paix<\/em>.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Publishing Quadrille de la Paix<\/h3>\n\n\n\n<p>What do we know about that dance?<\/p>\n\n\n\n<p>The music sheet and the instructions of the <a href=\"https:\/\/gallica.bnf.fr\/ark:\/12148\/btv1b90760782.r=quadrille%20de%20la%20paix?rk=21459;2\">quadrille<\/a> are published a first time in 1859. A <a href=\"https:\/\/gallica.bnf.fr\/ark:\/12148\/btv1b9076081j\/f1.image\">second edition<\/a> is published the following year, this time with a strong marketing argument: <em>accept\u00e9 par sa Majest\u00e9 l\u2019Imp\u00e9ratrice des Fran\u00e7ais<\/em> (&#8220;accepted by her Majesty the Empress of the French&#8221;).<\/p>\n\n\n\n<p>Still in 1860, the quadrille de la Paix stands inside the Boizot&#8217;s &#8220;<em>R\u00e9pertoire des quadrilles (&#8230;)<\/em>&#8221; , 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 <em>Quadrille de la Paix <\/em>set apart from the other quadrilles. This third publication is identical to the first two, besides a few orthographic corrections.<\/p>\n\n\n\n<p>The quadrille let few traces outside those documents. But the Boizot tried to publicize it for many years.<\/p>\n\n\n\n<p>In 1859, the newspaper <em>Le m\u00e9nestrel<\/em> speaks three times about the quadrille. In August, the publication is announced. The quadrille is said to be &#8220;in fashion&#8221; in October, and in December it is said to be &#8220;highly sought-after&#8221;. But no other newspaper speak about the quadrille, so I doubt the quadrille was a success.<\/p>\n\n\n\n<p>Two years later, <em>Le constitutionnel<\/em> on April 12th writes that Henry (sic) Boizot will play the Quadrille de la Paix during a ball organized by his father.<\/p>\n\n\n\n<p>In the 1863 <a href=\"https:\/\/gallica.bnf.fr\/ark:\/12148\/bpt6k63243905\">annuaire-almanach du commerce<\/a> (\u2026) both Boizot introduce themselves as&nbsp;<em>Boizot p\u00e8re et fils, auteurs de la Mazeppa et du quadrille de la Paix, cours de danse et le\u00e7ons de musique, St-Honor\u00e9, 247<\/em>. So the Boizot tried very hard to push this quadrille in the ballrooms.<\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"425\" height=\"600\" src=\"https:\/\/www.histoiredebal.com\/wp-content\/uploads\/2020\/06\/Imperatrice_Eug\u00e9nie_-_FX-Winterhalter_detail-1853.jpg\" alt=\"Empress Eugenie sponsor patron of the dance quadrille de la paix\" class=\"wp-image-207\" style=\"width:425px;height:600px\" srcset=\"https:\/\/www.histoiredebal.com\/wp-content\/uploads\/2020\/06\/Imperatrice_Eug\u00e9nie_-_FX-Winterhalter_detail-1853.jpg 425w, https:\/\/www.histoiredebal.com\/wp-content\/uploads\/2020\/06\/Imperatrice_Eug\u00e9nie_-_FX-Winterhalter_detail-1853-213x300.jpg 213w\" sizes=\"auto, (max-width: 425px) 100vw, 425px\" \/><figcaption class=\"wp-element-caption\">Franz Xaver Winterhalter, <em>Portrait de Eug\u00e9nie de Montijo<\/em>, 1853.<br>The empress supports the Quadrille de la Paix.<\/figcaption><\/figure>\n<\/div>\n\n\n<h2 class=\"wp-block-heading\">Quadrille de la Paix: military context<\/h2>\n\n\n\n<p>Before commenting on the choreography, let&#8217;s see how is the international European context in 1859. this is needed to understand well the references throughout the quadrille.<\/p>\n\n\n\n<p><em>Quadrille de la Paix<\/em> is dedicated the the French-Sardinian allies. Here is a summary of the case.<\/p>\n\n\n\n<p>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.<\/p>\n\n\n\n<p>The French-Sardinian alliance of 1859 is a military agreement specifying the Plombi\u00e8res Agreement of 1858. France commits to help the kingdom of Sardinia against Austria. In exchange, France would receive Duchy of Savoy, and Nice town.<\/p>\n\n\n\n<p>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&#8217;t last long. Both empires sign an armistice on July 11th. The war officially ends on November 10th or 11th with the treaty of Z\u00fcrich.<\/p>\n\n\n\n<p>The <em>Quadrille de la Paix<\/em> 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&#8217;ll see.<\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"800\" height=\"960\" src=\"https:\/\/www.histoiredebal.com\/wp-content\/uploads\/2020\/06\/800px-Italia_1843-fr.svg_.png\" alt=\"Italy 1859. 2e Italian independance war. Inspiration du Quadrille de la Paix\" class=\"wp-image-208\" style=\"width:484px;height:581px\" srcset=\"https:\/\/www.histoiredebal.com\/wp-content\/uploads\/2020\/06\/800px-Italia_1843-fr.svg_.png 800w, https:\/\/www.histoiredebal.com\/wp-content\/uploads\/2020\/06\/800px-Italia_1843-fr.svg_-250x300.png 250w, https:\/\/www.histoiredebal.com\/wp-content\/uploads\/2020\/06\/800px-Italia_1843-fr.svg_-768x922.png 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\" \/><figcaption class=\"wp-element-caption\">Italy in 1859. <a href=\"https:\/\/fr.wikipedia.org\/wiki\/Campagne_d%27Italie_(1859)#\/media\/Fichier:Italia_1843-fr.svg\" target=\"_blank\" rel=\"noreferrer noopener\">Source<\/a>.<\/figcaption><\/figure>\n<\/div>\n\n\n<h2 class=\"wp-block-heading\">The music for Quadrille de la Paix<\/h2>\n\n\n\n<p>Here are the figure names, as well as the pertaining tune :<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Le Lac Majeur, sur l\u2019air du \u00ab&nbsp;Chant national sarde&nbsp;\u00bb&nbsp;;\n<ul class=\"wp-block-list\">\n<li>Lake Maggiore, on &#8220;National Sardinian song&#8221;<\/li>\n<\/ul>\n<\/li>\n\n\n\n<li>L\u2019Entrevue, sur l\u2019air de \u00ab&nbsp;La Braban\u00e7onne&nbsp;\u00bb&nbsp;;\n<ul class=\"wp-block-list\">\n<li>The agreement, on &#8220;La <em><a href=\"https:\/\/en.wikipedia.org\/wiki\/La_Braban%C3%A7onne\" target=\"_blank\" rel=\"noreferrer noopener\">Braban\u00e7onne<\/a><\/em>&#8220;<\/li>\n<\/ul>\n<\/li>\n\n\n\n<li>Le Bouquet du Quadrilat\u00e8re sur l\u2019\u00ab&nbsp;Hymne de Reggio&nbsp;\u00bb&nbsp;;\n<ul class=\"wp-block-list\">\n<li>The Quadrilaterio Bunch, on Reggio&#8217;s hymn<\/li>\n<\/ul>\n<\/li>\n\n\n\n<li>Le Mincio sur \u00ab&nbsp;Partant pour la Syrie&nbsp;\u00bb&nbsp;;\n<ul class=\"wp-block-list\">\n<li>The Mincio, on &#8220;<a href=\"https:\/\/en.wikipedia.org\/wiki\/Partant_pour_la_Syrie\" target=\"_blank\" rel=\"noreferrer noopener\">Leaving for Syria<\/a>&#8220;<\/li>\n<\/ul>\n<\/li>\n\n\n\n<li>La Paix, sur la \u00ab&nbsp;Marche nationale turque&nbsp;\u00bb.\n<ul class=\"wp-block-list\">\n<li>The Peace, on National Turkish March.<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n\n\n\n<p><em>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.<\/em><\/p>\n\n\n\n<p>All the musics in the quadrille are &#8220;national&#8221; hymns. Their choice is sometimes obvious, and sometimes no so obvious. For the obvious ones:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>The <em>National Sardinian song<\/em> obviously references Italy. That song is actually the base of the current Italian hymn.<\/li>\n<\/ul>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Hortense de Beauharnais, Napoleon III&#8217;s mother, is often credited for <em>Leaving to Syria<\/em>. Composed in 1807, this becomes the unofficial French hymn during Second Empire. The song is inspired by Napoleon I&#8217;s invasion of Egypt and Syria. (funnily enough, the French call that episode a military campaign and not invasion).<\/li>\n<\/ul>\n\n\n\n<h3 class=\"wp-block-heading\">A Spanish song in a French-Sardinian quadrille?<\/h3>\n\n\n\n<p>&#8220;Reggio&#8217;s hymn&#8221; should be understood as <em>Himno de Riego<\/em>, composed in Spain in 1820. At the time, general Rafael del Riego organizes a <em>pronunciamiento <\/em>(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.<\/p>\n\n\n\n<p>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.<\/p>\n\n\n\n<p>Finally, <em>La Braban\u00e7onne<\/em> and National Turkish March are the hymns for Belgium and Ottoman Empire.<\/p>\n\n\n\n<p>Then, why would they stands in the quadrille? The link with the French-Sardinian alliance is not clear on the first sight.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">A Belgian hymn in a French-Sardinian dance?<\/h3>\n\n\n\n<p>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&#8230; before being kickd out again, by the French, in 1792.<\/p>\n\n\n\n<p>Understandably, Belgium left a bitter taste in Austria&#8217;s mouth. However, <em>La Braban\u00e7onne <\/em>dates back to the other Belgian revolution, that of 1830.<\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"400\" height=\"508\" src=\"https:\/\/www.histoiredebal.com\/wp-content\/uploads\/2020\/06\/Brabanconne1855.jpg\" alt=\"Braban\u00e7onne, music sheet for Belgian national hymn 1855\" class=\"wp-image-209\" srcset=\"https:\/\/www.histoiredebal.com\/wp-content\/uploads\/2020\/06\/Brabanconne1855.jpg 400w, https:\/\/www.histoiredebal.com\/wp-content\/uploads\/2020\/06\/Brabanconne1855-236x300.jpg 236w\" sizes=\"auto, (max-width: 400px) 100vw, 400px\" \/><figcaption class=\"wp-element-caption\"><a href=\"https:\/\/www.antiqbook.com\/books\/bookinfo.phtml?nr=1459905449&amp;l=nl&amp;seller=\" target=\"_blank\" rel=\"noreferrer noopener\">La Braban\u00e7onne<\/a>, music sheet c. 1855.<\/figcaption><\/figure>\n<\/div>\n\n\n<h3 class=\"wp-block-heading\">An Ottoman hymn in the Quadrille de la Paix? <\/h3>\n\n\n\n<p>And what about the Turkish March?<\/p>\n\n\n\n<p>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.<\/p>\n\n\n\n<p>It could also be seen as a threat. In the 19th century, the Ottoman Empire, the \u2018sick man of Europe\u2019, 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.<\/p>\n\n\n\n<p>Is there any question of dismantling the Austrian Empire in the same way, starting with Italy?<\/p>\n\n\n\n<p>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.<\/p>\n\n\n\n<p>The names of the figures trace the course of the war.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">1. L&#8217;entr\u00e9e en campagne. Le Lac Majeur \/ Starting the campaign. Lake Maggiore<\/h3>\n\n\n\n<p>The French army crossed Lake Maggiore to reach Varese and then San Fermo. Under Garibaldi&#8217;s command, they won the first battles of the war (26th and 27th May).<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">2. L\u2019Entrevue \/ The interview<\/h3>\n\n\n\n<p>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).<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">3. Le Bouquet du Quadrilat\u00e8re \/ The Quadrilaterio bunch<\/h3>\n\n\n\n<p>Following several setbacks, including the battle of Magenta (4 June), the Austrians retreated to the \u2018quadrilaterio fortresses\u2019. This was an Austrian defence system in Lombardy-Venezia. Linking four major towns in the region, it protected the Po plain.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">4. Le Mincio<\/h3>\n\n\n\n<p>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).<\/p>\n\n\n\n<p>Boizot did not choose the Mincio by chance. The river gave its name to the Battle of the Mincio (1814), in which Eug\u00e8ne de Beauharnais had brilliantly repulsed the Austrian troops. Eug\u00e8ne was Napoleon III&#8217;s uncle.<\/p>\n\n\n\n<p>The choreographer kills two birds with one stone by mentioning this river that brings bad luck to the Austrians.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">5. La Paix<\/h3>\n\n\n\n<p>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.<\/p>\n\n\n\n<p>In short, the choice of tunes and names of figures was anything but innocent. They exalt French patriotism and military triumph.<\/p>\n\n\n\n<p>The title <em>Quadrille de la Paix<\/em> is all the more ironic for that.<\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"599\" src=\"https:\/\/www.histoiredebal.com\/wp-content\/uploads\/2020\/06\/1863-Napol\u00e9on_III_\u00e0_la_bataille_de_Solf\u00e9rino.-1024x599.jpg\" alt=\"Napol\u00e9on in Solf\u00e9rino, Italian independance in 19th century dancing\" class=\"wp-image-210\" style=\"width:758px;height:443px\" srcset=\"https:\/\/www.histoiredebal.com\/wp-content\/uploads\/2020\/06\/1863-Napol\u00e9on_III_\u00e0_la_bataille_de_Solf\u00e9rino.-1024x599.jpg 1024w, https:\/\/www.histoiredebal.com\/wp-content\/uploads\/2020\/06\/1863-Napol\u00e9on_III_\u00e0_la_bataille_de_Solf\u00e9rino.-300x176.jpg 300w, https:\/\/www.histoiredebal.com\/wp-content\/uploads\/2020\/06\/1863-Napol\u00e9on_III_\u00e0_la_bataille_de_Solf\u00e9rino.-768x449.jpg 768w, https:\/\/www.histoiredebal.com\/wp-content\/uploads\/2020\/06\/1863-Napol\u00e9on_III_\u00e0_la_bataille_de_Solf\u00e9rino..jpg 1200w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\">Jean-Louis-Ernest Meissonier,<a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Napol%C3%A9on_III_%C3%A0_la_bataille_de_Solf%C3%A9rino..jpg\" target=\"_blank\" rel=\"noreferrer noopener\"> <em>Napol\u00e9on III \u00e0 la bataille de Solf\u00e9rino<\/em>,<\/a> 1863.<\/figcaption><\/figure>\n<\/div>\n\n\n<h2 class=\"wp-block-heading\">Le quadrille de la Paix: chor\u00e9graphie<\/h2>\n\n\n\n<h3 class=\"wp-block-heading\">The big piece: cha\u00eene franco-sarde<\/h3>\n\n\n\n<p>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.<\/p>\n\n\n\n<p>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.<\/p>\n\n\n\n<p>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&#8217;s sister&#8217;s foot in the glass shoe.<\/p>\n\n\n\n<p>That&#8217;s when Yvonne Vart and her friends from Trieste (Susanna, Sara and Marisol) gave me the solution. The Cinderella I&#8217;m looking for is quite simply a <em>right and left<\/em>.<\/p>\n\n\n\n<p>This idea is reinforced by the sequence in the 4th figure:<\/p>\n\n\n\n<p>\u00ab&nbsp;<em>Demi-promenade (4 mesures), demi cha\u00eene Franco-sarde (4 mesures)<\/em>&nbsp;\u00bb.<\/p>\n\n\n\n<p>The sequence half-promenade &#8211; half right and left is very common in quadrilles, and that convinces me enough.<\/p>\n\n\n\n<p>The Italian searchers also noted that Boizot&#8217;s <em>Quadrille am\u00e9ricain<\/em> (as described in <em>R\u00e9pertoire des quadrilles (\u2026)<\/em>, 1860, p.42) contains <em>cha\u00eene crois\u00e9e am\u00e9ricaine<\/em> (american crossed hey). So it was customary for the Boizots to rename the figures according to the title of the dance.<\/p>\n\n\n\n<p>Les chercheuses italiennes ont aussi not\u00e9 que dans le Quadrille am\u00e9ricain (repris dans le <em>R\u00e9pertoire des quadrilles (\u2026)<\/em> de Boizot p\u00e8re et fils, 1860, p.42), une autre figure est renomm\u00e9e \u00ab&nbsp;cha\u00eene crois\u00e9e am\u00e9ricaine&nbsp;\u00bb. C\u2019est donc une habitude chez les Boizot de renommer les figures selon le titre de la danse.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Abbreviations<\/h3>\n\n\n\n<p>Now that the big piece is reconstructed, let&#8217;s see the rest of the choreography. Here are the abbreviated terms: <\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>\u00ab&nbsp;Heads\u00bb for couples 1 and 2, \u00ab&nbsp;Sides&nbsp;\u00bb for couples 3 and 4.<\/li>\n\n\n\n<li>H = Man, D = Lady<\/li>\n\n\n\n<li>RH = right hand, LH = left hand<\/li>\n\n\n\n<li>I count in bars of 2 beats, namely 2 walking steps = 1 bar<\/li>\n<\/ul>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"760\" height=\"502\" src=\"https:\/\/www.histoiredebal.com\/wp-content\/uploads\/2020\/06\/NapIII-BalAuTuileries_1873.jpg\" alt=\"Imperail quadrille de la paix ballroom 1859 political dancing\" class=\"wp-image-212\" srcset=\"https:\/\/www.histoiredebal.com\/wp-content\/uploads\/2020\/06\/NapIII-BalAuTuileries_1873.jpg 760w, https:\/\/www.histoiredebal.com\/wp-content\/uploads\/2020\/06\/NapIII-BalAuTuileries_1873-300x198.jpg 300w\" sizes=\"auto, (max-width: 760px) 100vw, 760px\" \/><figcaption class=\"wp-element-caption\"><a href=\"https:\/\/wellcomecollection.org\/works\/p5c6yyrt\">Quadrille imp\u00e9rial dans la salle des mar\u00e9chaux, au palais des Tuileries<\/a>. Le monde illustr\u00e9. Gus. Janet. C. Maurand.<\/figcaption><\/figure>\n<\/div>\n\n\n<h3 class=\"wp-block-heading\">Figure 1&nbsp;: le Lac Majeur &#8211; Quadrille de la Paix<\/h3>\n\n\n\n<p>&nbsp;(24 bars, 4 times)<\/p>\n\n\n\n<p>1-4&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Heads exchange place with the couple on their Right. Doing so, the Ladies cross in front of their parners, switching places with him.<\/p>\n\n\n\n<p>5-8&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Idem 1-4. Everyone sits in front of their starting place.<\/p>\n\n\n\n<p>9-16&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Ladies hands across RH (8 steps) than LH (8 steps), going back to their partners (H light nod)<\/p>\n\n\n\n<p>17-20&nbsp;&nbsp;&nbsp; \u00bd cha\u00eene franco-sarde&nbsp;: Heads 1\/2 roght and left on their L<\/p>\n\n\n\n<p>21-24&nbsp;&nbsp;&nbsp; Idem 17-20&nbsp;: Everyone is back to their starting place<\/p>\n\n\n\n<p>Repeat three more times, with Sides, Heads then Sides leading.<\/p>\n\n\n\n<h4 class=\"wp-block-heading\">Remark&nbsp;:<\/h4>\n\n\n\n<ul class=\"wp-block-list\">\n<li>&#8220;Ladies switching places with their partners&#8221; 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 (<a href=\"https:\/\/histoire-image.org\/fr\/etudes\/crinoline-tous-ses-etats\">crinoline<\/a>).<\/li>\n<\/ul>\n\n\n\n<h3 class=\"wp-block-heading\">Figure 2&nbsp;: l\u2019Entrevue<\/h3>\n\n\n\n<p>(24 bars, 4 times)<\/p>\n\n\n\n<p>1-4&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Couple 1 et D4 go forward and backward<\/p>\n\n\n\n<p>5-6&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; The same go forward<\/p>\n\n\n\n<p>7-8&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; D1\/4 switch places, crossing with R shoulder<\/p>\n\n\n\n<p>                             H1 go backward to his starting place [D1\/4 are in centre, facing him]<\/p>\n\n\n\n<p>9-12&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; \u00ab Chassez-crois\u00e9 \u00e0 3 \u00bb : Ladies chassez-crois\u00e9 together, H1 chassez-crois\u00e9 alone<\/p>\n\n\n\n<p>13-16&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Cross: D1\/4 go to the line of couple 1, H1 goes to the centre <\/p>\n\n\n\n<p>                            Ladies switch places, crossing R shoulder (they finish facing each other)<\/p>\n\n\n\n<p>17-20&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; All three go forward and backward<\/p>\n\n\n\n<p>21-24&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;All three circle to L, D4 goes under the arms of couple 1 (arch) back to her place<\/p>\n\n\n\n<p>Repeat three more times, H2, H3 then H4 leading.<\/p>\n\n\n\n<h4 class=\"wp-block-heading\">Remarks&nbsp;:<\/h4>\n\n\n\n<ul class=\"wp-block-list\">\n<li>&#8220;Going forward&#8221; in straight and not diagonally.<\/li>\n\n\n\n<li>Bars 13-16 are packed: the Man must move swiftly to let time for the Ladies to cross. Still that crinoline issue \ud83d\ude42<\/li>\n\n\n\n<li>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.<\/li>\n\n\n\n<li>During the final circle, the leading couple must switch hand when getting back to place.<\/li>\n<\/ul>\n\n\n\n<h3 class=\"wp-block-heading\">Figure 3 : Le bouquet du Quadrilat\u00e8re &#8211; Quadrille de la Paix<\/h3>\n\n\n\n<p>(32 bars, 4 times)<\/p>\n\n\n\n<p>1-4&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Heads cross (H go in the middle) and switch places. Finish facing partner<\/p>\n\n\n\n<p>5-8&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Idem Sides<\/p>\n\n\n\n<p>9-12&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; All in couple, balanc\u00e9<\/p>\n\n\n\n<p>13-16&nbsp;&nbsp;&nbsp; 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.<\/p>\n\n\n\n<p>17-24&nbsp;&nbsp;&nbsp; In this position, All a full turn anticlockwise<\/p>\n\n\n\n<p>25-28&nbsp;&nbsp;&nbsp; Head \u00bd cha\u00eene franco-sarde to the left<\/p>\n\n\n\n<p>29-32&nbsp;&nbsp;&nbsp; Idem 25-28, still with the couple on the left<\/p>\n\n\n\n<p>Repeat three more times, with Sides, Heads then Sides leading.<\/p>\n\n\n\n<h4 class=\"wp-block-heading\">Remarks&nbsp;:<\/h4>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Balanc\u00e9 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 &#8220;balanc\u00e9e on the spot&#8221;.<\/li>\n\n\n\n<li>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 <em>moulinet<\/em>. The Ladies are thus facing anticlockwise, holding the other ladies with Rh and their partners with LH.<\/li>\n<\/ul>\n\n\n\n<p>Illustration&nbsp;:<\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"387\" height=\"380\" src=\"https:\/\/www.histoiredebal.com\/wp-content\/uploads\/2020\/06\/QuPaixSch\u00e9ma.png\" alt=\"third figure of Quadrille de la Paix. 1859, mid 19th century\" class=\"wp-image-214\" srcset=\"https:\/\/www.histoiredebal.com\/wp-content\/uploads\/2020\/06\/QuPaixSch\u00e9ma.png 387w, https:\/\/www.histoiredebal.com\/wp-content\/uploads\/2020\/06\/QuPaixSch\u00e9ma-300x295.png 300w\" sizes=\"auto, (max-width: 387px) 100vw, 387px\" \/><figcaption class=\"wp-element-caption\">Sch\u00e9ma for figure 3 in <em>Quadrille de la Paix<\/em>.<\/figcaption><\/figure>\n<\/div>\n\n\n<p>That matches the instructions, but I still need to check that is is feasible with a crinoline.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Figure 4 : Le Mincio<\/h3>\n\n\n\n<p>(32 bars, 4 times)<\/p>\n\n\n\n<p>1-8&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; H1\/D2 cross over with RH, go back to places with LH<\/p>\n\n\n\n<p>9-12&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Head Ladies go in front of the couple on their L<\/p>\n\n\n\n<p>13-16&nbsp;&nbsp;&nbsp; D1\/Cple3 &amp; D2\/Cple4 cirlce to L. Head Ladies back to places<\/p>\n\n\n\n<p>17-20&nbsp;&nbsp;&nbsp; Balanc\u00e9s with corner<\/p>\n\n\n\n<p>21-22&nbsp;&nbsp;&nbsp; 2-hands turn with corner<\/p>\n\n\n\n<p>23-24&nbsp;&nbsp;&nbsp; 2-hands turn with partner<\/p>\n\n\n\n<p>25-28&nbsp;&nbsp;&nbsp; Heads \u00bd promenade<\/p>\n\n\n\n<p>29-32&nbsp;&nbsp;&nbsp; Heads \u00bd cha\u00eene franco-sarde<\/p>\n\n\n\n<p>Repeat 3 more times (H2, 3 then 4 leading).<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Figure 5 : La paix&nbsp;&#8211; Quadrille de la Paix<\/h3>\n\n\n\n<p>(40 bars, 4 times)<\/p>\n\n\n\n<p>1-4&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Partners switch places (L in front) and 1\/2 LH-turn with the following dancer<\/p>\n\n\n\n<p>5-8&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Same as 1-4 to get back to places (1\/2 RH-turn with partner)<\/p>\n\n\n\n<p>9-12&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; All go forward and back<\/p>\n\n\n\n<p>13-16&nbsp;&nbsp;&nbsp; All Chassez-croisez (aller et retour)<\/p>\n\n\n\n<p>17-20&nbsp;&nbsp;&nbsp; All Balancez<\/p>\n\n\n\n<p>21-24&nbsp;&nbsp;&nbsp; All RH-turn partner<\/p>\n\n\n\n<p>25-32&nbsp;&nbsp;&nbsp; H RH across, holding their partners LH. A full turn in that position<\/p>\n\n\n\n<p>Repeat three more time + 1 time for a final <em>galop g\u00e9n\u00e9ral<\/em>.<\/p>\n\n\n\n<p><strong>Remark<\/strong><\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Bars 9-12: holding RH-RH with partner<\/li>\n<\/ul>\n\n\n\n<p>I guess Boizot had really given his all in the first four figures. Because there&#8217;s something wrong with the fifth.<\/p>\n\n\n\n<p>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: \u2018right 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&#8217;.<\/p>\n\n\n\n<p>So, at the end of the right hand turn, the Man make a quick \u00bd 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.<\/p>\n\n\n\n<p>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.<\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"420\" height=\"500\" src=\"https:\/\/www.histoiredebal.com\/wp-content\/uploads\/2020\/06\/1867-BalAuxTuileries-JBCarpeaux.jpg\" alt=\"mid 19th century ball Napoleon III dance quadrille de la paix\" class=\"wp-image-216\" srcset=\"https:\/\/www.histoiredebal.com\/wp-content\/uploads\/2020\/06\/1867-BalAuxTuileries-JBCarpeaux.jpg 420w, https:\/\/www.histoiredebal.com\/wp-content\/uploads\/2020\/06\/1867-BalAuxTuileries-JBCarpeaux-252x300.jpg 252w\" sizes=\"auto, (max-width: 420px) 100vw, 420px\" \/><figcaption class=\"wp-element-caption\">Jean-Baptiste Carpeaux, <a href=\"https:\/\/www.napoleon.org\/histoire-des-2-empires\/tableaux\/bal-costume-au-palais-des-tuileries\/\" target=\"_blank\" rel=\"noreferrer noopener\">Bal aux Tuileries<\/a>, 1867.<\/figcaption><\/figure>\n<\/div>\n\n\n<h2 class=\"wp-block-heading\">Conclusion: le Quadrille de la Paix, a success?<\/h2>\n\n\n\n<p>Quadrille de la Paix is an unusual quadrille, that will pleasantly break the routine of the <em>First Set <\/em>and the <em>Lancers<\/em>.<\/p>\n\n\n\n<p>From an historical point of view, it is fascinating. All the names, all the melodies illustrating Napoleon III&#8217;s politics in Italy in 1859.<\/p>\n\n\n\n<p>And maybe it&#8217;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.<\/p>\n\n\n\n<p>Or maybe, the Quadrille de la Paix was a failure because its construction is simply wonky.<\/p>\n\n\n\n<p>Will you dance it anyways? Tell me more! And if you are looking for more historical dance instructions, read the free <a href=\"https:\/\/www.histoiredebal.com\/2021\/07\/06\/ebook-cinq-choregraphies-de-danses-historiques\/\">ebook<\/a> of Histoire de bal!<\/p>\n","protected":false},"excerpt":{"rendered":"<p>&#8220;Quadrille de la Paix&#8221; (Peace Quadrille), despite its name, celebrates a military victory. Its figures tell the story of a war, nearly day by day. Discover the full story in this article!<\/p>\n","protected":false},"author":4,"featured_media":2203,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_locale":"en_US","_original_post":"https:\/\/www.histoiredebal.com\/?p=204","footnotes":""},"categories":[36,49,44],"tags":[],"class_list":["post-1965","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-1850-1900","category-descriptions","category-quadrilles","en-US"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>An unusual quadrille : Le Quadrille de la Paix, 1859. - Histoire de bal<\/title>\n<meta name=\"description\" content=\"Origins and reconstruction of Quadrille de la Paix, unusual dance from the 19th century. 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