(_c_) When night had fallen there followed the procession, in which the bride was escorted from her father's house to that of the bridegroom, a procession described in one of the most splendid of the poems of Catullus.[93] Torch-bearers and flute-players led the way, and the wedding train was accompanied by a crowd, the boys in which chanted rude jesting verses and petitioned the bridegroom for nuts.[94] When the doorway of the house was reached, the bridegroom carefully lifted the bride over the threshold, that there might be no ill-omened stumbling. "Carry the gilded feet across the threshold," sings Catullus, "that the omen may be favourable." This moment is illustrated by a scene from a Roman comedy (No. =54=), taken from a lamp exhibited on Table-Case K (see above, p. 28, fig. 17). The bride is being carried on the back of a man, while a Cupid waits at the door to receive her. Within the house she received a gift of fire and water, elements so necessary to the performance of the housewife's duties, and on the day following the wedding she did sacrifice at her husband's altar. (=635=) _Cat. of Vases_, III., E 774; Furtwängler and Reichhold, _Griech. Vasenmalerei_, I., pl. 57 (3); (=637=) _Cat. of Vases_, II., B 485; (=638=) _Cat. of Vases_, III., D 11; _Ath. Mitt._, XXXII., 1907, p. 80 ff.; (=639=) _Cat. of Rings_, 276; (=640=) _Cat. of Sculpt._ 2379; (=641=) _Journ. of Hellenic Studies_, XXXVI., p. 85. See also Daremberg and Saglio, s.v. _Matrimonium_. [Footnote 89: Theocr. ii. 17: [Greek: iunx, helke ty tênon emon poti dôma ton andra]. ] [Footnote 90: Cf. Aristot. [Greek: Ath. Pol.] 3, 5; Dem. _c. Neaer._, c. 76; Mommsen, _Feste d. Stadt Athen_, p. 393 ff.] [Footnote 91: See _Jahrb. d. arch. Inst._, 1900, p. 144 ff.] [Footnote 92: _Mon. dell' Inst._ iv., pl. 9.] [Footnote 93: No. lxi.] [Footnote 94: _Ibid._, l. 131 f.] XXV.--MUSIC AND DANCING. (Wall-Cases 54-56.) =Music.=--The Greek term [Greek: mousikê] (music) included much more than we mean by music. It was applied to the education of the mind as opposed to [Greek: gymnastikê] (gymnastics), the education of the body. In the narrower sense, however, it corresponded to the modern term, and to this the Greeks from early times attached a high importance. It was the effect of music upon the character which appealed to them above all things, and it was this which caused Plato to banish from his ideal state certain modes of music which would, he thought, be injurious to its well-being. These modes or "harmonies" were named after race-divisions. We find the Dorian, the Aeolic, the Ionic, the Lydian, and the Phrygian. The Dorian was universally approved for its manly qualities, but Plato rejected the Lydian as useless and effeminate.[95]