The antique Greek dance, after sculptured and painted figures . Fig. 5C8. to the air, produced by the vertical descent, affects likewise the rightleg which is covered by the tunic: the left leg, nude, and placedforward to touch the earth, escapes from the folds of the veil, blowing about her at the back, is lifted high,—of this onlyfragments remain, but enough to enable us to reconstruct the move-ment of the material: it would seem that Pa?onios had been inspiredby the gracious dancer herself to create this play of the mantle,which combines fullness and flexibility. The dots in Fig.
The antique Greek dance, after sculptured and painted figures . Fig. 5C8. to the air, produced by the vertical descent, affects likewise the rightleg which is covered by the tunic: the left leg, nude, and placedforward to touch the earth, escapes from the folds of the veil, blowing about her at the back, is lifted high,—of this onlyfragments remain, but enough to enable us to reconstruct the move-ment of the material: it would seem that Pa?onios had been inspiredby the gracious dancer herself to create this play of the mantle,which combines fullness and flexibility. The dots in Fig. 567 are anindication of the supposed movement of the arms and movement is suggested by one of the figures in high relief fromthe temple of the Nereides. Of very different aspect are the twelve Victories whose feet reston the foot of the throne of Olympian Jove,—the work of , not always alive to details, speaks of the attitude ofthese dancers. There is little to prove the exact time in the fifth 250 THE DANCERS. century B. C. Nike adopted the forward dancing movement, and it would be impious to suppose that a human dancer served as a model for Nike as Paeonios has presented her. /; The Hellenistic coroplastie, reflecting ///) the great art of the day, did not think ofNike otherwise than as a dancer, and sheoften holds in her hands the attributes ofDionysos, the castanets, the crowns ofleaves; she belongs, like Eros, to that cycleof gods who at all times are associated withAphrodite. The new Nike is a professionaldancer; her poses are elegant, her arms takeon the most gracious curves (Figs. 144,152, 253). A great number of the figurines were in-tended to he suspended: there is, in the movement of their legs, a liberty of motion that transcends truth: the modeler, in order to suggest flight, paid no attention to the laws of equilibrium. The dancers who soar without wings on a charming vase of the fifth century B. C, —see Fig. 568,—show the e
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Keywords: ., bookcentury1900, bookdecade1910, bookpublisherl, booksubjectdance
