An important feature of the greater Sabbats was the ritual dance, for the dance was an act of devotion which has descended to us from the earliest times and is to be found in every age and every country. Dancing is a natural movement, a primitive expression of emotion and ideals. In the ancient world there can have been few things fairer than that rhythmic thanksgiving of supple limbs and sweet voices which Athens loved, and for many a century was preserved the memory of that day when the young Sophocles led the choir in celebration of the victory of Salamis.[89] The Mystæ in the meadows of Elysium danced their rounds with the silver clash of cymbals and with madly twinkling snow-white feet. At the solemn procession of the Ark from Cariathiarim (Kirjath Jearim) King David “danced with all his might before the Lord, ... dancing and leaping before the Lord.” S. Basil urges his disciples to dance on earth in order to fit themselves for what may be one of the occupations of the angels in heaven. As late as the seventeenth century the ceremonial dance in church was not uncommon. In 1683 it was the duty of the senior canon to lead a dance of choir-boys in the Paris cathedral. Among the Abyssinian Christians dancing forms no inconsiderable part of worship. Year by year on Whit Tuesday hundreds of pilgrims dance through the streets of Echternach (Luxemburg) to the shrine of S. Willibrod in S. Peter’s Church. Formerly the devotees danced three times round the great Abbey Courtyard before proceeding to the sanctuary. But beyond all these the dance has its own place in the ritual of Holy Church even yet. Three times a year in Seville Cathedral—on Holy Thursday, upon Corpus Christi and the Immaculate Conception—Los Seises dance before a specially constructed altar, exquisitely adorned with flowers and lights, erected near the outer door of the grand western entrance of the cathedral. The ceremony in all probability dates from the thirteenth century. The dresses of the boys, who dance before the improvised altar at Benediction on Corpus Christi, are of the period of Philip III, and consist of short trousers and jackets that hang from one shoulder, the doublets being of red satin, with rich embroidery. Plumed white hats with feathers are worn, also shoes with large scintillating buckles. On Holy Thursday the costume is also red and white, whilst it is blue and white for “the day of the Virgin.” The eight boy choristers—with eight others as attendants—dance, with castanets in their hands, to a soft organ obbligato, down the centre of the cathedral to the decorated altar, advancing slowly and gracefully. Here they remain for about a quarter of an hour, singing a hymn, and accompanying it (as the carols of the olden time) with dance and castanets. They sing a two-part hymn in front of the altar, forming in two eights, facing each other, the clergy kneeling in a semicircle round them.