Also with cunning art he wrought a dancing-floor; like unto that which erst, in broad Knossos, Daidalos had made for fair-haired Ariadne. Thereon young men and comely damsels were dancing, that clasped each other by the wrist. The damsels were arrayed in vestures of fine linen, and the men in fine-spun tunics, glossy with oil. And the damsels wore fair coronals, while the men carried golden dirks hanging from baldrics of silver. Now they would dance with cunning feet, lightly, as when a potter sitting at his task maketh trial of the wheel that is ready to his hands, to see if it run; now they would dance in long lines, facing one another. And a great company stood around the beauteous dancing-place, rejoicing; and two tumblers, leading the dance, kept whirling through the midst[101]. This dance was adopted by the Romans from the Greeks. Virgil compares its complicated evolutions with the windings of the Cretan labyrinth[102]; and that the comparison is more than a mere poetical flourish appears from a drawing on a very ancient Etruscan vase found at Tragliatella. The drawing represents a procession of seven beardless warriors dancing, accompanied by two armed riders on horseback, who are also beardless. An inscription proves that the scene depicted is the “Game of Troy”; and attached to the procession is a figure of the Cretan labyrinth, the pattern of which is well known from coins of Cnossus, on which it is often represented. The same pattern, identified by an inscription, _Labyrinthus, hic habitat Minotaurus_, is scratched on a wall at Pompeii, and it is also worked in mosaic on the floor of Roman apartments, with the figures of Theseus and Minotaur in the middle[103]. After pointing out the widespread occurrence of this labyrinth pattern, both for the purpose of games as well as of decorations, Frazer continues: