series of movements, retired again in opposite directions, continuing
to hold by one hand and concluding by turning each other round (see
fig. 3). That the attitude was very common is proved by its having
been adopted by the hieroglyphic (fig. 4) as the mode of describing
'dance.'"

[Illustration: Fig. 3.--The hieroglyphics describe the dance.]

[Illustration: Fig. 4.--Egyptian hieroglyphic for "dance."]

Many of the positions of the dance illustrated in Gardner Wilkinson
are used at the present day.

The ASSYRIANS probably danced as much as the other nations, but
amongst the many monuments that have been discovered there is little
dancing shown, and they were evidently more proud of their campaigns
and their hunting than of their dancing. A stern and strong people,
although they undoubtedly had this amusement, we know little about it.
Of the Phoenicians, their neighbours, we have some illustrations of
their dance, which was apparently of a serious nature, judging by the
examples which we possess, such as that (fig. 5) from Cyprus
representing three figures in hooded cowls dancing around a piper. It
is a dance around a centre, as is also (fig. 6) that from Idalium in
Cyprus. The latter is engraved around a bronze bowl and is evidently a
planet and sun dance before a goddess, in a temple; the sun being the
central object around which they dance, accompanied by the double
pipes, the harp, and tabour. The Egyptian origin of the devotion is
apparent in the details, especially in the lotus-smelling goddess
(marked A on fig. 6) who holds the flower in the manner shown in an
Egyptian painting in the British Museum (fig. 7).