A religious processional dance of great interest is that represented on the well-known Hittite rock-inscription at Boghazkeui, in Cappadocia. The central portion of this inscription represents a company of gods and goddesses; towards them, from either side, the procession moves; the figures on the left hand which form the procession are almost exclusively men, while those on the right are all women. The men all wear the cone-shaped Hittite cap and tip-tilted shoes, and they are performing a running-step dance, the right feet being partly raised and touching the ground only with their toes. The inscription belongs approximately to B.C. 1200[61]. That it represents a religious processional dance is clear both because of the presence of gods and goddesses, and also from the fact that in front of or over the heads of a number of the figures there are hieroglyphic signs which denote the names of divinities. A small inscription on a haematite cylinder, from Cyprus, also represents a Hittite sacred processional dance. As in the previous inscription, the procession, which is preceded and followed by a priest, moves towards the god. Ohnefalsch-Richter thinks that the scene represents a moment at which the dancers are resting[62]. IV Although we find that among the Egyptians the _data_ leave something to be desired, yet they are sufficient to suggest that dancing as a religious ceremony formed an important feature among them. As is the case among all other peoples the sacred dance has divine sanction. Ḥatḥor, for example, was the goddess of music and dancing, and is often depicted with a small boy rattling a sistrum in front of her.... The king, in the capacity of Ḥatḥor’s son, similarly rattles a sistrum in front of her and is called “goodly _Iḥy_ (the goddess’s child) of the golden one of the gods.” The name _Iḥwy_, a variant form of _Iḥy_, is applied to the priests of Ḥatḥor; they are represented as “dancing and clattering castanets[63].” At the festivals held in honour of Ḥatḥor and Bastet dancing was an indispensable feature; so, too, at the Apis festivals[64]. Again, Bēs, or Bēsa, originally a dancing figure of the Sudanese type, is represented on inscriptions as holding the youthful sun-god Harpokrates in his left arm, and offering him food with the right hand; he also provides for the young sun-god’s amusement, and is depicted performing grotesque dances before him, and playing the harp and laughing. Thus he, too, became in course of time, a god of dance, music, and merriment[65]. In dancing in honour of their gods and goddesses, therefore, the Egyptians were employing a method of honouring which they imitated from the gods themselves; and this seems to have been the case, at one time or other, of their religious history, with most, if not all, races, so far as the evidence enables us to judge. As to processional dances Blackman says that