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S.T.A.G.E.S. of Learning Center (STAGES) is a private therapeutic school dedicated to improving the lives of its students through the science of Applied Behavior Analysis. We serve students aged between toddlers thought adulthood who demonstrate a wide range of needs in the areas academic, social, communication, and daily living skills.
Our goal is to prepare our students for success and fulfillment both academically and socially so that they can have the smoothest transition into the mainstream world. We provide individualized, educational programs based on the principles and methods of Applied Behavior Analysis (ABA). We seek to make it functional and socially significant for the student
Our overall staff to student ratio is better than 1:1. A high staff to student ratio is necessary to allow for the various rates students acquire new skills. Being able to provide 1:1 instruction allows each student's programming to move at a pace that is appropriate for that student and enables staff to make modifications to ensure that students are making desired gains. Additionally, a high staff to student ratio allows for increased ability to provide individualized instruction across environments including school, home and in the community.
The Board Certified Behavior Analyst (BCBA) directly supervises all programs. The BCBA works in conjunction with the Special Education Teacher to develop goals, monitor student progress, create and implement individualized systems of reinforcement, and train classroom teachers.
The teacher works in conjunction with the Behavior Analyst to develop, implement, and monitor student programming and progress. The Special Education teacher trains and works hand in hand with the instructional assistants in their classroom to provide each student with a highly individualized program of instruction that is tailored to each student's unique needs.
All of our classroom staff work under the direction of the Behavior Analyst and Special Education teacher. They receive on-going training in ABA and evidence based teaching methods. They play an integral role in the daily instruction and set up for individual students. They work together with the Behavior Analyst and Special Education teacher and related services personnel to ensure that each student's program is implemented effectively.
Each day, each student will work with several staff members. This helps to ensure generalization of skills and limits the disruption to students' programming when there are changes in staffing.
Supported inclusion enables our students to be involved with the general population via participation in school and community events and programs. S.T.A.G.E.S. staff provides individualized support to ensure the experiences are positive and successful for the students.
Staff from S.T.A.G.E.S. who know the student and their programming, accompany the student and offer support, monitor reinforcement systems, and provide pre/post – teaching, create necessary material modifications, and collect data to ensure that the inclusion opportunity is meeting the needs of the student.
In order to maximize the effectiveness of our related services, we employ a consultative model of service provision. Within this model, related service providers collaborate with the educational team in the determination of goals, identification of targets, provision of staff training and translation of targets across activities throughout the school day. The service providers work in conjunction with the Behavior Analyst and Special Education Teacher to design, model, and train classroom staff on the implementation of teaching procedures as well as overseeing the implementation of those techniques as provided by classroom staff. This enables target skills to be imbedded into appropriate tasks across the day as opposed to having those skills only targeted in isolation for a finite period of time. As a result, learning opportunities are maximized and generalization of skills to the natural environment is promoted. It also allows for the integration of various IEP objectives to be targeted simultaneously.
This preschool is just amazing! I'm a certified teacher, so I know what to look for in a school and its teachers. The teachers are loving and caring with all of the children and there is plenty for them to play with and explore. My daughter loved the school and its teachers!Michele Monastra, Mother

subset: commoncrawl


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Collingswood, NJ
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I was on 150mg of clomid (days 3-7) and had an HCG trigger shot on 1/14/06 (13 DPO). My RE said that I would ovulate in 36 hrs, which would have been 1/15/06. Since then my temps have been low (97.2). I have not had any temp rise until 1/20/06 4DPO (97.9), which was the day I had my Progestrone tested, which was 16. Since then I my temps are back down again. I am now 6 DPO. My RE said the temps rise because of Progestrone levels. So, does that mean that my Progestrone levels have gone down? Aren't they supposed to stay up during my luteal phase? If you have any info to give me I would greatly appreciate it.
Taht is probably the most reasonable explanatioin. For more information about ovulation induction, please see our web site at <www.texasfertility.com>. Good luck.
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Frances Klapthor, Associate Curator for Asian Art
One of the BMA's founding trustees, Julius Levy, was a successful businessman whose family company made men's hats in the days when well dressed men wore hats. In summer, those would have been straw hats. And that straw came from China and Japan. Mr. Levy was so committed to establishing a public museum in Baltimore that he and another trustee purchased the Museum's first home in Mount Vernon. There it opened in 1922 and remained until moving to Wyman Park in 1930.
Sadly, Julius Levy didn't live to see the Museum relocated to its present building. But to honor his engagement with the Far East, as well as his devotion to the BMA, his family established in his memory a fund to purchase Asian art and a gallery for its display. What had originally been designated on architectural drawings as a children's classroom instead became a gallery for Oriental Art, with beautiful paneled pearwood walls and a coffered silvergilt ceiling. It was the renovation and reopening of this gallery that caused my first encounter with this blue-and-white bottle.
Thirty years ago, the Museum had recently emerged from major construction: adding galleries for temporary exhibitions, a sculpture garden, visitor entrance, auditorium, shop, and restaurant. Now the BMA turned to the final part of the project: the Julius Levy Memorial Gallery for Asian Art. For me three decades ago a door swung open. That door was a vault door I unlocked with a dedicated key, which I had signed out at the guard's station. It seemed an ordinary key to an ordinary room, a room painted battleship gray – not just the walls but even the concrete floor, all were the same gray. In the room were objects in storage cabinets and still-unpacked boxes returned from off-site storage. Just an ordinary room, yet guarded 24 hours a day. So: a vault. Vaults aren't really ordinary. They hold treasure.
The bottle was in the vault, third cabinet on a middle shelf at eye level. I was drawn to the drawing on its surface, and to its shape. This bottle bore the symbol of China's empress like a badge: a phoenix with spiky wings outspread, head turned sideways, beak slightly open and one small eye visible, feathered jaw and scaly chest, and long tail trailing out. The bottle's edge was shaped like an elongated S, its lip turned outward, long neck arced down, its shoulder sloped into a round body that rested on the circle of its foot. The serpentine shape was further defined by the decoration: upright leaves ringing the neck, lotus panels descending around the shoulder, two phoenixes against leafy vines, upright lotus panels surrounding the bottom of the body, and beneath each of these a narrow patterned band. An early example of underglaze cobalt decoration on porcelain, the bottle embodies a combination of materials that would come to be desired almost around the world for many centuries. All of these things are its formal qualities. But the phoenix! That is the mythical creature that symbolizes rebirth.
The carpeted China room that opened in June 1985 will return next autumn as an education and community space, while the Asian art collection will be reborn in larger and more visible galleries that will open April 26, 2015. It could be that this bottle will be the first work you encounter in the new galleries. It bewitched me thirty years ago. It thrills me still.
BMA Voices is an insider's exploration of The Baltimore Museum of Art collection through the eyes of its curators, conservators, and registrars. Featuring a new object every day during the BMA's 100 Day Celebration, the project will highlight some favorite, amusing, unusual, and obscure objects.


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The upper limit problem is from Gay Hendricks's book, The Big Leap: Conquer Your Hidden Fear and Take Life to the Next Level. It's all about our tendency to self-sabotage during peak moments in our careers and relationships. Having upper limit problems and not knowing about it means we never make 'the big leap' from where we are comfortable to where we could be unlimited.
How the upper limit works exactly is this: each of us has an inner thermostat setting determining how much love, success and creativity we can enjoy. When we exceed that setting, we do something to take ourselves back down and re-enter a more familiar emotional terrain. Gay explains that we establish our upper limits during childhood and in acts of 'misguided altruism' (i.e. trying to take care of the feelings of others).
what an upper limit problem does
Having an upper limit problem prevents us from charging into our 'zones of genius'. This is really what Gay's book is about. The zone of genius is the set of activities that we, and we alone, are uniquely suited to do. It's the only place that we will ultimately thrive and feel satisfied.
solving the upper limit problem
The upper limit problem can't be solved in your current state of thinking (or consciousness). As Gay says, it needs to be dissolved, not solved. And you dissolve it 'by shining a laser beam of awareness on its underpinnings – the false foundations that hold the upper limit in place.'
The upper limit problem lives in the moment-to-moment interactions we have both with ourselves and with those around us, so it's those we need to be aware of.
what's your (upper limit) problem? the four hidden barriers
The four hidden barriers are the false beliefs upon which your upper limit problem is based. On first examination, none might appear to be relevant, so I suggest that you carefully consider each of them. You might have more than one!
1. feeling fundamentally flawed
If you had an experience in your childhood which made you feel rejected by one of your caretakers, then this could be one of your beliefs. It is usually accompanied by the related fear of that committing to the zone of genius would result in failure.
2. feeling like being successful will result in abandonment
If your unconscious mantra is that expanding into your success will mean leaving people from your past behind, this could be yours. Ask yourself the questions:
- did you break the family's unspoken rules to get where you are?
- despite being successful, did you fail to meet the expectations your parents had of you?
3. believing that more success brings a bigger burden
If the unconscious message from your childhood was that your presence in the world was a burden to others, then this could be yours. Carrying this painful belief is likely to mean that you'll not expand into your full capacity for success and enjoyment, because it means being an even bigger burden.
4. the outshining barrier
This is the most common among gifted children. They get their parents' attention, but also receive the powerful subliminal message not to shine too much at the risk of making others feel bad.
are you upper limiting yourself?
Spotting it takes benign vigilance. Here's some clues it's a yes:
If you're worrying about something you have no control over, you're probably upper limiting yourself. Make it your daily practice to spot worrying thoughts. It won't always be easy! Gay describes the process of learning to savour your success instead of worrying is a 'heroic task'.
criticising and blaming
Gay describes criticism and blame as 'costly addictions', and the number one destroyer of intimacy in relationships. Chronic criticism and blaming is what we want to eliminate.
Deflecting is a way to crimp the flow of positive energy by simply avoiding it. It keeps us from landing, and being received and acknowledged.
Starting conflicts is another way we bring ourselves down when we are feeling too good.
getting sick or hurt
We can get sick for all kinds of reasons. But, says Gay, we want to examine everything that can bring us pain or suffering as a potential upper limit problem.
In one beautiful example of her lucidity, the author and spiritual teacher Marianne Williamson said:
It is our light not our darkness that most frightens us. Our deepest fear is not that we are inadequate. Our deepest fear is that we are powerful beyond measure.
This goes to the heart of what having an upper limit problem is about.
From the Big Leap: "Having a willingness to have life go well all the time is a genuinely radical act. Going into your inner depths counts as as a radical act. If we think it's even remotely possible to feel good all the time, we owe it to ourselves to find out how many of us can do it."
The next time you're worried or upset, if you can – even for a second – consider that you are not upset for the reason you think, perhaps you can break out of the trance you're in and begin to see what the real issues are. Eventually, you'll stop letting your upper limit problem have its way with you.


text: Mens black, low top trainers from Brave Soul. Crafted from mixed synthetic uppers with breathable mesh panels, the Harp sneakers feature a padded collar and lace up fastening. Set upon a tonal rubber sole and accented with contrast orange detailing including a woven heel pull tab. Upper: Synthetic. Sole: Rubber.Check stock and price


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"Y" Not!
"Y" Not!
I'd rather be in a hammock. - Dolly Parton
HA! yeah I can live with this!
Wisconsin Winter Hang 2010-2017
-An optimist is a man who plants two acorns and buys a hammock....
Grrreat IDEA!!!
Psalm 50:1 The Mighty One, God, the Lord, speaks and calls the earth from the rising of the sun to its setting.
Old Dominion Hangers: Secretary
First Annual Powhatan Hang and Work - April 17-19, 2015
I'll def use this out in the woods LOL
Really good idea!
So far, I'm only getting strange looks… Where are the hangers in my neighborhood?
So we have a hand salute and a rap https://www.hammockforums.net/forum/...ad.php?t=84446
If given the salute or a verbal "How's it hanging" one responds "30°".
For farwells another 'Hang lose' then a response of "foot end high", "back up your knot", or "keep your rear in your gear and or a$$ out of the grass".
Now to get an emoji of the hang loss gesture like the thumbs up/down ones.
Last edited by jlink79; 12-09-2013 at 02:53.
I like it.
Walk well!
Rick (Risk) Website: http://www.imrisk.com
I cook. I sew. I walk. I lead. I hang. I write. I play.
Author of "A Wildly Successful 200-Mile Hike"


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Welcome to my world and my lifestyle choice #CycleofJoy
Welcome to my world and my lifestyle choice #CycleofJoy
Surviving aging thoughts have to start with the tremendous amount of people (close to my age) who have left this world way too soon. Actors, singers, comics, writers, and so many, many more. Larry and I have started talking about our feelings more these days, not because we want to, but more because we have to do this. We used to say "if" now we say "when". The day the "when" happens is something we still are not prepared for, who is?
We both know there are many things we need to do. Legal things, banking things, things that require passwords come to mind. Our last will and testaments need updating as do many other things. We know we are not immortal, yet we act like we are.
Our health is great. Our lives are good. We are a happy couple and we are even talking about doing something really daring. We are considering a move outside the country. Yes, we are giving consideration to that because we feel it would be more peaceful, we would probably have more friends, and quite frankly our children really don't need us, nor do we see them that often. It's all good, that's the circle of life.
Yes, many thoughts invade our brains and often. When we forget something we gasp and wonder if we are becoming forgetful. When a new little ache of pain hits us we are reminded we are not 35 years old any longer. We tire more easily, our bodies have been beaten up over the years, so yes changes are occurring.
We cannot even talk about what will happen when one of us is gone. That brings us both to tears.
We have decided to find other people who have these same thoughts (and fears) and see how they handle them because it's scary.
It's also a fact of life in that circle of life. Maybe we should watch The Lion King again.
This was an easy one to put together in thought, words and photo.
Today was a perfect day to create this #CycleofJoy – we can all choose to be happy, many times it isn't easy, but we can still choose it.
Day late and a dollar short, I knew I was supposed to put this post up yesterday, but hey, my mind is never idle (or the devil would be playing there) and I got busy.
My "masterpiece" for today Feb. 9, 2016
It's always fun for me to come up with something new. I wish I had the time to do this every day.
It's #CycleofJoy day and today even I had to dig a little deeper – it happens. Shit happens.
I am finding it though in small pieces.
Every Tuesday I create a photo treasure as I call them and I share them all over social media because this is a new project I am working on and it is near and dear to my heart as I share my #cycleofjoy with everyone and hopefully help people find their own.


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hat sich nicht einem überraschenden diese ist Italien noch viel
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This property has been removed by the agent. It may be sold or temporarily removed from the market
4 bedroom terraced house for saleBirchwood Crescent, Balsall Heath, Birmingham
Sold STC £249,950
Property Description
Full description
A DELIGHTFUL MUCH IMPROVED FOUR BEDROOM MID TERRACE offering beautifully presented character accommodation with gas central heating, double glazing and landscaped garden to the rear. EP Rating D
Reception Hall, Sitting Room, Dining Room, Guest Cloakroom, Kitchen, Garden Room, Four Double Bedrooms and Spacious First Floor Bathroom with Shower. Interior Viewing Highly Recommended.
Set back from the road behind a low level stonewall and attractive fore garden with a wealth of mature shrubs. There is gated access to a shared paved pathway leading to a solid panelled entrance door with top light over leading to the entrance vestibule.
With boxed gas meter, ceiling cornicing and half glazed panelled inner door with ornate stained glass design to the reception hall.
With original Minton tiled floor, gas central heating radiator, ceiling cornicing, centre ceiling rose and feature plaster archway, stairs giving access to the first floor and stripped pine panelled doors to the reception rooms.
SITTING ROOM 13'9 into the bay x 11'8 (4.19m into the bay x 3.56m)
With walk-in wooden framed double glazed bay window to the front, gas central heating radiator, stripped wooden floor,ceiling cornicing, centre ceiling rose, picture rails, feature fireplace and mantel with ornate tiled inset and hearth with cast iron grate and glazed double doors giving access to the dining room.
DINING ROOM 12'4 x 12' (3.76m x 3.66m)
With gas central heating radiator, picture rails, stripped wooden floor, wooden framed double glazed double doors giving access to the garden, feature exposed brick chimney recess with wood burning stove on quarry tiled hearth and stripped pine panelled doors connecting to the reception hall and inner lobby.
With stripped panelled door to under stairs storage cupboard, fitted coat hooks, high level wall mounted storage cabinets,concertina door to the guest cloakroom and open access to the kitchen.
With white suite comprising low level w.c. wall mounted wash hand basin, fitted storage shelving, wooden framed double glazed window to the side and wall mounted Glow Worm gas central heating boiler.
KITCHEN 10'7 x 7'9 (3.23m x 2.36m)
With stainless steel, single drainer sink unit with base unit and space and plumbing for washing machine below, matching base and drawer units with work surfaces over, range of matching wall units,stainless steel Belling oven and grill with four ring gas hob over and extractor fan above concealed behind panelled fascia, space for fridge/freezer,breakfast bar, tiled splash backs, gas central heating radiator, feature arched cast iron framed window to the side and glazed door to the garden room.
GARDEN ROOM 8'3 x 7'11 (2.51m x 2.41m)
Of wooden framed double glazed construction on solid brick base. With power and lighting and double doors giving access to the rear garden.
With wooden framed double glazed window to the side, stairs giving access to the second floor with spindle balustrade and stripped pine panelled doors to the following accommodation:
BEDROOM ONE 17'5 x 11'10(5.31m x 3.61m)
With stripped wooden floor, gas central heating radiator, feature cast iron fireplace and mantel and two wooden framed double glazed windows to the front.
BEDROOM TWO 11'11 x 11'7(3.63m x 3.53m)
With wooden framed double glazed window to the rear, stripped wooden floor, gas central heating radiator and feature cast iron fireplace and mantel with quarry tiled hearth.
With white suite comprising panelled bath, wash and basin with range of fitted cosmetic cabinets below, w.c. with concealed cistern, corner shower cubicle with chrome shower and sliding curved glass shower doors, ceramic tiling to the majority, ceramic tiled floor, shaving point, wooden framed double glazed window to the rear and heated towel rail.
With white panelled doors giving access to the following accommodation:
BEDROOM THREE 11'2 x 10'9(3.4m x 3.28m)
With UPVC double glazed dormer window to the rear, gas central heating radiators and four ceiling spotlights.
BEDROOM FOUR 16'8 x 8'2(5.08m x 2.49m)
With gas central heating radiator, sloping ceiling line with two double glazed Velux skylights and four ceiling spotlights.
With full width paved patio area and access to the side yard and gated side entry. There is a landscaped garden with shaped astro-turf lawns flanked by borders with slate chippings, mature shrubs and trees and attractive decked seating area to the rear.
We understand the property is Freehold.
All items mentioned in these sales particulars are included in the sale. All other items are excluded.
Consumer Protection from Unfair Trading Regulations 2008.
The Agent has not tested any apparatus, equipment, fixtures and fittings or services and so cannot verify that they are in working order or fit for the purpose. A Buyer is advised to obtain verification from their Solicitor or Surveyor. References to the Tenure of a Property are based on information supplied by the Seller. The Agent has not had sight of the title documents. A Buyer is advised to obtain verification from their Solicitor. Items shown in photographs are NOT included unless specifically mentioned within the sales particulars. They may however be available by separate negotiation. Buyers must check the availability of any property and make an appointment to view before embarking on any journey to see a property.
Energy Performance Certificates (EPCs)
To view this media, please visit the on-line version of this page at www.rightmove.co.uk/property-for-sale/property-60840143.html
Listing History
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Market Info
Disclaimer - Property reference MOM4503. The information displayed about this property comprises a property advertisement. Rightmove.co.uk makes no warranty as to the accuracy or completeness of the advertisement or any linked or associated information, and Rightmove has no control over the content. This property advertisement does not constitute property particulars. The information is provided and maintained by Robert Oulsnam & Company, Moseley. Please contact the selling agent or developer directly to obtain any information which may be available under the terms of The Energy Performance of Buildings (Certificates and Inspections) (England and Wales) Regulations 2007 or the Home Report if in relation to a residential property in Scotland.
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Nutrisystem is mainly a Portion Controlled Diet system that balances the amount of calories.These are great with five mini-muffins using this recipe. C how Nutrisystem member Mireille L. Nutrisystem member Mireille L., turned the Nutrisystem® Mireille ends up the night before and then.love the nutrisystem breakfast muffins i regularly have the. Sausage Grilled Cheese Breakfast Sandwich.
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Where was experimental physical science at the turn of the 19th century? A listing of the major scientific discoveries of the 17th and 18th centuries shows that many of the principles necessary for understanding the atmosphere had been set forth, even if they were not fully incorporated into the thought processes of the scientific community of the day. For example:
Prior to the year 1800 A.D., approximately, clouds had been thought of as outside the realm of classification and analysis. This was due to their ephemeral character -- coming and going, appearing and disappearing. And yet this point of view was not to persist. One reason was the impact on human thought of Swedish taxonomist, Linnaeus, through his landmark studies of natural history. Linnaeus -- Carl von Linne -- had greatly influenced Howard and this influence resulted in a paper on pollens, read in 1800 before the Linnean Society of London. It seems quite reasonable to assume that young Howard, at that time, had developed a mind-set that was favorably oriented toward classification in the Linnean scheme.
One of the curiosities of the growth of science is that new ideas quite frequently emerge independently and at about the same time in different countries. We have an example of this in conjunction with cloud nomenclature. As the story is told in the Preface of the International Cloud Atlas:
What enabled him to do this? Being steeped in Latin as a schoolboy? Initial captivation by the 1783 skies? Having the habit of observing nature with persistence and care? Curiosity as to why it rains? Being utterly convinced that orderly Providence would not make a disorderly sky? It is difficult, if not impossible, to rank these factors according to priority. No doubt, all played some part.
We take a closer look at the sequence of events that led to the Essay. We find Luke Howard, returning to London in 1787 as a chemist's apprentice, and twenty years later (1807) the sole owner of a prospering chemical manufacturing laboratory. But while he carried on his business activities and commitments, he continued his vocation of "natural philosopher", with sharp focus on meteorology. As he said in his later years, "meteorology is my real penchant".
An outlet for, and a stimulus to, this side of his life was the Askesian Society ( Askesian derives from a Greek work meaning "philosophical exercise") to which he belonged as a charter member from its 23 March 1796 beginning. Howard had other like-minded friends, some his age and others older, who were interested in expanding their knowledge on all fronts of various subjects. It seems that his close friend, William Allen, was the principal moving agent in starting the small society. Whether or not Allen made the suggestion for the name, we do not know. Howard comments about the society:
The circumstances that led to the Essay were probably along the following lines. Howard's consuming interest in atmospheric phenomena had been well established. He had already given one paper to the Askesians on Causes of Rain (23 February 1802) so he was deeply involved in thinking about the total problem at times when his attention was not taken with the problems of the "chemical works". The setting: the home of Wm Allen in Plough Court, London on 16 December 1802 (evidence of the precise place and date strangely is missing from the Askesian Society minutes, so this is a probable conclusion). Howard's subject: "Essay on Modifications of Clouds" (in today's English a better word is Classifications). The full essay can be found in Rees' Cyclopaedia in Tilloch's Philosophical Magazine vols. xvi, xvii.
For our purposes the key idea set forth by Howard is that it is possible to identify, from within the complexity of changing skies, a number of simple categories. Howard's "genius" lay in the use of Latin names, thus transcending national boundaries. The categories are:
In his paper, Howard presents a lengthy description of, and rationale for, these various forms of cloud.
With some minor adjustments in nomenclature, these are the categories and names used by meteorologists of all countries, 200 years later! This is a remarkable testimony to Howard's perceptive insight into cloud forms, the primary observable phenomena of meteorology.
Luke Howard -- "The Godfather
of Clouds"
Luke Howard -- Cloudman Foreword | Essay #1 Background Setting
Essay #2 1783 -- A Year to Remember | Essay #3 1802 -- Year of Significance
Cloud History Topics
Luke Howard -- "The Godfather of Clouds | Wilson A. Bentley -- "The Snowflake Man"
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Paper 9
Edward Payne, Dancing Master (?-1819)
Contributed by Paul Cooper, Research Editor
Edward Payne was one of the most influential Dancing Masters of Regency London. He was a band leader, publisher, choreographer and inventor. He was closely involved in popularising two social dancing movements, the First Set of Quadrilles, and the Spanish Country Dances. He also pioneered the use of the barrel organ for Quadrille dancing. Yet he remains relatively unknown; even two hundred years ago he was readily confused for his better known contemporary, James Paine of Almack's. This paper investigates his life and works.
Figure 1. Payne's 1814 New Companion to the Ball Room
Image © BRITISH LIBRARY BOARD, C.193.a.109 ALL RIGHTS RESERVED
This project has been limited by a lack of evidence. I know almost nothing of Payne's life prior to 1814; he died in early 1819 (or in late 1818), almost everything known covers just five years of his professional career.
A New Companion to the Ball Room
An advertisement in the Morning Post newspaper, for December 1st 1814 reports
The following sheets are extracted from a Treatise on the Art of Dancing, which I had nearly completed twelve months back; but, in consequence of my time being so much occupied, I was prevented from drawing the Work to a close. Several of my Pupils who have seen it, (and were acquainted with the cause of its delay,) have earnestly requested me to select the following part for immediate Publication, (which is not more than one Quarter of the work, even in its present unfinished state.) The distinguished Patronage and flattering reception I have already met with from my honoured Pupils, have induced me to comply without hesitation with their request.
The book was made up of three parts: a treatise on deportment, Payne's system for constructing Country Dances, and a review of the etiquette of the ball room. The essays on deportment and etiquette share a striking similarity to the equivalent essays published by the better known dancing master Thomas Wilson in his similarly named 1816 Companion to the Ball Room and elsewhere. It's likely that Payne's book was partly derived from Wilson's earlier works, and that Wilson's later works were partly derived from Payne's book. Both authors ultimately shared a common source in Richard Nash's 18th century regulations for the Assembly Rooms at Bath, and also with the regulations imposed by the many Assembly Rooms across Britain. We've discussed these issues in another research paper.
It often occurs with Ladies and Gentlemen who are in the habit of attending Balls and Assemblies, (some of whom may be termed good dancers,) that when it comes to their turn to lead off the dance, they find themselves at a loss to form a figure and adapt a Tune to it, although perhaps acquainted with a variety; others again, after much hesitation, find themselves at a loss, and at last are obliged to advise with other couples.
Figure 2. Terms of Mr. Payne's Dancing Academy, 1814
Image © BRITISH LIBRARY BOARD, C.193.a.109 ALL RIGHTS RESERVED
Payne then observed that other writers had attempted to address this problem before. This comment may have been a veiled reference to Thomas Wilson's 1809 Treasures of Terpsichore (the sub-title of which happened to match the title of Payne's book). He continued:
All the publications of this kind that I have seen, are on an entirely different plan from this; most of them have a figure and a tune set together, some may like the tune and not the figure; others again, may like the figure and not the tune; but as they are set, so they are induced to suppose they must be danced, as I have frequently witnessed.
Payne's solution involved counting the number of strains of music in each of the popular Country Dancing tunes, and grouping them together into pools; he had a pool of two-part tunes, a pool of three-part tunes, and so forth; he also choreographed around 120 sequences of dancing figures, these were similarly grouped by the number of strains of music they required. Dancers could match any tune to any compatible set of figures, resulting in a near infinite variety of combinations. The major characteristic of this system is that there would not be a specific set of figures for a specific tune; the same figures could be danced to many tunes, the same tune could be danced with many different figures.
The benefit of this system is reasonably clear. With a little effort a dancer can invent a new combination of tunes and figures, without having to be an expert. This approach to the
Payne's Academy
Payne operated a Dancing Academy from his premises at 32 Foley Street, Cavendish Square. His December 1st 1814 advert in the Morning Post indicates that he taught
A further advertisement within this book indicates that he has:
... had the Honour of Teaching, and still continuing to Teach in some of the first Families and Schools in the Metropolis, and its Environs; whose Sanction and Patronage he may justly boast of and meeting every where, with the most flattering Encouragement, as upwards of Four Hundred and Fifty Pupils within the last Four Years can attest; ...
He went on to explain that his former plan to build
Figure 3. Payne's Advert, The Morning Post, 27th May 1816.
Image © THE BRITISH LIBRARY BOARD. ALL RIGHTS RESERVED. Image reproduced with kind permission of The British Newspaper Archive (www.britishnewspaperarchive.co.uk)
By 1815, he was advertising his
An 1817 advert in The Morning Post (4th June 1817) added that
By 1818 he was refering to his academy as the
Payne's Band and Assembly
Several of Payne's adverts mentioned that he could provide a band, including his 29th April 1816 advert in the Morning Post, which promised
Payne also hosted Assemblies of his own. He printed the by-laws for his Assembly in his 1814 A New Companion to the Ball Room, they were:
Rules to be observed at this Assembly:A footnote indicated that the 7th rule had recently changed, for the previous four seasons the change of partners was to have taken place after the third dance.
These rules are similar to those of Britain's other Assembly Rooms, though there are several distinctive features. We've explored these issues further in another research paper.
Spanish Country Dances
Figure 4. Payne's first two sets of Spanish Dances, c.1817Payne's 1816 advert mentioned that he taught Spanish Country Dances (see Figure 3). He went on to publish three collections of
Image © BRITISH LIBRARY BOARD, h.726.m.(9.) ALL RIGHTS RESERVED
Danses Espagnoles, the third in 1818 (see Figure 8), and the first two in late 1817 or early 1818 (dated by reference to his Quadrille Fan, see Figure 4). He also included
Instructions for Spanish Dancingas a suffix to his 1818 Quadrille Dancer.
It's not clear when Spanish Country Dances first entered his repertoire, but the 1816 advert hints that he'd been teaching them for perhaps a year. The absence of references to them in A New Companion to the Ball Room suggests they didn't exist in 1814. Payne was probably the first dancing master in London to teach these dances. Thomas Wilson also published a minor work on Spanish Country Dances in 1817, and G.M.S. Chivers published his Recueil de Danses Espagnole in 1819 (shortly after Payne's death, though he'd been teaching them since at least 1818). Some sources suggest that Nathaniel Gow was promoting Spanish Country Dancing in Edinburgh from as early as 1810, but I've not found any contemporary evidence to support this early date. I can only find one example published by Gow, and that was probably published in 1817 (certainly no earlier than 1816).
Spanish Country Dances are very similar to English Country Dances, the key differences are that the first couple begins improper (the man on the lady's side of the set, and vice-versa), and the dance flows like a waltz country dance. The music and figures are effectively the same. Payne explained some of the figures as follows:
The Author may be censured, perhaps, for not being more particularly explicit in his explanations. The word 'Engano', imports deceit; 'Latigo', a whip; 'Espejos', a Looking-glass; but translation can be of little avail to those unacquainted with the method of performing the figures. A little practice, however, will easily supply any additional information that may be wanting, which the Author, upon application to him, will readily give.
The figures Payne published were written in Spanish, hinting that the dances genuinely derive from Spain. A passage from John Carr's 1811 Descriptive Travels in the Southern and Eastern Parts of Spain and the Balearic Isles, in the year 1809 explains the Spanish style a little further. He wrote
Payne's 1818 Quadrille Dancer contains an extended description of Spanish Country Dancing. It discusses the construction of a Spanish Dance, the steps, an explanation of the Figures and a translation of the Spanish terms. The information in this work is consistent with, but different to, the 1819 Recueil de Danses Espagnoles by G.M.S. Chivers. The diversity of information hints that Payne did not invent Spanish Country Dancing, but may have been the first to document it. The preface to Payne's Instructions for Spanish Dancing adds:
[The author]has already Published a first and second set of Danses Espagnoles or Spanish Country Dances, both of which, by a rapid and extensive sale, received the most unequivocal proofs of public approbation. This flattering consideration combined with the numerous and urgent entreaties of many Ladies and Gentlemen calling for additional and diversified examples of these favorite Dances, have induced him to present the Public with the following, these Dances have now become so popular, and their characteristic distinctions are so fully explained in the Authors former sets, that any further remarks here on these Topics, might well be deemed superfluous.
Prior to Payne's adverts, the term
Whatever their origin, they were an unusual variation of Country Dancing that was enjoyed in Britain for the next few years. The anonymous author of the 1823 The Etiquette of the Ball-Room by A Gentleman briefly mentioned that they were danced at the most prestigious London venue, Almack's Assembly Rooms:
Figure 5. Original Payne's Quadrilles, third edition
Image © BRITISH LIBRARY BOARD, h.925.w.(18.) ALL RIGHTS RESERVED
Payne's First Set of Quadrilles
We've discussed the introduction of the First Set of Quadrilles in a previous paper. The figures of Payne's First Set (see Figure 5) went on to be danced in most Quadrilles for the rest of the 19th century. Payne published his First Set of Quadrilles no later than 1816, probably in 1815. An advert in The Morning Post (21st September 1816) mentioned the existence of his 4th Set of Quadrilles, the first three were published at some point before that date. The 1816 advert in Figure 3 hints that he had taught Quadrilles for perhaps a year before that date, though once again, the absence of references in A New Companion to the Ball Room hints that they weren't in his 1814 repertoire (unless he considered the Quadrille to be a type of Cotillion, which is entirely possible, and perhaps quite likely).
The anonymous author of the 1823 The Etiquette of the Ball-Room reported that Quadrille dancing in England was muted during the wars with France:
Payne's First Set consisted of Le Pantalon, L'Été, La Poulle, La Trénise and La Finale; you can learn how to dance them here. It's not clear where Payne sourced his music and figures, but the origin myth that links them with the Frenchman Jean-Baptiste Hullin could be correct. Hullin published several works on Quadrille dancing in Paris, some of which feature figures similar to those of the First Set. For example, the figures to his c.1798 L'Elisé are very similar to those of Pantalon. Hullin's La Polimnie has similar figures to L'Été, and so forth. The British troops in Paris and Brussels are known to have danced Quadrilles, they may have brought a taste for them back to Britain; many early British Quadrilles had names themed around the 1815 Battle of Waterloo, they could have ultimately derived from the dances of Hullin.
In his 1818 Quadrille Dancer Payne mentioned that he had recently visited Paris, he implied that this is where he'd learnt the dances; other potential sources can't be ruled out however. For example, the London based dancing master Michael Kelly published his Eight French Country Dances c.1804. This collection of primordial Quadrilles was published before the term
I don't know if Payne was connected to Lady Jersey, but she is generally credited with introducing the First Set to Almack's Assembly Rooms (the foremost dancing venue in London) in 1815. It may be entirely coincidental, and she introduced the popular French Quadrille figures concurrent to Payne's teaching them in London; there again, perhaps she and her friends were taught, or rehearsed, by Payne; or perhaps Payne only published after they had been danced at Almack's. Either way, Payne's name became associated with the First Set.
As we saw in Paper 3, the Quadrille dance was known in London prior to the introduction of Payne's First Set, but they didn't receive wide recognition until 1816. A report of Lady Heathcote's Ball in The Morning Post (22nd July 1816) reads
It's an odd coincidence that one of the Orchestra leaders at the fashionable Almack's Assembly Rooms was the similarly named James Paine. Paine went on to publish his own First Set of Quadrilles in 1816, or later in 1815, using (effectively) the same figures as Payne. Payne and Paine independently published numerous Quadrille Sets, their individual identities were frequently confused by both contemporary and subsequent commentators. The potential for confusion is quite obvious,
As an example of the confusion, consider the witty
Figure 6. Four sets of Payne's Quadrilles, c.1815-1817
Image © BRITISH LIBRARY BOARD, h.925.aa.(13.), h.925.aa.(14.), h.925.c.(5.), h.925.c.(6.) ALL RIGHTS RESERVED
Payne's Quadrilles
The Edinburgh based dancing master Barclay Dun wrote in his 1818 A Translation of Nine of the Most Fashionable Quadrilles that the Quadrilles
Payne published 10 Sets of Quadrilles before his untimely death in 1819. His 4th Set was published in 1816, and the 9th and 10th Sets were both published in 1818. He also published two books on Quadrille dancing, the 1816 Quadrille Instructor (advertised in The Morning Post, 21st September 1816), and the 1818 Quadrille Dancer (advertised in The Morning Post, 11th March 1818, see Figure 8). I've not located a copy of the first work, but suspect an unidentified work in the VWML might be this lost publication. Payne's first 6 Quadrille Sets each had a unique set of figures, but his 7th Set of Quadrilles reused the same figures as his 2nd Set; it's possible that the later Sets similarly reused earlier sets of figures, if so, that's a pattern that's also seen in the works of Joseph Hart.
Payne also published a
It's notable that Thomas Wilson, another Regency era dancing master, also published a work called the Quadrille Instructor in 1816, and went on to publish a Quadrille Fan c.1819. It's likely that Wilson was inspired to follow Payne's lead. James Paine also published a Quadrille Fan in 1817. Payne went on to emphasise that his Quadrille Fans
Payne's 1817 adverts emphasised his role as
If the art of Dancing has been improved by rule, or extended by variety, the Author of this work, by study and taste, will be found to have contributed largely to both. The increased and increasing estimation in which the elegant accomplishment of dancing is held, is in a great degree to be attributed to the present knowledge of Quadrilles, which he was the first to publish with their proper figures in French and English, and directions to each dance as performed at the assemblies of the Nobility.
He repeated this claim in his 1818 Quadrille Dancer indicating
Payne, along with many of his contemporaries, allowed the figures of his Quadrilles to be sold as miniature cards. Dancers could purchase a collection and carry them with them to a Ball, using them to remind themselves of the figures. A later set of such cards can be seen at the website of Cowan's Auctions. This example combines all 10 of Payne's Quadrille Sets, together with examples from James Paine and others. The cards generally measure an inch by two inches (or thereabouts) in size, and can be carried in a reticule for use at a Ball. At least 5 editions of the cards were printed, based on an advert in Payne's 1818 Quadrille Dancer.
Figure 7. An unofficial edition of Payne's 3rd Set. Image © BRITISH LIBRARY BOARD, h.925.aa.(12.) ALL RIGHTS RESERVED
If Payne's Quadrille cards and other publications are included, he claimed that
Most of Payne's official works were published through Birchall's Music Shop, though some were published through C. Christmas's Opera Music Saloon. Figure 7 shows what was probably a rogue edition of Payne's 3rd Set of Quadrilles published by Mitchell's Musical Library & Instrument Warehouses. This unofficial edition didn't promote Payne's Academy, it described the Quadrilles as being
A further example of Payne's Quadrilles being republished can be found in the 1st Set of the Favorite French Quadrilles, published in Edinburgh in 1817 for Nathaniel Gow. This collection reproduced Payne's 1st Set verbatim, note-for-note; the only difference being that Payne's Trenise was replaced with Gow's La Gertrude.
The following table lists the names of Payne's Quadrilles, as recorded in his 1818 Quadrille Dancer. He provided the names below in both French and English. In some cases there are minor differences compared to his earlier publications, such as the suffixed La Pastorale dance in his 1st Set, or alternate spellings of some of the words. His 10th Set was published after the publication of the Quadrille Dancer, I've not identified the names of those Quadrilles.
Payne's Quadrille Organ
Payne's 1817 advert in The Courier (2nd July 1817) advertised a new Quadrille Organ:
The Barrel Organ was, according to Wikipedia,
Figure 8. Payne's advert, The Morning Post 11th March 1818.
Image © THE BRITISH LIBRARY BOARD. ALL RIGHTS RESERVED. Image reproduced with kind permission of The British Newspaper Archive (www.britishnewspaperarchive.co.uk)
It's not clear how popular such mechanical instruments were, but Dancing Master Allen advertised a similar device from 1817 (The Morning Chronicle, 3rd December):
A perhaps similar device called a Cylindrichord was sold by Courcell from 1825. It was said that
Payne included a more verbose advert for his Organ in his 1818 Quadrille Dancer. It reads:
Mr. Payne, has the pleasure to announce to the Nobility and Gentry, that he has invented an Organ, which plays with the greatest precision a complete set of Quadrilles, without shifting the Barrel, having the effect of a Band; the Richness and Briliancy of its tones, and the admirable quality of keeping in tune, not only renders it a most valuable acquisition to the lovers of Quadrille Dancing, but also an elegant appendage to the Drawing-Room, possessing in its appearence something of the elegance and uniformity of a Cabinet Piano Forte. Barrels may be set which have an excellent effect; containing Spanish Dances, Waltzes, Country Dances, Sacred Music or the most difficult pieces, from the extent of scale, requisite to perform Quadrilles. This instrument is well adapted for the East or West Indies, its construction being so compact and solid, that it resists any Climate.
An Irish advert (Saunders's News-Letter 1st May 1818) mentioned that the organ
I've not found any further information on Payne's Organ, such as Patents, or the nature of his improvements, beyond what he announced in his adverts. At least two of his Organs remained unsold at the time of his death in 1819. An advert in The Morning Post (26th February 1819) advertising the disposal of Payne's assets mentions
Another dancing master, G.M.S. Chivers advertised his own
Payne's Death
Payne died either at the end of 1818, or the start of 1819, just as the Quadrille was rapidly growing in popularity. He didn't get to experience the full success of his dances. An advert in The Morning Post (26th February 1819, see Figure 9), announced the disposal of Payne's assets:
To Dancing Masters - to be Disposed Of by Private Contract, the Lease of the eligible Dwelling House, situate No. 32 Foley-street, Cavendish Square, lately occupied by Mr. Edward Payne deceased, together with the Academy for Dancing, which is attended by pupils of the first respectability, and promises to ensure a valuable connexion to a successor of ability. The House, and a spacious Assembly Room, are in excellent repair.
A month later The Morning Post (12th March 1819) reported the auction of Payne's academy. They describe it thus:
Figure 9. Disposal of Payne's possessions, The Morning Post 26th February 1819.
Image © THE BRITISH LIBRARY BOARD. ALL RIGHTS RESERVED. Image reproduced with kind permission of The British Newspaper Archive (www.britishnewspaperarchive.co.uk)
A subsequent notice in The Morning Post (8th June 1819) contains a message from Payne's mother:
Elizabeth Payne embraces the earliest opportunity of returning her sincere and grateful Thanks to the Nobility and Gentry, for the very liberal encouragement and support experienced by her Son, Edward Payne, late of Foley-street, near Cavendish-square, Dancing-Master, deceased. Mrs. Payne earnestly solicits all Persons having any Demands upon his Estate, to deliver her the particulars, that she may examine and discharge the same; and all Persons indebted to his Estate are requested to pay the amount to her.
Another dancing master called W. Payne described himself as a Professor of Dancing and Fencing in Salisbury in the 1820s (Salisbury and Winchester Journal, 27th January 1823); this new Payne may have been related to Edward Payne, and perhaps continued his legacy. He had a similar repertoire, including
Edward Payne's name continued to be associated with Quadrille dancing for decades to come, even if he was often confused with James Paine. He experienced a meteoric success in the 1810s, who knows what might have happened had he lived a little longer?
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AMAZING Luxurious South of Grand elegant European-Style Estate. Luxury restoration w/ expansion completed in 2013. The interior is stunning. Every room has been updated. Antique European lighting, hrdwd & stone flooring, elegant crown molding & ceiling medallions. Kitchen features high end appliances, designer cabinets & granite. Formal LR, DR, Office, Sunroom/Library just beautiful for entertaining. The 2nd level features 4 en-suite bedrooms inclusive of a master suite to die for, all baths updated and mstr. bath features marble, stone & beautiful closets. Commercial construction include's all brick exterior, steel roof rafters, 10"thick interior masonry walls & much more. Saltwater pool, Beautiful gardens, self-sufficient studio/pool house w/ kitchen & bath, heated drive & 4 car heated gar. You will not find anything like this in Des Moines.


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MP MOTORSPORT CONFIRMS 2010 EUROCUP & NEC CAMPAIGNS Race winning team MP Motorsport is delighted to confirm it will once again focus its participation in Eurocup Formula Renault and the Northern European Cup in 2010 having ordered three brand...
Race winning team MP Motorsport is delighted to confirm it will once again focus its participation in Eurocup Formula Renault and the Northern European Cup in 2010 having ordered three brand new cars from Renault Sport Technologies.
With Formula Renault championships across the world replacing the hugely successful FR 2.0 Tatuus chassis with the freshly designed Barrazi-Epsilon car from next year, MP Motorsport is already busy preparing for its introduction with an intensive winter testing programme throughout Europe.
The Dutch team has enjoyed good success in recent events with podium finishes at Germany's Nurburgring and in the Formula Renault NEC race meeting at Spa-Francorchamps in Belgium.
Now, the Oudenbosch-based squad is keen to hear from interested drivers who would like to discuss testing opportunities and also the 2010 race programme in two of the continent's most competitive one-make single-seater championships. Currently, MP Motorsport has lodged three entries for Eurocup and three more for the NEC.
"We're very keen to hear from any drivers interested in testing with us in Europe over the winter months, we have an intensive programme in place with a lot of running planned in Spain and Portugal to take advantage of the warmer weather", said MP Motorsport's Sander Dorsman.
"It's been a good season for MP Motorsport. We've had some great success with several podium finishes and now we're looking forward to the last Eurocup race of the season in Spain at the end of the month before embarking on our winter testing schedule."
Next on the calendar for MP motorsport is the final Eurocup Formula Renault race meeting of the season which will take place at Motorland Aragon in Spain over the weekend 24th/25th October.
-credit: mpmotorsport.nl


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Petal & Pray, 1 Preston Cottages, Park Road, Slaugham, West Sussex, RH17 6AQ
Lydia is a Brighton girl, born and bred. Well, Hove, actually. She moved to London as a student and although she and Andy had made a life for themselves in the big smoke, she had her heart set on marrying back home and had just the place in mind, Hotel Du Vin which sits just across from the pebbly shore Lydia knows and loves.
Both Lydia and Andy were keen to capture the essence of Brighton & Hove without being too cheesy, so after seeing the first design concept submitted to them, they made a decision there and then to use the brightly coloured beach hut motifs as the symbol of their wedding day. For those who don't know this stretch of coastline, the chirpy beach huts line Hove seafront and are completely synonymous with the area.
The design was used right throughout the wedding day from the Save the Date cards to the table plan. The out of town guests loved the idea and were excited to head down to the city for the occasion and the Brighton & Hove natives were chuffed that the couple had given a nod to the bride's hometown.
We know that Lydia and Andy had a wonderful day beside the seaside and a little birdy tells us that Mr & Mrs Jackson are making their way back down south with a bump on board to start their new life as a threesome. Massive congratulations and we can't wait to see pics of Baby Jackson!