The antique Greek dance, after sculptured and painted figures . ernating movement shown in Fig. 101 is a leap from oneleg to the other, of which these two figures show the essential moments. 300. Knees Flexed: From AntiqueVases.—There is one general remarkto be made concerning Figs. 128,401, 105, 106, 107, 108, 109, etc.,which is also applicable to a great number of these dancing figures. The ceramic painters, down to theend of the sixth century B. C. seldomrepresented the dancer at the moment when, by a leap, he was sus-pended above the ground (69, 72) ; always one foot, sometimesboth feet ar
The antique Greek dance, after sculptured and painted figures . ernating movement shown in Fig. 101 is a leap from oneleg to the other, of which these two figures show the essential moments. 300. Knees Flexed: From AntiqueVases.—There is one general remarkto be made concerning Figs. 128,401, 105, 106, 107, 108, 109, etc.,which is also applicable to a great number of these dancing figures. The ceramic painters, down to theend of the sixth century B. C. seldomrepresented the dancer at the moment when, by a leap, he was sus-pended above the ground (69, 72) ; always one foot, sometimesboth feet are on the ground: this is because of the artists in-ability, or because he was timid about breaking through tradition,so he had recourse to a subterfuge to express a leap. Unable todraw a dancer in the air, the artist presented his dancers before orafter the leap, with knees bent, as though he had just descendedto the ground. Even these early painters saw that there could beno leap without bending. The knees are bent on the most ancient vases and on those of.
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Keywords: ., bookcentury1900, bookdecade1910, bookpublisherl, booksubjectdance
