St. Martin's Lane, triple minor longways
1696, reconstructed by Christine Helwig 1995. (Barnes)
2/2, Gm - counts in beats!  The B part is 19 bars!

A1:  1-4:  M1 casts to second place (M2 moves up)
    5-12:  M1 and W3 turn two hands once round and
   13-16:  m1 casts back to original place (second gentleman moves down).

A2:  [Same as A1 but on the woman's side]
     1-4: W1 lady casts to W2s place (W2 moves up);
    5-12: W1 and M3 turn two hands once round and 
   13-16: W1 casts back to original place (second lady moves down).

B   1-4: 1s lead down the center (couple 2 move up);
   5-16: 1s and 3s dance a full double figure of eight, 
         1s crossing down and casting up  to start WHILE 
         couple 3 cast up and cross down to start.
  17-28: Then 1s and 2s full figure 8, 1s
         crossing up and casting down  to start WHILE 
         couple 2 cast down and cross up to start.
  29-38: When these couples are back to progressed place, everyone turn
         partner once around with both  hands and fall back.


NOTES:

According to Richard Semmens in "Music and Letters" (vol 78, no 3);
http://www.jstor.org/stable/737425 this tune - which appears in substantially
similar form as a first act tune in Purcells "The Virtuous Wife" - crossed 
the channel and was known 
in France as La Furstemberg, possibly after Mlle Anne-Marie-Louise, Comtesse de
Furstemberg, who was a noted enough dancer to have been asked to perform at
the ball celebrating the marriage of the Duc and Duchesse de Bourgogne in
1697.   Then the dancing-master Pecourt wrote "La Contrefaiseurs" in 1702.  In
Phillidor's 1712 collection, it's La Furstemberg.
 In 1729, John Gay used the tune as "St. Martin's Lane" in "Polly", a
sequel to the Beggar's Opera.