The antique Greek dance, after sculptured and painted figures . Fig. 534. Fig. 535. Plato describe as the feints of the Pyrrhic. Often the dancers leftarm is enveloped in the folds of his chalmys, of which he makes a shield. CHORUS OF THE DANCE 229. Fig. 536. The Greek amphorae (10) present many figures of lancers andjavelin-throwers who follow the formula described, pausing abruptly,and so changing the movement of the run, while retaining the senseof a force projected. No doubt this is the motive of some of theexercises used by the Pyrrhic dancers. 360. Pyrrhic for Two.—Thewarriors who face o
The antique Greek dance, after sculptured and painted figures . Fig. 534. Fig. 535. Plato describe as the feints of the Pyrrhic. Often the dancers leftarm is enveloped in the folds of his chalmys, of which he makes a shield. CHORUS OF THE DANCE 229. Fig. 536. The Greek amphorae (10) present many figures of lancers andjavelin-throwers who follow the formula described, pausing abruptly,and so changing the movement of the run, while retaining the senseof a force projected. No doubt this is the motive of some of theexercises used by the Pyrrhic dancers. 360. Pyrrhic for Two.—Thewarriors who face one another onthe vases of the seventh and sixthcenturies B. C. are the far-offprototypes of the Pyrrhicistswho are seen in groups of two onthe Hellenistic bas-reliefs (17)and in the Italian bas-reliefs ofterra-cotta. In the first case thetwo duellists with lances often at-tack one another with fury (), lance lifted, the helmeteddancers giving a realistic imitation of actual combat (Fig. 538).The left arm holds the shield, the right lifts the weapon, the nudebody turning by stamping in IV crossed, making a circular track,the dancers always standing on the rim of this circle, its diameterremaining the same, whatever the movement of th
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Keywords: ., bookcentury1900, bookdecade1910, bookpublisherl, booksubjectdance
