The antique Greek dance, after sculptured and painted figures . y were contented to make only the legs active. The two feet rest solidly on the ground(16) ; progress can be discoveredwhen the heel of the rear foot islifted (Fig. 33) ; much later, therear foot touches only at the toe(Fig. 34). A form of running that is mostgross and wholly artificial is wherethe legs drag along the ground;this is found on some of the vases ofthe degenerate period (Fig. 518).77. Archaic art employed oneform more awkward in appearanceeven than the preceding, but of which the expressional value is great. Some of t
The antique Greek dance, after sculptured and painted figures . y were contented to make only the legs active. The two feet rest solidly on the ground(16) ; progress can be discoveredwhen the heel of the rear foot islifted (Fig. 33) ; much later, therear foot touches only at the toe(Fig. 34). A form of running that is mostgross and wholly artificial is wherethe legs drag along the ground;this is found on some of the vases ofthe degenerate period (Fig. 518).77. Archaic art employed oneform more awkward in appearanceeven than the preceding, but of which the expressional value is great. Some of the ceramists launch their runners into space (Figs. 35, 36) flinging their legs widely in a sort of kneel-ing posture. This type of runner is also found on the bas-reliefs. But here, in order to give the figure the necessary stability, the sculptor is obliged to pose him on the sole of the forward foot and the knee of the rear foot, giving the body a crouching position. This is the case of the Nike of Delos (sixth century B. C.) of which Fig. 37 shows a part,. Fig. 33.
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Keywords: ., bookcentury1900, bookdecade1910, bookpublisherl, booksubjectdance
