The antique Greek dance, after sculptured and painted figures . Fig. ci. Fig. 02. 104. The rarest examples prove thatthe Greek dancers knew how to hold thehip and foot in the lateral position(Figs. 69, 70). But it was not an arbi-trary rule imposed upon them (97).In searching the sculptures for equiv-alents of the modern Positions (86) itwill be found that there are certain ab-stract rules governing the manner ofholding the leg; these are both difficultto describe and ungraceful in present aspects that the primitive artists were opposed to, butwhich their successors adopted, only
The antique Greek dance, after sculptured and painted figures . Fig. ci. Fig. 02. 104. The rarest examples prove thatthe Greek dancers knew how to hold thehip and foot in the lateral position(Figs. 69, 70). But it was not an arbi-trary rule imposed upon them (97).In searching the sculptures for equiv-alents of the modern Positions (86) itwill be found that there are certain ab-stract rules governing the manner ofholding the leg; these are both difficultto describe and ungraceful in present aspects that the primitive artists were opposed to, butwhich their successors adopted, only to discard at a still later period. Painters and sculptors copied what they saw, in all its awkward-ness and seeming unnaturalness, and the result has been accepted. POSITIONS OF THE LEGS 61 as the work of inexperienced men, who did not appreciate exact-ness. 105. FIRST POSITION The three dancers (Figs. 72, 73, 74) turn by stamping on thefeet (266) ; they arc examples of the feet with heels close together,toes turned out. It is the fundamental form ofthe first Position, and the sole is on the ground.
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Keywords: ., bookcentury1900, bookdecade1910, bookpublisherl, booksubjectdance
