The antique Greek dance, after sculptured and painted figures . 42 THE MOVEMENTS IN GENERAL posed between the ranks of the marchers; only on this suppositioncan one get a correct idea of the perspective which is indicatedon the bas-relief. There is a great variety in the pose of the per-. sons who are not marching. Compare these with the fragment inthe Louvre, where two men face the women who turn to the left;one holds a basket, the other, who seems to be the director of thecompany, surveys the deployment. These two, who are seen inthree-quarters view, rest on their left legs; the right legs a
The antique Greek dance, after sculptured and painted figures . 42 THE MOVEMENTS IN GENERAL posed between the ranks of the marchers; only on this suppositioncan one get a correct idea of the perspective which is indicatedon the bas-relief. There is a great variety in the pose of the per-. sons who are not marching. Compare these with the fragment inthe Louvre, where two men face the women who turn to the left;one holds a basket, the other, who seems to be the director of thecompany, surveys the deployment. These two, who are seen inthree-quarters view, rest on their left legs; the right legs arebent at the knee, and only the toes touch the ground. The rightheel, which is hidden from sight, must, necessarily, be lifted. Thesame observation applies to the second woman carrying a vase onthe north frieze; this woman, who is seen in profile, has stopped toaid a companion who faces her. She rests on the right leg whichpermits the knee to bend and the heel to raise. It is seen that the marchers keep their heels on the ground whilethe spectators rest the
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Keywords: ., bookcentury1900, bookdecade1910, bookpublisherl, booksubjectdance
