At such a time of solemn religious rejoicing it can hardly be doubted, judging from many analogies, that some form of sacred dance formed a striking feature of the ritual. The dance-step may well have been of a sedate character, but, as we have seen, the steps and performance of the sacred dance range from an almost march-like, though rhythmical, tread to antics of the most diverse character. It is important to remember that in Assyrian the word for “to dance” (_rakâdu_) means also “to rejoice.” Among all the Semites the religious festivals were special times of rejoicing. So that when we read of processions during Babylonian and Assyrian festivals it is justifiable to assume that sacred dances were performed as a recognized part of the ritual. But we are not without tangible evidence on the subject. On an inscription discovered in the palace of Asshurbanipal a procession is depicted which is led by men playing harps; the foremost among these, each of whom has one of his legs raised, quite obviously represent dancers. They are followed by women with arms uplifted, and also by children who seem to be clapping their hands, apparently in rhythmical time with the dancers. An illustration of this is given, _e.g._, by Jeremias[59], who quotes from the inscription the Assyrian account of Hezekiah’s subjection to Sennacherib. In this inscription, among other things sent by the king of Judah to Nineveh, “playing men and women” are mentioned; the illustration represents these as both dancing and playing instruments. It is, therefore, as Jeremias rightly emphasizes, very important for the light it throws on the subject of the Temple music and worship in pre-exilic times. But it also throws light on Assyrian usage since it is obvious that the inscription reflects Assyrian ideas. Mention may be made here, but very tentatively, of three inscriptions found in Cyprus by Ohnefalsch-Richter. It is conceivable that these bear witness, though indirectly, to early Mesopotamian ritual, for in style and representation they are somewhat reminiscent of ancient Babylonian cylinder seals. They are numbered cxxviii. 4, 5, 6 and a sacred dance is represented on each; they are cylindrical in form, and very ancient, pre-Homeric and pre-Mycenaean, according to Ohnefalsch-Richter, who says also that they bear a striking similarity to later Olympic representations[60]. The dancers wear long dresses rather like those of priests on Assyrian cylinder seals. III