Walsh, 1718. Interpreted by Andrew Shaw 2017
Longways, duple minor proper
Tune: Apollo and Daphne

AI 1-4 Facing centre, all set forward R. and L., then turn S. towards nbr. back to 
       place, slightly more than once round, finishing facing out.
A2 1-4 Nbrs. lead out (3 steps, turning on 3), lead back (3 steps) and turn S. away 
       from nbr. to place (6 steps).
BI 1-2 Ist cpl. cast down into 2nd place, 2nd cpl. meeting and leading up 
       into Ist place. 
   3-4 Ist cpl. lead down through the cpl. below and cast back, 2nd cpl. moving up 
       outside the cpl. above and leading back, Ist cpl. moving directly into 
   5-8 Ist cpl. figure 8 up through 2nd cp]..
B2 1-4 Hands 4, circle L. once round. 
   5-6 Ptns. back-to-back. 
   7-8 Ptns. 2-hand turn once round. 

Video: https://www.youtube.com/watch?v=EgNj426SxNk

Note on the dance:
Apollo and Daphne and Flora and Phaon are the first two dances in this Walsh collection and form part of a group of 15 dances, mostly named after the gods, goddesses, heroes and heroines of Greek and Roman mythology. They are the only dances in this collection of 355 dances not previously published in the 16 edition of The Dazzcing-Master by Pearson and Young in 1716 and are presumably the dances referred to by Walsh in his Note at the foot of the Alphabetical Table that “The Masquerade Dances are contain'd in the first Section” - having promised on his title page, “Great Variety of Dances, both Old and New; Particularly Those performed at the several Masquerades”. Eight of the dances are newly published and include the two dances in this book and Coridon and Phillis in Rebecca King's Nearer & Farther {California, 2014, p.14); the other seven are from Nathaniel Kynaston's annual collections for 1716 and 1717, all under new titles, and include The Laughing Vicar, also in this book, and Love in a Hop-Yard, Kind and Easey and The Merry Conclusion from my earlier books.

Note on the tune:
Lads and Lasses, published by William Pearson and John Young in The Dancing-Master … The Third Volume, [1726], and by John Walsh in The New Country Dancing Master 3d Book, [1728], sets a different figure to the same tune.