Footnote 18: The dance of the Seises in Seville Cathedral is evidently of great antiquity, though it was so much a matter of course that we do not hear of it until 1690, when the Archbishop of the day, in opposition to the Chapter, wished to suppress it. A decree of the King was finally obtained permitting it, provided it was performed only by men, so that evidently, before that date, girls as well as boys took part in it. Rev. John Morris, “Dancing in Churches,” _The Month_, December, 1892; also a valuable article on the Seises by J. B. Trend, in _Music and Letters_, January, 1921. Footnote 19: See, for references, Havelock Ellis, _Studies in the Psychology of Sex_, vol. III; _Analysis of the Sexual Impulse_, pp. 29, etc.; and Westermarck, _History of Human Marriage_, vol. I, chap. XIII, p. 470. Footnote 20: At an earlier period, however, the dance of Salome was understood much more freely and often more accurately. As Enlart has pointed out, on a capital in the twelfth-century cloister of Moissac, Salome holds a kind of castanets in her raised hands as she dances; on one of the western portals of Rouen Cathedral, at the beginning of the sixteenth century, she is dancing on her hands; while at Hemelverdeghem she is really executing the _morisco_, the “_danse du ventre_.” Footnote 21: For an excellent account of dancing in India, now being degraded by modern civilisation, see Otto Rothfeld, _Women of India_, chap. VII, “The Dancing Girl,” 1922. Footnote 22: I may hazard the suggestion that the gypsies may possibly have acquired their rather unaccountable name of Egyptians, not so much because they had passed through Egypt, the reason which is generally suggested,—for they must have passed through many countries,—but because of their proficiency in dances of the recognised Egyptian type. Footnote 23: