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Although their dance was based on strict rhythm and was governed by rigid rules, they governed the dance of the individual, not of groups. He, or she, was adjudged a good dancer by the grace of line displayed and rhythmic balance of movement, and many a vase painting exhibits groups of dancers who, though dancing in the mass, are each doing different steps; and equally the gestures and mimetic expression of each differed.

The system unquestionably had its advantages, for while the rhythm of the song or poetic verse which accompanied the performers was the common basis of the dance for all, the individuality of expression undoubtedly gave a vitality to the group which accounts for the vividness and charm of their representation on many an antique vase.

Numerous indeed were the various forms of the Hellenic dance, sacred, dramatic, secular—Meursius catalogues some two hundred—but further description would detain us too long en route towards the culmination of all these earlier types of mimetic and other dances in the Ballet of to-day, and we have next to trace the growth of Latin Mime and Pantomime.