New York, Public Library, Dance Collection, MGZMB-Res, 1486-507
also Siena, Biblioteca Communale, L.V. 29 (lines 3370-89): Paris, Bibliotheque Nationale, Ital. 476; Paris, Bibliotheque Nationale Ital. 973; Firenze, Biblioteca Nationale Centrale, Magl. XIX 88; and Firenze, Biblioteca Lauentiana Antinori 13
“balo chiamata pettirose in dua e conposto per mesere domenicho da ferrara. Inprima sedici tempi di piva chomincando chol pie mancho e fermin si. poi l’uomo faca uno schoseto. e la domna gli risponda. poi l’uomo fa ca una volatondo chon un paso dopio chomincando chol pie mancho. poi la domna facioa uno choseto e l’uomo se risponda e la domna facia una voltatonda chon un paso dopio chomincando chol pie mancho. poi si piglino per mano et faccino tre passi doppi cominciando col pie mancho et per ogni passo doppio si tirino indietro col pie ricto et poi col pie mancho et poi si fermano. E l’uomo e l’uomo dia mezavolta. Tanto che restino al chontrario l’una del’altra poi facino dua tenpin di salterelo coe che ‘l primo tenpo vadino di lungho e l’altro si vadino a tochare la mano. Ce e finite poi la rifacino un’altra volt da chapo e la domna vadia innanzi al’uomo.”
Music A (16 measures of piva) B (4 measures of quadernaria) BD (4 measures of fast bassadanza 6/8) C (2 measures of salterello)
For couples
A 16 piva (start left)
B (Man, lady) schosso; (man) quick turn left
…………(lady, man) schosso; (lady) quick turn left
BD Double left forward, single right & left (backwards) repeat three times (holding hands)* last one man does a mezavolta.
C 2 salterelli (left, right) each moving in a circle over their left shoulder such that when they touch hands at the end they have changed orientation so lady is the leader*
Repeat again so man is returned to leader position
*There are many ways to interpret the saltarello figure but the heart circle ending facing back along the direction of travel so the lady is now leader was increasing popular in the late 1470’s and seems a better choice than random saltarelli up and down the line. NYP and other sources prefer change in direction by choreography with lady in leader’s place to her going first from her normal position. See Amoroso and other dances. Many latter dances use the choreography to change orientation for the repeat. See dances for three such as La Gratioso. Even earlier Ebreo dances such as Grazioso & Collonese have a coda section with wording that easily interpreted as a heart or circle shaped change of direction for the repeat with the lady in the leader’s position.