To this species of dance belonged, also, the Hecaterides, in which the performer interpreted his desires or passion by furious gestures of the hands. The Eclactisma was a female dance,[990] requiring the exertion of great force and agility, its characteristics consisting in flinging the heels backwards above the level of the shoulders. Corresponding, in some measure, to the Eclactisma, was the Skistas,[991] in which the dancer bounded aloft, crossing his legs several times while in the air. There was a dance, evidently of a very extraordinary description, which they performed to an air called Thyrocopicon,[992] or “knocking at doors,” possibly representing the frolics of such wild youths as anticipated the scape-graces of our own day. The Mothon was a loose dance, common among sailors; the Baukismos, Bactriasmos, Apokinos, Aposeisis, and Sobas,[993] were laughable, but lewd dances,[994] resembling the Bolero and Fandango of the Spaniards.[995] ----- Footnote 990: Poll. iv. 10. 2. Aristoph. Vesp. 1492. 1495, et Schol. Footnote 991: Poll. iv. 105. See, in the Mus. Cortonens. tab. 60, the representation of a group of dancers on a platform in a boat, on the margin of the sea. Footnote 992: Athen. xiv. 9. Footnote 993: Athen. xiv. 27. Footnote 994: On the character of the old comedy, which tolerated these dances, see Plut. Lucull. § 39. Demet. § 12. Pericl. § 5. Footnote 995: Poll. iv. 99. ----- The Heducomos was a dance expressive of the outbreaks of joy, and the Knismos,[996] represented the pinching, struggling, and quarrels of lovers. The Deimalea was a Laconian dance performed by Satyrs and Seileni, skipping and jumping about in a circle.[997] Another Spartan dance[998] was the Bryallika, of a ludicrous and licentious character, performed by women in grotesque masks, whence a courtezan at Sparta was denominated, Bryallika. The name of Hypogypones,[999] was bestowed on certain performers who imitated old men, flourishing their sticks about the stage, as we are informed they did in the play of Simermnos.[1000] Akin in spirit to these were the Gypones,[1001] who made their appearance in transparent Tarentine robes, and mounted on stilts probably in the form of goats’ feet, to give them a resemblance to the Ægipanes, worshipped as gods of the woods. A peculiar dance in honour of Artemis took its rise in the village of Carya in Laconia, where its invention was attributed to Castor and Polydeukes. No description of it, so far as I know, has come down to us; but the maidens by whom it was performed probably bore, and steadied with one hand, a basket of flowers on their heads, thus forming the model of those architectural figures, still from them called Caryatides.[1002] The representation of this performance was, doubtless, a favourite subject among Spartan artists or such as were employed by the Spartans, as may perhaps be fairly inferred from the circumstance, that the device on the ring, which, in return for