heroic sentiments and an exalted idea of military duty.
The ballet, an invention of the priesthood of Egypt, was inaugurated in connection with certain sacred festivals, notably those dedicated to the bull Apis, and it formed an important feature of the initiatory rites into the mysteries of Isis. It was mystic rather than sensuous, and the aim of its composer was to suggest the hidden things of the cult, the course of the heavenly bodies, and the harmony of the universe. The astronomical dance was far from being the only one practised. At Memphis and Thebes the priests danced round the bull Apis; the figures in turn depicting the miraculous birth of the god, the incidents of his childhood, and his union with Isis. Finally, on the occasion of his death, his obsequies were celebrated with dances of appropriate solemnity. But, alas! these capers were not concerned with clothes, for the performers were unhampered by sartorial considerations, and the toilet of a female dancer consisted of a narrow metal girdle about the hips, the deep circular collar peculiar to the race, and a tambourine. Occasionally these items were supplemented by a transparent robe of the finest white muslin, and the arrangement of the hair, or wig, was always elaborate. Framing the face, it rested on either shoulder in a dense mass of plaits, the back hanging in a straight line of thick braids just below the nape of the neck, while a gleaming metal fillet flashed low on the forehead. Male dancers contented themselves with serried skirts, in which they twirled with extended arms, much after the manner of dervishes. Descendants of these ancient ballerinas are to
