The antique Greek dance, after sculptured and painted figures . piece: Th( ges-. ture is alike in all three cases and the statues are t. In the Roman Fig. 2. period, when thefigures, though draped, hold to the original significance of the move-ment, there is found one singular defect to be noted, especially in theDancer of the Vatican, which is a mediocre work. 40. Gestures of the Worshipers.—This is one of the most com-mon forms of gesture, and consists of holding the arms out with thepalms up- The praying child in the Museum of Berlin (Fig. 2) isof this type. 41. Gesture of the Mim
The antique Greek dance, after sculptured and painted figures . piece: Th( ges-. ture is alike in all three cases and the statues are t. In the Roman Fig. 2. period, when thefigures, though draped, hold to the original significance of the move-ment, there is found one singular defect to be noted, especially in theDancer of the Vatican, which is a mediocre work. 40. Gestures of the Worshipers.—This is one of the most com-mon forms of gesture, and consists of holding the arms out with thepalms up- The praying child in the Museum of Berlin (Fig. 2) isof this type. 41. Gesture of the Mimetic Funeral.—This is a striking ex-ample of the transformation of an abstract movement, purely deco-rative, consequently, a dance-movement, becoming a concrete ges-ture. In the most remote times (vases of Dipylon, vases of Corinth)the mourners tore the hair and scratched the face as a sign ofsorrow, during the ceremonies of exposition of the dead and theburial. Little by little, the gesticulation became less violent. In 26 THE SCULPTURED AND PAINTED FIGURES the fifth cen
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Keywords: ., bookcentury1900, bookdecade1910, bookpublisherl, booksubjectdance
