Although the mad performances of bacchanalians and dervishes are recognized as unhealthy, civilized peoples in Europe since the fifteenth century have developed and practised dancing as an art in two directions--first, as a popular amusement in which definite combinations of graceful movements are performed for the sake of the pleasure which the exercise affords to the dancer and to the spectator, and secondly, as carefully trained movements which are meant by the dancer vividly to represent the actions and passions of other people, and are exhibited by specially skilled performers on a stage. The first kind is what we call "country dances," "popular dances," also "Court and ball-room dances," and has been commended by the philosopher Locke and other writers as a valuable training for both mind and body, and by physicians as a health-giving exercise. The second is "the ballet." In the dances of savages and primitive peoples, some kind of music is always found associated with dancing, the one helping and developing the other; they are descendants of one parentage. Very commonly, too, some kind of "acting"--the representation of a hunt, a fight, or a love adventure--is an important feature of such dancing. Modern popular and Court dances are intimately connected with and dependent on special music, the rhythm and variation of time and strength in which is, as it were, illustrated by the dancing, and serves to guide it and to keep the dancers in unison. The signification behind all such modern dancing is courtship--the addresses of the man to the woman, and her elusive reception or rejection of them. In the Cathedral of Seville, however, you may still see, at the festival of the Corpus Christi, a religious dance, a dance of worship and adoration, performed by acolytes in front of the high altar. In the early days of the Church such ritual dancing, by both old and young, was a regular thing, as it was in the still earlier religious ceremonies of the ancient Romans and in the time of King David.