Aeneas, who escaped from the city carrying his father on his shoulders, led forth also his little son Iulus. It is this boy whom, in the fifth book of the poem, Virgil pictures as taking part with his companions in a sport called the _Ludus Trojae_ or _Lusus Trojae_ (Game of Troy), sometimes simply _Troja_. According to the Roman tradition it was introduced into Italy by Aeneas, and his son Ascanius imparted it to the Alban kings and through them to the Romans. The game consisted of a sort of processional parade or dance, in which some of the participants appear to have been mounted on horseback. Virgil draws a comparison between the complicated movements of the game and the convolutions of the Cretan Labyrinth: "Ut quondam Creta fertur Labyrinthus in alta parietibus textum caecis iter ancipitemque mille viis habuisse dolum, qua signa sequendi frangeret indeprensus et irremeabilis error." (_Aeneid_, V. 585-591). "As when in lofty Crete (so fame reports) The Labyrinth of old, in winding walls A mazy way inclos'd, a thousand paths Ambiguous and perplexed, by which the steps Should by an error intricate, untrac'd Be still deluded." (_Trapp's trans._, 1718.) The game is also mentioned as a well-established institution by other Roman writers of a century or so later, such as Suetonius and Tacitus, and appears to have assumed imposing dimensions at one time, as we see from a representation of it on the reverse of a medal of Nero, where it has more of the nature of a military review. It was generally performed by youths, and only those of good social standing took part. It will be remembered that we have already had occasion to notice another ancient dance, or game, in which youthful notabilities were stated to have taken part, and in which the motions of the dances were supposed to represent the tortuous paths of the Cretan Labyrinth, namely, the dance performed by Theseus and his friends on the island of Delos. This dance was called the "Geranos," or Crane Dance, probably on account of the fancied resemblance of the attitude of the dancers to that of cranes in flight, or perhaps on account of actual adornments of the dancers. (An eighteenth-century German traveller in Russia relates that the Ostiaks of Siberia had an elaborate Crane Dance, the dancers being dressed up in the skins of those birds.) Is there any connection between these two dances, both labyrinthine in character, the one traditionally based on the windings of the labyrinth of Knossos, the other compared by Virgil with the latter, but named after another city famous in ancient legend--to wit, Troy?