The antique Greek dance, after sculptured and painted figures . Fig. 510. scene is replete with gayety, quite in contrast to the austere dancein Fig. 509. 345. The God Who Leads, Holding the Hand of One of theWomen.—Fig. 511 is remarkable in that it shows the women witharms entwined. Fig. 512 presents two figures advancing in full THREE WOMEN WITHOUT A LEADER 215 face view. These are from the grotto of the Nymphs. The masqueof Acheloiis, father of the Nymphs, and the god Pan figure in thedecorations. Hermes conducts the three dancers. 346. Three Women Without a Leader.—A tcrra-cotta fromMyrina
The antique Greek dance, after sculptured and painted figures . Fig. 510. scene is replete with gayety, quite in contrast to the austere dancein Fig. 509. 345. The God Who Leads, Holding the Hand of One of theWomen.—Fig. 511 is remarkable in that it shows the women witharms entwined. Fig. 512 presents two figures advancing in full THREE WOMEN WITHOUT A LEADER 215 face view. These are from the grotto of the Nymphs. The masqueof Acheloiis, father of the Nymphs, and the god Pan figure in thedecorations. Hermes conducts the three dancers. 346. Three Women Without a Leader.—A tcrra-cotta fromMyrina, shaped like a grotto, shows three dancers aligned in full. Fig. 511. 7 J \ l Fig. 512 face, without either Pan or Hermes accompanying them. The maskof Pan, suspended from the rock-work, testifies to the symbolicpresence of the son of Hermes. The three women come forwardin a chain in order to progress more rapidly, playing with theirmantles in a dance-movement of the arms, the head turning towardthe central figure. Here is a true Step for Three, though some ofthe details are lost through the mutilation of the terra-cotta. Still,the figures seem very much alive. The feminine trio without a leaderis a simple variant of the scene with four persons abovementioned. The absence of the leader is not accountedfor, though the mask takes his place. Many of the later bas-reliefs reproduce the theme ofthe three women without a leader, walking heavily, asin the primitive work, though this flat-footed walk isan affectation. It is well to inquire what these womenrepresent, who move so stiffly that they appear to berooted to the ground. The errors in perspect
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Keywords: ., bookcentury1900, bookdecade1910, bookpublisherl, booksubjectdance
