The antique Greek dance, after sculptured and painted figures . lists with lances often at-tack one another with fury (), lance lifted, the helmeteddancers giving a realistic imitation of actual combat (Fig. 538).The left arm holds the shield, the right lifts the weapon, the nudebody turning by stamping in IV crossed, making a circular track,the dancers always standing on the rim of this circle, its diameterremaining the same, whatever the movement of the dancers. It is probable that at set intervalsthe warriors struck with thesword or lance (as the fig-ures in 538 would seem toprove) a
The antique Greek dance, after sculptured and painted figures . lists with lances often at-tack one another with fury (), lance lifted, the helmeteddancers giving a realistic imitation of actual combat (Fig. 538).The left arm holds the shield, the right lifts the weapon, the nudebody turning by stamping in IV crossed, making a circular track,the dancers always standing on the rim of this circle, its diameterremaining the same, whatever the movement of the dancers. It is probable that at set intervalsthe warriors struck with thesword or lance (as the fig-ures in 538 would seem toprove) across the shields. On a marble bowl in theVatican is sculptured a Satyrbetween the two Pyrrhicdancers. The presence ofthis subject of Dionysos be-tween the armed men proves the antiquity of this exercise by whichthe Spartans—and from their example the Athenians—preparedfor combat, though in later times it was altered. The Pyrrhicdancers then came carrying the thyrsus in place of the arrows,brandishing rods and torches as they mingled with the Bacchants in. Fig. 537. 230 CHOREGRAPHY
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