winter months[1]; and at Athens the four festivals of Dionysus fell within about the same period—the rural Dionysia at the end of November or beginning of December, the Lenaea about a month later, the Anthesteria at the end of January, and the Great Dionysia at the end of February. As for the manner of conducting the Latin-named festivals, Asterios' description of the Kalándae in the fifth century plainly attests the Dionysiac character of the orgies, and Balsamon, in the twelfth, was so convinced, from what he himself witnessed, of their Bacchanalian origin, that he actually proposed to derive the name Brumalia from [Greek: Broumos][2] (by which he meant [Greek: Bromios]) a surname of Dionysus.
The mumming then, which is still customary in some parts of Greece during the Twelve Days, is a survival apparently of festivals in honour of Dionysus. Further the mummers dress themselves up to resemble Callicantzari. But the worship of Dionysus presented a similar scene; 'those who made processions in honour of Dionysus,' says Ulpian, 'used to dress themselves up for that purpose to resemble his companions, some in the guise of Satyrs, others as Bacchae, and others as Sileni[3].' The mummers therefore of the present day have, it appears, inherited the custom of dressing up from the ancient worshippers of Dionysus and are their modern representatives; and from this it follows that the Callicantzari whom the modern mummers strive to resemble are to be identified with those motley companions of Dionysus whom his worshippers imitated of old.
The more closely these two identifications are examined, the more certain they will appear. Take for example Müller's general description[4] of the celebration of Dionysus' festivals. 'The swarm of subordinate beings—Satyrs, Panes, and Nymphs—by whom Bacchus was surrounded, and through whom life seemed to pass from the god of outward nature into vegetation and the animal world, and branch off into a variety of beautiful or grotesque forms, were ever present to the fancy of the Greeks; it was not necessary to depart very widely from the ordinary course of ideas, to imagine that dances of fair nymphs and bold satyrs,
