Reinach believes that all Greek mythology, art and science grew out of the Greek folk-songs and folk-dances. According to him, the rhythm and melody of dance music changed in strict correspondence with the theme. All the sacred dances dedicated to Demetrius and Apollo, or to Aphrodite, were in legato form, graceful, melodious and full of color; on the other hand, those dedicated to Bacchus and Dionysos were of quicker tempo, syncopated style and less melodious. Reinach succeeded in deciphering the words and music of an ancient Greek dance song that was discovered in the ruins of the temple of Delphi. This was presumably danced at the Delphic festivals and is dedicated to Apollo. Since the cult of Apollo was widespread in Greece there were not a few dances dedicated and performed to this god. We are told that palm-leaves were given as prizes for the best of the Apollo dancers. Besides the artists who appeared either in sacred or classic dances, there existed in Greece a class of professional dancers called Heteræ. These were women of flirting and coquettish type. In our sense, they must have been a kind of _Varieté_ or professional social dancers. During the time of Pericles there were 500 Heteræ in Athens. Thus Sappho, Aspasia and Cleonica were trained to be Heteræ dancers. At one time in Greek history the Heteræ became a danger to the family. Aspasia was the mistress of Pericles until she became his wife. Being well educated, the Heteræ were women of attractive type and most of the great Greek thinkers, artists or statesmen felt the spell of their charm. Sappho called her house the ‘home of the Muses,’ where plastic beauty rivalled with poetry and music. The tragedy of Sappho has inspired many writers, ancient and modern, to immortalize her in their works, particularly the story according to which she sang and flung herself down into the sea. Performed by great celebrities the dances of the Heteræ were by no means vulgar, but lyric and suggestively sensuous. They were performed with garments or without, with floating veils and to the music of a flute. The dancers of this class used to give performances at their homes or in specially established gardens. All the Hetera dances were dedicated to Aphrodite and the ambition of the performers was to imitate the lovely poses of the celebrated goddess. According to most descriptions they resembled our past century’s _minuets_, _gavottes_ and _pavanes_.