The antique Greek dance, after sculptured and painted figures . Fig. 5IT. attitude are worthy of study. The chain is composed of five womenand one man. The oddity of the amusing scene is the reason formentioning it here. 352. Numberless are the representations of women alone, danc-ing in chains, throughout all periods of Greek art. Nearly alwaysthe dance is accompanied by the dulcimer or cythera and a double. Fig. 518. flute: sometimes music is absent. The first dancer of the file makesthe gesture of the veil with her free hand. In Fig. 520 the women grasp one anothers wrists with
The antique Greek dance, after sculptured and painted figures . Fig. 5IT. attitude are worthy of study. The chain is composed of five womenand one man. The oddity of the amusing scene is the reason formentioning it here. 352. Numberless are the representations of women alone, danc-ing in chains, throughout all periods of Greek art. Nearly alwaysthe dance is accompanied by the dulcimer or cythera and a double. Fig. 518. flute: sometimes music is absent. The first dancer of the file makesthe gesture of the veil with her free hand. In Fig. 520 the women grasp one anothers wrists with , they are standing still: the Farandole is reduced to animmobile chain. The Louvre (room XII) possesses a fragment of the frieze ofSamothrace, from a temple built in the fourth century B. C, thestyle being archaisant. This bas-relief, though badly mutilated, 220 CHOREGRAPHY is interesting to the dancer. A long file of women wind along thefrieze, two-by-two, walking on the half-toe, with a good deal ofhip action. There are to be found in the Louvre many bas-reliefs of the de-cadent period, representing chains of dancers; most of them are
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Keywords: ., bookcentury1900, bookdecade1910, bookpublisherl, booksubjectdance
