The scene of Ready-to-Halt dancing after the defeat of Despair had been a mainstay of eighteenth-century illustrations—a space carved out in the first edition of Part 2 (1684) and inspiring subsequent generations of artists. But in the early nineteenth century, the prevalence and prominence of this topos began to drop off conspicuously from English-language editions. Most newly produced sets of illustrations excluded the scene, and editions of The Pilgrim’s Progress that combined the work of various illustrators usually found ways of avoiding the homey hootenanny. As even some contemporary readers recognized, something was lost when this feature of the “old editions” was discarded. But illustrators became almost invariably unwilling to depict this scene, partly, I argue, because Ready-to-Halt had become incompatible with new ideas of “progress.” He had “footed it well” enough for Bunyan’s early readers, but Ready-to-Halt proved out of step with a new time. If, as Nathalie Collé-Bak has suggested, the history of illustrations for The Pilgrim’s Progress can tell us about the values and ideals of a given historical period, then the displacement and disappearance of the rowdy Ready-to-Halt can offer some insight into both the cultural status of Bunyan’s theology and into changing attitudes toward disability—and perhaps the relationship between these overlapping developments.