Coloured Lithograph, CJ Grant, 1834

"[H]e bore a little crutch, and had his limbs supported by an iron frame!"

From The Gentleman's Bow in the Victorian Ballroom

Mid-19th century dance teacher Edward Ferrero writes of the bow and courtesy that they

"...are among the most important rudiments of the Terpsichorean art.  A proper knowledge of them is indispensable to both sexes.  There is no movement so awkward as a stiff bow or courtesy...We have lately been more fully impressed with the necessity of a greater attention, among dancers, to this branch of the art."

It thus seems useful to the modern social dancer or performer to examine the details of the gentleman's bow as performed in the mid- to late 19th century ballroom.  Several dancing masters address the topic in their writing...

Two of the most detailed descriptions of the bow, complete with illustrations, are found in the works of Ferraro and his contemporary, Thomas Hillgrove.  Both gave the bow four counts, differing only in whether the movement is performed in first position or in third:

    1. Step to the side (second position)

    2. Close up the trailing foot to either first position (Hillgrove) or third position in front (Ferraro), beginning to bow.

    3. Bow with the upper body, eyes downward.

    4. Rise up again, eyes forward.

Either foot may be used to start.  Hillgrove specified first position in general but gives third as an option for quadrilles.  Elias Howe, in the 1862 edition of his manual, used third.  Either appears to be a reasonable choice.

From The Lady's Courtesy in the Victorian Ballroom

After discussing the correct performance of the gentleman's bow in the ballroom, it seems appropriate to tackle the movements necessary for ladies to properly perform a courtesy.  In 1875, William De Garmo explained the major difference between the two moves:

In courtesying the knees bend and the body sinks; in bowing the knees do not bend and the upper part of the body is projected forward.  In courtesying, as well as in bowing, the slightest possible inclination of the head forward is admissible.

Ten years later, Allen Dodworth noted that

"[The courtesy] is a combination of motions, of no little difficulty, requiring repeated practice for its accomplishment with the necessary ease.  It is singularly artificial and unnatural, and yet is of great beauty when executed by a well-trained lady."

How to perform these unnatural motions?  The sources, unfortunately, are somewhat inconsistent.

Two of the major mid-century sources, Edward Ferrero (1859) and Thomas Hillgrove (1863), gave very similar descriptions of the courtesy, breaking it into four counts.  Hillgrove's description may be summarized as:

(begin in first position; hands occupied holding dress)

    1.  Slide foot sideways to second position; place weight on that foot

    2.  Slide trailing foot to fourth position behind, heel raised, all weight still on front foot

    3.  Sink back, bending both knees, transferring weight to rear foot, raising heel of front foot.

    4.  Throw weight onto front foot again, rising and bringing the rear foot to first position.