The antique Greek dance, after sculptured and painted figures . 28 THE SCULPTURED AND PAINTED FIGURES. Fig. 5. It will be seen that it is difficult to mark the limit and separatethe gesture of every-day life from the one which is purely a dance-movement. 45. The Masculine Gesture of the Arm with the Cloak.—In the fifth and fourth centuries B. C. this gesturewas used to suggest repose. The orators ofthe tribune expressed their professional dig-nity by means of it. At the opening of thethird century B. C. it lost its solemnity:the roguish Eros of Myrina often folds hismantle about him with a gre
The antique Greek dance, after sculptured and painted figures . 28 THE SCULPTURED AND PAINTED FIGURES. Fig. 5. It will be seen that it is difficult to mark the limit and separatethe gesture of every-day life from the one which is purely a dance-movement. 45. The Masculine Gesture of the Arm with the Cloak.—In the fifth and fourth centuries B. C. this gesturewas used to suggest repose. The orators ofthe tribune expressed their professional dig-nity by means of it. At the opening of thethird century B. C. it lost its solemnity:the roguish Eros of Myrina often folds hismantle about him with a great pretense ofgravity. The gesture becomes one of themore frolicsome kind of dancing noble is transfoimed into the playful. 46. Gesture of the Hand on the Hip.—The arm is more or less retired. More re-cently, the action takes on an appearanceof rapidity, but an examination of the Tan-agra figurines will show the student thatthat period is characterized by a dreamy immobility. It is a gestureat once noble and familiar, which allows great elegance in the gather-ing and holding of t
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Keywords: ., bookcentury1900, bookdecade1910, bookpublisherl, booksubjectdance
