The antique Greek dance, after sculptured and painted figures . are all made to face the spectator. In the caseof the figures taken from the paintings and sculptures of ancientGreece, this is manifestly impossible. Their resemblance to themodern dance is chiefly in the leg-movements. In comparing themwith the modern photographs, the perspective is entirely different. The representations in sculpture are seldom arranged in a series(269). Often a movement is indicated in its characteristic moment,—a moment when there would be no possibility of confounding themovement with any other. It is imposs
The antique Greek dance, after sculptured and painted figures . are all made to face the spectator. In the caseof the figures taken from the paintings and sculptures of ancientGreece, this is manifestly impossible. Their resemblance to themodern dance is chiefly in the leg-movements. In comparing themwith the modern photographs, the perspective is entirely different. The representations in sculpture are seldom arranged in a series(269). Often a movement is indicated in its characteristic moment,—a moment when there would be no possibility of confounding themovement with any other. It is impossible to show, in one picture, either the Chasse or theCoupe. They are dependent upon the most simple movements, butthey have no climacteric moment (283). Of these there is no tracefound upon the paintings or reliefs. 226. The Slide (218) is easy to- follow from one picture. The DESCRIPTION OF SOME OF THE TEMPOS AND STEPS 123 Satyr (Fig. 270) carries his right foot forward in IV, touching theground lightly with his toe,—there is no doubt about this repre-.
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Keywords: ., bookcentury1900, bookdecade1910, bookpublisherl, booksubjectdance
