like revelling Bacchanals; and the daughter of Leda directs them, the sacred leader of the chorus. Now bind up the hair, and leap like fawns; now strike the measured tune which gladdens the chorus.”(1604) Many points in this description remind us of the dances of the Laconian maidens at the worship of Artemis of Caryæ, which were animated and vehement.(1605) 9. We now come to the dances whose object was to express and represent some peculiar meaning. This was either some feeling (to which class almost all the religious as well as the theatrical dances belong) or some outward object; to which we may refer the mimic dances. To the latter, the Pyrrhic and the Gymnopædian dances belong, and to the religious, the Hyporcheme, which we treated of in connexion with the worship of Apollo.(1606) Of this description was perhaps the Bryallicha,(1607) a dance in honour of Artemis and Apollo, danced by women, or, as some assert, by men in hideous women’s masks, who at the same time sang hymns to the two deities.(1608) The name signifies a violent leap; and from what we can gather elsewhere respecting the character of this dance, it appears to have been irregular and licentious. How it agrees with the worship of Apollo, one does not exactly perceive, unless it is supposed that some fable in the history of that god was represented in a mimic style, which admitted of such irregularity. The worship of Artemis, however, had other forms which produced these licentious dances, as in Laconia itself the Calabis.(1609)