It is only one aspect of the ritual of this religion with which we are now concerned, and which is to be illustrated by the examples given, namely, the ecstatic dance which played such an important part in it. Therefore we naturally think of the mythic Maenads[195], and more especially of their historical counterpart, the Thyiads, who are much the same as the female Bacchantes. According to the myth concerning the origin of the Thyiads, they were so called because the first priestess of Dionysos was named Thyia, and she performed orgiastic dances in his honour; hence all women who danced, or “went mad,” in honour of Dionysos were called Thyiads after her. The Maenads are depicted on many Greek vases and bas-reliefs, so that we can form a good idea of the kind of dances they were supposed to perform; and these were, of course, the actual form of the dances executed by the Thyiads. Thus, for example, on a vase in the Naples Museum four Maenads are represented dancing; two, with head thrown back, carry the thyrsus, a staff with vine-leaves, at the top of which was a pine-cone. One of them has also a torch; two others, while dancing, play, one a tambourine, the other a pipe[196]. Or again, on a cup in the Athens National Museum a Maenad is represented playing a tambourine, or timbrel, and dancing in wild fashion[197]. Another example is the dancing, accompanied by instrumental music, which is portrayed on the beautiful cylix of Hieron, “perhaps the most exquisite that ceramography has left us[198]”; the movements of the maidens are superbly executed. But instances of this kind could be greatly multiplied; they all exhibit one or other phase of orgiastic dance, “the same mad revelry, the utter exhaustion and prostrate sleep[199]”; and they represent the kind of dancing which historically was performed by the Thyiads. “Maenad,” as Miss Harrison says, “is the Mad One, Thyiad the Rushing Distraught One, or something of the kind ... Mad One, Distraught One, Pure One, are simply ways of describing a woman under the influence of a god, of Dionysos[200]”; and, of course, this madness could be caused by any other orgiastic divinity. Those who took part in these dances are described as “raving and possessed”; their over-wrought state caused them to see visions[201]; the god was believed to be present, though invisible; and at the Dionysos festivals the maidens celebrated his presence[202], thus direct contact with him by his worshippers was effected[203]. In an interesting passage in Pausanias we read: