After à [bastanza] in the preceding Rules of the former Part has stated yes the names,& the [essenti] of all the actions& movements that expect to the man& to the Donna, in the use [de] the Dances, like [eziandio] the [creanze], that to [amendue] any the same are worthwhile; come to rest us hour in this second treated à from beginning to teach like said Dances more easily could learn.

I SAY [adunque], that [volendosi far'] the present Ballet, you are had to know, [ch'egli] has divided into five tempi. Four [de'] which one gravi [dimandano];& the fifth expects the sciolta of the sonata. However in the first tempo the man& the Donna has (placing themselves to the face the Ono of the other, like you prove in the preceding sketch) from become the grave Riverenza with the left foot,& after her, two gravi Continenze, a with the left foot to the left side;& the other with the right foot& to the right side; which made [graziosamente], they will become two Puntate, the one from now on,& the other in behind;& two Seguiti [fiancheggiate], the one to the left side, the other to the right; after these, they will become two Seguiti volti to the left, of the elegant [de'quali] is had to bend the knees a little bit, like is the feet, that is, the left in behind,& in right from now on. Then with the same left foot one à [principiano] do other two Seguiti volti to the right, without bend the knees, like is been made of above; & said two Seguiti volti at one o'clock& the other hand, has to become like becomes the volte of the Dance called Contrapasso. The that fact, to the face becomes two spezzati seguiti in behind [fiancheggiati], [principiandoli] with the left foot,& three Riprese with the left side from now on; then two other spezzati Seguiti, [principiandoli] with the right foot, does them with the same in behind;& three other Riprese with the right side from now on.

In the second tempo, the Man clasps the Donna for the left hand,& walking together, they become two gravi Puntate, two Passi,& a Seguito, beginning with the left foot: the same fa beginning with the right foot:& release the hand, they become the same time of the Contrapasso, like has told of above. They the face becomes the aforesaid two Seguiti spezzati fiancheggiati in behind with the three Riprese with the left side from now on; The same steps beginning with the right foot as above.

In the third tempo, the right hand is clasped,& has two gravi Puntate, the one with the left foot, the other with the right: then is let tells hand [voltandosi] with two seguiti a the left hand, beginning with the left foot, cambiando place;& [ritrovandosi] meets in the last Seguito, they have themselves two gravi Puntate, the one from now on with the left foot,& the other in behind with the right, with two Seguiti [fiancheggiati], facendo the Above said volte of the Contrapasso, with them two Seguiti spezzati [fiancheggiati] in behind, beginning with the left foot,& three Riprese with the left side from now on; then two other spezzati Seguiti, beginning with the right, does them in behind likewise, [e'] three other Riprese with the right side from now on.

In the fourth tempo, you are had to clasp the left hand,& do the same that is been made to the right, however lets says hand, is had to turn à right hand with them two ordinary Seguiti.

The face at the same time [far'] is had to the Riverenza gravi, then for right-hand line, four spezzati Seguiti, exchanging place; the last Seguito is had to turn to the left,& for find to the face. From now on they become two Seguiti spezzati [fiancheggiati] then,& gravi Trabuchetti three beginning with the left foot: then other two spezzati Seguiti & Trabuchetti three with the right foot. That done, you are had to return à do the volte of the Contrapasso,& to the face two Seguiti spezzati [fiancheggiati] in behind& three riprese [preste] with the left side from now on; The same will become beginning with the right foot. Then the man, returning à clasp the Lady in order to the ordinary [man'], [ch'è] the left hand, he has to place her at head to room, standing [ouero] where more he will like [e'] will return comfortable, [facendosi] at the same time Reverence; the made [qual], doesn't come to rest you other, that being the purpose of the Balletto.

The first tempo of this Cascarda, one [principia] remaining the people, as you show the sketch, [facendosi] to the face the minima Reverence with the left foot,& one Scambiata the stem foot: after he in wheel becomes in passeggio, that is two spezzati Seguiti,& an other facing the left,& the Cadenza with the right, [ritrovandosi] face, and doing one Puntata from now on with the left foot, that is in order to side,& the other in behind: turning an another spezzato Seguito to the left,& doing the Cadenza come of above.

In the second tempo, continues said passeggio in wheel, doing four other spezzati Seguiti,& two Scambiate, the one to the left, the other to the right,& [amendue] to the face. They are returned à afterward do two Puntate, the one from now on,& the other in behind, turning a Seguito spezzato to the left with the Cadenza like of above,& [avertendo] of always find to the face in the purpose of said Cadenza.

In the third time, the solo man has then from do two passi presto from now on& the Cadenza, beginning with the left foot,& the same will do with the right foot in behind; he then will follow doing four Trabuchetti, [e'] these begin with the left foot with a spezzato facing Seguito the left,& the Cadenza with the right foot to the face. Then they have to do [amendue] two Puntate the one from now on,& the other in behind to side,& an other spezzato facing Seguito the left,& the Cadenza, like of above.

In the fourth tempo, the same she afterward has to do the sola Lady,& they together have to return à do the said Puntate,& the turned Seguito, like of above.

In the fifth tempo, they will become the at the same time face four Trabuchetti, beginning with left foot;& a Doppio soon to the left side:& the same will do to the right, beginning with the right foot,& doing two Puntate together with the spezzato facing Seguito the left,& the Cadenza with the right foot, like of above.

In the sixth time, they will become at the same time [pur'], two Riprese, two Trabuchetti,& a Doppio presto to the left side, beginning with the left foot:& the same [farassi] to the right side, beginning with the right foot:& repeating the said Puntate from now on, then in behind, with a Broken facing the left,& the Cadenza with the astute: then coming to rest the people to the face in the purpose of him, like they find in the beginning; they will be able to [graziosamente],& à tempo of the sound, do elegant à said Cascarda:& after out of the saying plays will do the Riverenza minima.

Being the people [al'incontro], like they show the figures, they have to clasp [amendue] the hands;& with the foot left at the same time [far'] the Riverenza,& two Continenze the one with the left foot,& the other with the right; then [lasciandosi], they have [pur'] at the same time à do two seguiti ordinarii [fiancheggiati],& two Trabuchetti gravi to face, with two riprese to the left side, [principiandole] with the left foot;& in front of he becomes the same, beginning with the right foot; after they become two seguiti spezzatti from now on, clasping the [man'ordinaria], that is the man with his right hand clasps the left hand of the Lady, at the same time [facendosi] the Riverenza gravi.

In the second tempo, walking, they become four Seguiti ordinarii, beginning with the left foot, with two Puntate,& two Passi gravi,& a Seguito; the same fa beginning with the right foot, two Trabuchetti gravi,& the riverenza, as above.

In the third tempo, the [fé] is clasped right-hand, doing two gravi passi,& two spezzati Seguiti,& [lasciandosi], turns [ranno amendue] to the left hand,& they will do the same changing place, however [ritrovandosi] to the face: after he to the left side becomes a spezzato with the left foot,& the Riverenza minima with the right foot: like à Barriera, then with the same foot is had to turn to the right side with the waist, doing an other Seguito spezzato with the same foot,& the Riverenza minima with the left foot, with do four passi gravi [fiancheggiati] in behind, like the said ballo di Barriera, with two seguiti ordinari faces to the left,& other two [fiancheggiati] to the face, with two gravi Trabuchetti,& the serious riverenza, like above.

In the fourth tempo, clasping the left [fé], becomes the same that is been made with the right, but they are had to turn to the right-hand, returning each to his place,& [ritrovandosi] to the face.

They in wheel become four seguiti spezzati with four Trabuchetti presti meets, beginning with the left foot, also turning two seguiti spezzati to the left,& from now on becomes an other spezzato seguito with the left foot,& the riverenza minimum with the right foot, like of above, clasping the right [fé] in that [instante]; after with the same foot that is been made the riverenza, becomes an other seguito from now on to the right side, with the right foot,& clasping the left [fé], he becomes the riverenza minima with the left foot,& meets becomes two riprese, with two Trabuchetti, & a spezzato facing seguito the left,& the Cadenza with the right foot: [ritrovandosi] to the face, they back become two passi [fiancheggiati], like à Barriera,& an ordinario seguito from now on: you after the man clasp the [man'ordinaria] of the Lady, that is the left hand, places it where good you return him comfortable, yes in head, like standing to Room: then doing the riverenza together, the Balletto is finished.

The man in this Ballet has to clasp her Lady for the [man'ordinaria], that is for the left, like he is had in the sketch, doing at the same time riverenza minimum, with two continenzes, then walking, they are had to do four ordinario seguiti; with the bend the knees in the purpose of the last seguito rather, à way of half riverenza;& releasing the hand in that [instante], they are had to do two seguiti faces to the left hand; with an other seguito from now on with Trabuchetti three meets,& two Puntate, the a from now on,& the other back,& the grave riverenza together.

In the second tempo the only man has then to do two seguiti [fiancheggiati] in behind with two passi gravis [fiancheggiati],& other two presti from now on likewise [fiancheggiati],& a Trabuchetto with the left side for inside à equal foot in point of feet slightly, beginning with the left foot. The same is had to [far'] an other time beginning with the right foot. Then they together turn two seguiti a the left, [scorrendone] an other, with the touch the right [fé],& do riverenza minimum with the right foot. The same is made turning to the right hand, begin they two seguiti with the right foot, but however doing the riverenza minimum with the left foot,& touching the left [fé].

In the third time, the Lady has to [far'] the same that the man has done,& they together become the two seguiti with the other said things.

The right [fé] is clasped doing two spezzati, with two passi presti, [e'] the Cadenza. Clasping the left [fé] then, becomes the same, beginning with the right foot. They to the left become two riprese, two Trabuchetti, a spezzato to the left side with the left foot,& riverenza with the right foot: the same becomes to the right side, beginning with the right foot,& doing the spezzato with the same foot,& the riverenza with the left foot; in behind they become two passi [fiancheggiati trangati],& two other presti from now on,& the Cadenza, beginning with the left foot. The same becomes beginning with the right foot; after they together turn two seguiti spezzati to the left,& other two if any makes meets, with two passi presto from now on& the Cadenza, beginning with the left foot.

The man solo does a [mutanza] of the said called Ballo the Canario, that is two tempi, with four passi [schisciati] in behind;& they together become two spezzati faces to the left,& clasping the right [fé], if they flow four other of it changing place; they to the face become two passi presto,& the Cadenza, beginning with the left foot. The woman does the same [mutanza] that the man has done, with the retired [istesso]; after they are returned à do two other seguiti spezzati faces to the right, other [scorrendone] four clasping the left [fé], returning [ognun] to his place: To the meets becomes two seguiti spezzati at the same time [fiancheggiati], with two passi presti,& the Cadenza, giving the Lady a battuta with both the hands upon the hands of the man; the same does him; after they devote themselves three other battute, begin to the left hand, to which he is had to finish,& he to each battuta is had to do a Trabuchetto, [principiandolo] with the left foot: the man clasps the [man'ordinaria] of the Lady then, at the same time [facendosi] the riverenza,& the laying two more you return it comfortable;& the Dance is finished.

The MAN in this Ballet has to clasp the Lady for the ordinario [man'], that is for the left, like he is had in the sketch, doing at the same time grave riverenza, with two continenzes; then walking has to do two passi gravis,& an ordinario seguito, beginning with the left foot; the same becomes beginning with the right foot,& following said walks, they are had to do two other seguiti,& à [quel'] last seguito bends over the à knees way of half riverenza a little bit: they Then are released, à [voltandosi] left hand,& doing two other seguiti;& they to the face become two puntates, the one with the left foot from now on, the other with the right back,& a grave riverenza.

In the second tempo, they become at the same time two seguiti [fiancheggiati] from now on,& a passo with the left foot to the left side,& touching the right [fé] they do the riverenza minimum with the right foot together: after with the same right foot, becomes an another goes on to the right side, touching the left [fé]; then doing riverenza with the left foot in behind, they become other two seguiti [fiancheggiati],& two other faces to the left, [ritrovandosi] meets.

In the third tempo, the right [fé] is clasped doing two passi,& a seguito, then is released,& changing place they become two spezzati faces to the left,& Trabuchetti three facing. The man has to [far'] a [mutanza] of the Dance called passo e mezzo, which you will see in this volume: the [mutanza] is this; two passi in gagliarda,& the Cadenza;& said passi,& Cadenza, they become four turns, but [fiancheggiandosi] always: done [cha] four Times, he has to do two Campanelle, one in behind,& the other from now on, with two Fioretti from now on,& other two [fiancheggiati]; he then becomes a Trabuchetto to the left;& lowering the right foot, asked in air; you are jumped them feet with both slightly in point of feet. The [mutanza] of the Lady has to be such; she has to do two seguiti spezzati [fiancheggiati],& Trabuchetti three, [fermandocisi] a pause, that is a [puchetto]: the same will do beginning with the right foot: [avertendo], what a said [mutanze] has to be made together.

In the fourth tempo, the left [fé] is clasped,& returns each to his place, doing the same so much [mutanza] the man, as the Lady.

In the fifth,& last tempo is clasped the hands, doing two riprese in wheel,& two Trabuchetti; the same becomes an other time always to the left side,& releasing the hands, they become two seguiti spezzati faces to the left,& Trabuchetti three facing, beginning with the left foot; is returned à then clasp the hands, doing the same to the right side,& begin with the right foot,& [voltandosi] to the right. After they to the facing become two seguiti ordinario [fiancheggiati] from now on,& clasping the ordinario [man'], if they do some other two, doing a puntata from now on,& an in behind. Then the man placing the Lady they do the riverenza together,& they will finish the Dance.

The left hand of the Lady is CLASPED, like the figures of the Ballet Austria Gonzaga are, at the same time [facendosi] the riverenza,& two continenza. though time this Ballet is correct,& becomes without the riverenza, and continenzes, the that he makes it unsightly to view; tans be, that like in the Rules has told; Each Ballo that one [principia] without do riverenza, he is fails:& the reason is, that always one two in order to [creanza] greet the Lady,& revere her the that not [facendosi], it is gesture of big of discourtesy,& you scorn chin of the gentle Lady with which he becomes the Ballo: however extorted each noble mind& well à creation make tells riverenza,& continenzes, which sorts, l only man has to continue with the Dance with the behavior two puntates from now on [fiancheggiate],& in behind three seguiti spezzati [fiancheggiati],& a Trabuchetto à hand right à foot protects [leggier] lies in [puta] of foot. E' the same will do the Lady.

In the second Tempo, à is returned clasp the Lady for the ordinario [man'],& [passegiando], they become two ordinario seguiti& at the end of the second is had to bend the à knees ways of half riverenza a little bit& [lasciandosi], one has of go to head from room,& the other has to remain standing doing two seguiti turned à left hand.

In the third tempo, to the face the man solo has to do two seguiti spezzati [fiancheggiati] from now on, with two riprese& a Trabuchetto à pari piè slightly in point of feet, with the left side for inside: after they are had to do two other seguiti spezzati [fiancheggiati] in behind, beginning with the right foot,& Trabuchetti three, [facendosi] the last à pari piedi: the same has to do the Lady.

In the fourth tempo, they together have to [far'] a seguito, the man from now on,& the Lady in behind, beginning with the left foot: the same has to her do from now on,& he in behind; the man then has to turn two ordinario seguiti to the left,& the Lady has to other [farne] two from now on, clasping the left hand of the man.

In the fifth tempo, the only Lady has to do what in the beginning of the Dance the only man did, that is two puntates from now on [fiancheggiate],& three seguiti spezzati [fiancheggiati] back, [co] a Trabuchetto à hand right à pari piè slightly in point of feet together with all the other actions& ceremonies that did together. That fact, is had to clasp the right [fé],& do two passi presti,& the Cadenza like to the Cascarde, beginning with the left foot,& clasping the left [fé]: the same is had to do beginning with the right foot: then to the face will become two seguiti spezzati with the left foot [fiancheggiati], with two passi presti,& the Cadenza: that is the man will do him from now on,& the Lady in behind; [e'] the same will do [principia] doli with the right foot, that is the Lady from now on, [e'] the man back:

They in the sixth tempo will become four seguiti spezzati in wheel, beginning with the left foot:& then the Lady has to [voltarne] two other to the left,& the man has to other [far'] two of it from now on, clasping the Lady for the left hand,& doing two puntates, one from now on,& the other in behind: then with the riverenza has [graziosamente] to finish said Ballet.