11. But in Crete both these, and the sacred rites of Jupiter in particular, were celebrated with the performance of orgies, and by ministers, like the Satyri, who are employed in the worship of Dionysus. These were called Curetes, certain youths who executed military movements in armour, accompanied with dancing, exhibiting the fable of the birth of Jupiter, in which Saturn was introduced, whose custom it was to devour his children immediately after their birth; Rhea attempts to conceal the pains of childbirth, and to remove the new-born infant out of sight, using her utmost endeavours to preserve it. [CAS. 468] In this she has the assistance of the Curetes who surround the goddess, and by the noise of drums and other similar sounds, by dancing in armour and by tumult, endeavour to strike terror into Saturn, and escape notice whilst removing his child. The child is then delivered into their hands to be brought up with the same care by which he was rescued. The Curetes therefore obtained this appellation, either because they were boys (κόροι), or because they educated Jupiter in his youth (κουροτροφεῖν), for there are two explanations, inasmuch as they acted the same part with respect to Jupiter as the Satyri (with respect to Dionysus). Such then is the worship of the Greeks, as far as relates to the celebration of orgies. 12. But the Berecyntes, a tribe of Phrygians, the Phrygians in general, and the Trojans, who live about Mount Ida, themselves also worship Rhea, and perform orgies in her honour; they call her mother of gods, Agdistis, and Phrygia,[714] the Great Goddess; from the places also where she is worshipped, Idæa, and Dindymene,[715] Sipylene,[716] Pessinuntis,[717] and Cybele.[718] The Greeks call her ministers by the same name Curetes, not that they follow the same mythology, but they mean a different kind of persons, a sort of agents analogous to the Satyri. These same ministers are also called by them Corybantes. 13. We have the testimony of the poets in favour of these opinions. Pindar, in the Dithyrambus, which begins in this manner; “formerly the dithyrambus used to creep upon the ground, long and trailing.” After mentioning the hymns, both ancient and modern, in honour of Bacchus, he makes a digression, and says, “for thee, O Mother, resound the large circles of the cymbals, and the ringing crotala; for thee, blaze the torches of the yellow pine;” where he combines with one another the rites celebrated among the Greeks in honour of Dionysus with those performed among the Phrygians in honour of the mother of the gods. Euripides, in the Bacchæ, does the same thing, conjoining, from the proximity of the countries,[719] Lydian and Phrygian customs. “Then forsaking Tmolus, the rampart of Lydia, my maidens, my pride, [whom I took from among barbarians and made the partners and companions of my way, raise on high the tambourine of Phrygia, the tambourine of the great mother Rhea,] my invention.