The antique Greek dance, after sculptured and painted figures . e fabric at the back to keepit from touching the ground and thus be-coming soiled. The gesture is not one ofcoquetry, used to make the walk moreattractive, but it introduces a kind of eurhythmy, so that, when it ceases to be a gesture of utility, it isfrankly a dance-movement (Fig. 33, Par. 50). Sometimes the arms lift the plaits laterally, sometimes forward,occasionally backward, now and then they are held close to thebody. At last, the movement is joined to a turning motion of thetorso, when it loses all its original meaning and
The antique Greek dance, after sculptured and painted figures . e fabric at the back to keepit from touching the ground and thus be-coming soiled. The gesture is not one ofcoquetry, used to make the walk moreattractive, but it introduces a kind of eurhythmy, so that, when it ceases to be a gesture of utility, it isfrankly a dance-movement (Fig. 33, Par. 50). Sometimes the arms lift the plaits laterally, sometimes forward,occasionally backward, now and then they are held close to thebody. At last, the movement is joined to a turning motion of thetorso, when it loses all its original meaning and becomes merelyan artifice of the dance (Fig. 105). Fig. 104* is a rare com-bination of the turning with the gesture of the tunic. (Many types of the gesture of the tunic are to be found in thefirst volume of Greek Sculpture by Collignon; reproductions ofthe archaic statues of the Acropolis, among others, Plate I; figuresillustrating the text, pages 343 and 366. They are of the samecharacter as Figs. 33, 50, 102, 103, 101, 105, 106, 501, etc., in thisvolume.). 28 THE SCULPTURED AND PAINTED FIGURES
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Keywords: ., bookcentury1900, bookdecade1910, bookpublisherl, booksubjectdance
