The antique Greek dance, after sculptured and painted figures . Fig. 454. Fig. 455. with reference to the movement of the feet, but who are in a separateclass, making the head and hands also dance. They are most oftenfound in character-dances. The interlacing of the fingers is made in many ways: by reasonof the flatness of the relief or the vagueness of drawing, it is oftendifficult to arrive at an understanding of the details. The seriesof figures makes description unnecessary. Mention must be made of statuettes of which the legs are missing,having either been destroyed or never having existe
The antique Greek dance, after sculptured and painted figures . Fig. 454. Fig. 455. with reference to the movement of the feet, but who are in a separateclass, making the head and hands also dance. They are most oftenfound in character-dances. The interlacing of the fingers is made in many ways: by reasonof the flatness of the relief or the vagueness of drawing, it is oftendifficult to arrive at an understanding of the details. The seriesof figures makes description unnecessary. Mention must be made of statuettes of which the legs are missing,having either been destroyed or never having existed. It may besaid that this amputated form has its advantages, because it isolatesthe gestures of the arms (Fig. 460). Fig. 461: the dancers body oscillates in a peculiar manner, bet- 184. RECONSTRUCTION OF TEMPOS AND STEPS. Kig. 456. ter understood by comparing the figure with its opposite in Fig. dancer walks heavily. This dance was slow, to the music of the lyre, the presence of which usuallydenotes a dance of solemn 463: the dancer slides on thehalf-toe. Compare with Fig. 272. Fig. 464: the dancer runs on thetoes (242). Note that the palms ofthe hands are turned outward. Fig. 465: Much like the precedingtypes and also Fig. 469, a is from a vase of Gallo-Romanorigin and is of no value from the artstandpoint. It shows the persistenceof this traditional pose. 320. The three figures following arearranged in a series: were it not forthe difference in sex and costume, theymight be the same dancer at three moments of the same step, which isa Separation and Bending,—witha Leap,—and the Descent,—aJete. Fig. 466: Separation of the leg,Bending the left leg for the 467: period of suspensionof the leap. Fig. 468: Jete on the right toe(222): the left leg is held
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Keywords: ., bookcentury1900, bookdecade1910, bookpublisherl, booksubjectdance
