The antique Greek dance, after sculptured and painted figures . ltogether novel. It is curious to see how the artist, fearing to go toofar in the matter of innovations, clung to the old custom in thecase of three figures, trying the new method on only one. Once intro-duced, the new form became popular. The vases of the sixth centuryB. C. furnish examples (Fig. 20). Inthe fifth century B. C. it became gen-eral, though the work of that periodretained much of the stiffness whichcharacterized the paintings in red ofthe severe period (Fig. 461). But thetendency was toward better work andprogress wa
The antique Greek dance, after sculptured and painted figures . ltogether novel. It is curious to see how the artist, fearing to go toofar in the matter of innovations, clung to the old custom in thecase of three figures, trying the new method on only one. Once intro-duced, the new form became popular. The vases of the sixth centuryB. C. furnish examples (Fig. 20). Inthe fifth century B. C. it became gen-eral, though the work of that periodretained much of the stiffness whichcharacterized the paintings in red ofthe severe period (Fig. 461). But thetendency was toward better work andprogress was not slow (Fig. 106). This is not to say that the walk onthe soles of the feet was wholly abandoned; most artists held piouslyto the traditions of the past, though, little by little, they discardedthem. 67. Representation of the Walk on the Frieze of the Parthenon(15).—As far as the condition of the bas-reliefs permits us tojudge, nearly all of the persons walk on the soles of the feet. Someof the figures are isolated, some walk two-by-two (Figs. £1, 22).. Fig. 20. THE WALK 41
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Keywords: ., bookcentury1900, bookdecade1910, bookpublisherl, booksubjectdance
