19th Century Ball Etiquette in Russia (materials for the First Conference on 13th to 20th Century European Dance Reconstruction [2008]) by Maria Dmitrieva. Translate by Tatiana Solovieva, correction by Tom Wellings.
A Ball is a ceremonial event or high society gathering which mostly consists of dancing. In Russia balls (or assemblies) appeared in the eighteenth century during the rule of Peter I and became widespread in the nineteenth century.
Balls were given throughout the year, but the season proper began in the late autumn (whilst the aristocracy were in residence in their town or city houses) and continued all winter – except during the period of fasting. Often, an aristocrat could take part in two or three balls in a single evening. It was quite hard for the dancers as such evenings could continue into the early hours of the morning, and the following day was supposed to be spent visiting and preparing for other entertainments.
Sometimes this intensive life led to poor health and sickness for ladies, and could even cause premature death. Balls and masquerades were divided into different categories depending on social class, profession, and years-specific. Types of ball included court, public, private, merchant’s, wedding, and children’s… In their time were popular balls of Nobility Assembly, artists’ and diplomatic balls.
By definition "ball etiquette" includes not only the ball gowns and costumes, good manners, correct steps in dances, but also the decoration of the ballroom and other spaces (the game room, smoking room, lunchroom etc.).
Preparing for the ball began with the invitation letters which were sent to guests. The invitations usually were sent seven to ten days before the ball in order for the ladies to have time to prepare their new and fashionable ball gowns. For thematic balls (for example, a ball themed by colour, or a masquerade) there was information in the invitation concerning the costume.
After receiving the invitation a guest would send a written reply, either agreeing to attend the ball or expressing regret if they could not be present. If a guest wished to refuse an invitation, they would be expected to provide a good reason for their absence. A guest could not attend the ball during deep mourning, but could attend during the mourning for a cousin, during the second part of mourning for an uncle, and at the end of deeper mourning.
Guests’ appearance at a ball was strictly regulated. Ladies’ gowns were low-necked and decorated by real or fabric flowers. Maids wore dresses of light pastel colors, simple hair-dos and jewelry. Married ladies had a large choice of colour and style for their ball gown and jewelry. Ball shoes were soft and without heels. Makeup was restricted; you could use just a small amount of powder on the face and no more!
For gentlemen, a tail coat was obligatory, which need to be accompanied by a waistcoat, and a white (1830s) or black (second part of the nineteenth century) neckerchief/necktie. Tail-coats were of different colours, but towards the end of the1830s black became the most fashionable.
During the reign of Nicolas I, gentlemen wore the uniform according to their post for court balls.
Military men wore full dress uniform and ball shoes, only uhlans could dance booted. Spurs were discommended but some persons wore them for foppishness. Now there are disputes about the existence of special ball spurs. Maybe they were worn, but nowadays it would be better for ladies gowns if military men danced without spurs.
The most important thing for a ball were clean, white gloves. Ladies wore above-elbow length gloves made from silk or kid-skin. Gentlemen in civilian clothes wore kid-skin gloves, military men – chamois gloves. One was not allowed to take off ones gloves during a ball. If the gloves were damaged, you were obliged to have another pair of gloves.
A fan was another important part of lady’s ball gown. It was used not only for the refreshing breeze but also as a special language for communication.
An agenda or carnet de bal was a lady’s companion at the ball. Gentlemen wrote their names in the carne de bal opposite the dance they would like to dance with the lady. Sometimes instead of a carne de bal the reverse fan side was used. An agenda helped remind guests of their arrangements. It was a moveton to received and agreed for two invitations for one dance and also could entail even a duel! In this case a lady had to miss the dance. If two gentlemen wanted to arrange to dance with the same lady, a lady could make a choice by herself. It was excessive coquetry to make a full agenda as a great boast, especially before wallflowers ladies.
A married lady attended a ball with her husband. In the absence of her husband it was possible attend the ball with a female friend and her husband. Maids were always accompanied by mothers or female companions, who kept an eye on their charge, gave advice, and found dance partners if it was necessary. A maid could attend the ball with her father, who would introduce her to gentlemen. If gentleman wanted to dance with the maid, he should be introduced to her. Usually the master or mistress of the house asked gentlemen they were familiar with to dance with ladies who were unpopular because of their appearance (those who were not beauties). In any case, a guest should not express any bad mood or sad emotions, everybody was expected to smile and make pleasant conversation.
At their arrival, guests were obliged to pay their respects to the master and mistress of the house.
Before or during the ball a gentleman could ask a lady to dance. In the beginning of the nineteenth century, if a lady was already asked for first two or three dances, gentleman went away, but by the end of the nineteeth century, gentleman could ask a lady about free dances in her carne de bal. Popular ladies filled her carnet de bal during the first minutes of the ball. In the etiquette of the 1880s there was a suggestion that ladies not agree more than quadrilles, and in the same book it is written that gentleman could list all the quadrilles in the ball program till a lady said which one was free.
According to the rules, gentleman firstly asked for a dance with the mistress of the house. After that he asked her relatives, and only then would he dance with the other ladies.
At the beginning of the nineteenth century the first dance of the ball was the polonaise, in which the first pair was the master of the house with the most honourable lady. The second pair was the mistress and the most honourable gentleman. By the end of the century, a waltz began the first dance, but court, children’s and merchants' balls still began with a polonaise.
In the 1830s a lady could dance with any gentleman. It was suggested that his presence at the ball was a guarantee of his reliability and a lady could not be afraid about her reputation. In the second half of the century if a gentleman wanted to dance with an unknown lady, he needed to be introduced to her by a mutual friend or familiars.
During the nineteenth century the number of dances with only one lady changed – in the 1830s it was one dance during the ball, in the1880s – two or the dances – but not immediately following each other. The groom and bride could dance more than three dances. If a gentleman insisted on more dances, a lady rejected him in order not to be compromised. In private balls it was suggested that the master and his sons dance once with every lady during the ball.
For quadrille asks in advance. Before the dance a gentleman should find vis-à-vis. If it was a lady’s relative, the lady could agree or not.
Intended to ask a lady for dance, gentleman went to the lady, bowed and offered a courteous phrase, such as: "Do me the honor of inviting you for the polka (mazur, waltz, etc.)?" or "May I hope that you will honor me to dance a waltz (gallop, quadrille) with you?". Accepting the invitation, the lady make a curtsy. The gentleman gives his right hand, the lady gives her left, and the pair go to dance.
Not accepting the invitation could be possible only if the dance was promised to another gentleman or if the lady was tired. If the lady rejected the invitation of one gentleman because she was tired and immediately accepted the invitation of another, it was considered bad manners. If the Emperor attended the ball, his invitations to dances were always accepted (even if the lady had already promised the dance to someone else). If gentleman receive a rejection from a lady, in the 1880s he invited the neighbouring lady, but in the 1830s it was considered abusive conduct.
During the nineteenth century gentlemen’s bows changed little, but lady’s curtsies changed a lot. While dancing the gentleman entertained the lady by light polite conversation. The lady answered decently and did not look at his eyes very often. Avoiding collisions with other dancing pairs and preventing the lady from falling were the gentleman’s responsibility. If an accident happened, the gentleman assisted the lady back up, accompanied her to her place, apologized and offered his assistance to the lady.
Signs of bad manners included dancing without knowing the dance well, being unceremonious with a lady (clasping her too closely whilst dancing, asking for her fan, handkerchief or flowers), forgetting to find the invitee before the dance, and stepping on a lady’s trains. However the career promotion of a gentleman often depended on how smartly and fine he danced and how good his manners and knowledge of society were.
As the dance ended, a gentleman asked a lady where she wanted to be accompanied – to the buffet or to her place. Then they made mutual bows and the gentleman went away or could have a short talk with the lady (there are conflicting instructions: in the beginning, middle and end of the nineteenth century it was not recommended to keep a gentleman after the dance, but in the 1830s and the 1880s it was mentioned that they could talk if the gentleman was not preventing the lady from being invited to dance by other gentleman).
In the 1880s the pair were permitted to walk during the ball hall by hand, it was recommended that a lady only just touch the gentleman’s hand. A gentleman accompanied his last dance before lunch to the lunchroom and dined with the lady, and after lunch he accompanied the lady back to the ball hall.
In the first part of the nineteenth century a lady could approach the buffet only with a gentleman and her female companion, otherwise a gentleman could bring the lady what she wanted from the buffet. By the end of the century a lady could go to the buffet together with the gentleman.
Such dances as the mazurka and the cotillion a gentleman dances with the well-known lady. Often these long dances gave a chance to make a declaration of love. The cotillion or Greek dance ended the ball, but in the second part of the century the ball was concluded by a waltz.
The guests could leave the ball any time they wanted without saying goodbye to the hosts of the house. But during the few days after the guests would pay visits to them.
