The antique Greek dance, after sculptured and painted figures . press the movement bymore direct means. Between the two moments of Fig. 404 mustbe interposed the moment of suspension duringwhich the dancer leaps from the right leg tothe left. 301. Fig. 405, in which the raising and low-ering, progressively, of the dancers legs is shown, is a remarkableexample of a complete analytic series (291). The knee of the sup-porting leg is bent and it is evident that thedancer is leaping from the left leg to the right:he lifts the upper left leg as well as the upperright leg. He executes, in place, a se
The antique Greek dance, after sculptured and painted figures . press the movement bymore direct means. Between the two moments of Fig. 404 mustbe interposed the moment of suspension duringwhich the dancer leaps from the right leg tothe left. 301. Fig. 405, in which the raising and low-ering, progressively, of the dancers legs is shown, is a remarkableexample of a complete analytic series (291). The knee of the sup-porting leg is bent and it is evident that thedancer is leaping from the left leg to the right:he lifts the upper left leg as well as the upperright leg. He executes, in place, a series ofleaps from one leg to the other, the hip-actionbeing exaggerated. Fig. 406 is one of the best types of the liftedhip. 302. While lifting the hip as high as he can,the joyful dancer in Fig. 407, a dancer of Komos (415), passes hishand under his knee, the hand holding a horn of wine. The left leg,bent at the knee, indicates a leap (300), which here seems to bereduced to a leap on the same foot. 303. Fig. 408 shows two Komos dancers, who, standing face to. Fig. 407. RECONSTRUCTION OF THE STEPS 169 face, execute a Step for Two (334). Dancer A executes a smallJete in place. Dancer B lifts the upper legs alternately (301).The gesticulation and the wild play ofthe arms is strange enough. 304. Figs. 409 and 410 present thesame movements of the legs alternated(299, 301). One can imagine the move-ments of the legs from those of the backward inclination of the body isnot awkwardness of design, it is a part ofthe dance. 305. Figs. 411 and 412 are the twomoments of a gross Bacchic dance. Fig. 412 is a reconstruction, made toget the opposition (277). Thedancer, whose body bends forward,leaps from one leg to the otherwith an exaggerated motion of thehip (301). He descends upon thehalf-toe. The gambols of the Satyr () are of the same nature. ButF,s-40a- Fl?- 410 the motionless arms are held in a strange Position, and the leap is in place. The face of this dancer
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Keywords: ., bookcentury1900, bookdecade1910, bookpublisherl, booksubjectdance
