personal beliefs on religion, the more it becomes clear that he favoured not the Apollonian pole, but the Dionysian one. Furthermore, his rejection of Christianity in preference to a highly individualized conception of the Dionysian Mystery Traditions paints a very clear picture of Nietzsche’s own religious essence – in the terminology of Kierkegaard what Nietzsche is expressing is a strong emanation of Religiousness Type B. Moreover, not only can Religiousness Type B be connected with Nietzsche’s own beliefs, they can be directly tied to the relationship between Apollo and Dionysus themselves. The essence that emanates from the Apollonian current is an external mode of worship: his formal rites could be seen and were accessible to all, and as the god of sculpture/form his aesthetics could be experienced by all. Those of the Dionysian current, by contrast, are not seen, they can only be ‘felt’, either through music or via the Dionysian mode of worship, which involved induced states of ecstasy, and as this could only be experienced on an individual basis, it was not accessible to all. Thus it can be seen that the Dionysian invokes an internal form of religion and aesthetics, whilst the Apollonian evokes an external form of religion and aesthetics. In terms of both art and religion this is the primary difference between the two deities. Given the previous definitions for Religiousness Type A and Religiousness Type B, it now becomes very easy to relate the more external and communal Religiousness Type A to the nature of the Apollonian and the highly individual nature of Religiousness Type B to the Dionysian. By employing the comparison between Apollo and the masculine element of gender, and Dionysus as the feminine element of gender,