Since the art of dancing had reached such a high degree of culture in Egypt it is evident that the people must have possessed a highly developed form of music. Though musical history denies the fact that harmony was known to the ancient civilization, yet the recent archeologic discoveries and hieroglyphic decipherings speak eloquently of the use of various instruments in a kind of orchestra, and there are frequent allusions to temple choirs of a hundred and more singers. Dr. Schliemann even believes that the Egyptians had their specific musical notation which was still in use by the Arabs when they came to Spain. It is only natural to believe that an art of such a high standard was taught in a school, as the technique that they evidence is the result of long and systematic studies. ‘It is very likely,’ a Russian archeologist writes, ‘that the Egyptian academy of music and dancing was connected with the temple of Ammon.’ It is evident that the Egyptians knew practically every choreographic rule and possessed a technique which our most celebrated dancers have not yet reached. Their mimic expressions are superb, as are their eurhythmic gestures and poses. Since the temple in Egypt united under its supreme patronage all the arts, it is only natural that dancing and music knew no other forms of expression, except the home. However, the court of Pharaohs played a big rôle in stimulating a secular style of dance, which the Greeks later performed in a modified form on their stage. Various inscriptions and sarcophagus bas-reliefs depict a corps of several hundred dancers that was maintained by the ruler. The Queen Cleopatra was so fond of dancing that she herself gave performances in a specially constructed hall, dimly lighted and richly decorated. Here she danced nude to her guests behind numerous gauze curtains, using constantly the effects of fused light produced by different colored lanterns. She had a well trained and beautiful voice and played masterfully on various instruments. Also, in connection with her dances, Cleopatra used heavy redolescent perfumes by means of which she put her audience into a ‘passionate trance.’ That the Egyptian dancers knew _pirouettes_, _fouetté pirouettes_, _arabesques_, _pas de cheval_, and other modern ballet tricks 5,000 years ago is proven by the dancing figures that can be seen at the sarcophagi at Beni Hassan. These figures illustrating ballet corps are usual. A common style of Egyptian dancing was the peculiar reverse movement of the two dancers which reached a rhythmic perfection, particularly in dances where many participated, that is absolutely unknown to our choreographic artists. Some dances show great architectural beauty in their pyramidic combinations. The use of the hands at the same time with the use of the legs is evidently more in keeping with a certain style and harmony of line, than that employed by our ballet or classic dancers.