The antique Greek dance, after sculptured and painted figures . o following the equivalent of the movement of thearms analysed in the photographs in Figs. 331 to 365. The twolegs of the dancers, Figs. 361 to 365, are on the ground: this makesthe Pirouette ineffective, as the preparation was not good. Lookingat Figs. 362 and 363 there will be seen a light inclin-ation of the torso to the left, much like that of , and which immediately precedes the reversedpose (262). 270. The joyous citizen who celebrates Komos(Fig. 356) is executing a Pirouette outward (259),turning to the right on the
The antique Greek dance, after sculptured and painted figures . o following the equivalent of the movement of thearms analysed in the photographs in Figs. 331 to 365. The twolegs of the dancers, Figs. 361 to 365, are on the ground: this makesthe Pirouette ineffective, as the preparation was not good. Lookingat Figs. 362 and 363 there will be seen a light inclin-ation of the torso to the left, much like that of , and which immediately precedes the reversedpose (262). 270. The joyous citizen who celebrates Komos(Fig. 356) is executing a Pirouette outward (259),turning to the right on the half-toe (Fig. 320).One of his companions (Fig. 367), who does notraise his heel, Pirouettes somewhat heavily, also outward, and tothe left. The professional dancer (Fig. 368) poses on the half-toe,and turns to the right, making a Pirouette inward (259 and ). The three figures (366, 367, 368) are, in one respect, remarkable;the Preparation for the Pirouette by the arms and its Execution bythe legs being made at the same time. This is an artifice of the. Fig. 3C5.
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Keywords: ., bookcentury1900, bookdecade1910, bookpublisherl, booksubjectdance
