Of all living Oriental races the Arabs show the most innate instinct for dancing. Judging from the ruins of the architecture that the Moors have left in Spain we can see that they knew more than the mere elementary rules of æsthetic line and form, which is the very essential of a dance. The ruins of the majestic Alhambra speak a language that fills us with an awe. No architects of other races, either dead or living, have reached that harmony of line which is plainly visible in this structural masterpiece of humanity. Since, according to the views of all æsthetic psychologists, dancing and architecture develop as allied arts, the Moors must have developed a high degree of dancing in the Middle Ages, when the rest of the world was shaken by barbaric wars and ruled by ecclesiastic fanaticism. However, the Mohammedan religion prohibits painting and sculpture, therefore we find no frescoes or decorations in the walls of the Moorish castles or Mosques that could give an idea of the style and perfection of the dancing that was taught in Cadiz. The Greek and Roman writers allude frequently to the fiery and passionate dances that were exhibited by the graduates of Cadiz, ‘which surpassed anything the people had seen before.’ We know that the Moors taught dancing to their boys and girls alike. Furthermore, we know that their dances differed distinctly from those of the Greeks and Egyptians. The dancing teachers at Cadiz emphasized agility of legs, softness and grace of the body and a vivid technique of imitation. Passion was the principal theme of their feminine dances, and was expressed with the technique of virtuosity. It is said that the Califs of Seville kept a staff of fifty trained dancers at their court.