The antique Greek dance, after sculptured and painted figures . Fig. 8i. Fig. 85. Fig. 86. dancers, if one may judge by the vast number of representa-tions of it. One may see (Par. 267) the excellence of the mech- 64 TECHNIQUE OF THE DANCE anism employed by the ancients in the use of the feet in turningby tripping. Fig. 84: IV crossed, right forward on the sole—left at rear onthe half-toe. Fig. 85: IV crossed, on the half-toe. Fig. 86: IV, crossed on the toe. 110. Perhaps the dancer in Fig. 87 is in the posi-tion of the Principle IV forward (Fig. 61), but it isnot easy to be sure on account of
The antique Greek dance, after sculptured and painted figures . Fig. 8i. Fig. 85. Fig. 86. dancers, if one may judge by the vast number of representa-tions of it. One may see (Par. 267) the excellence of the mech- 64 TECHNIQUE OF THE DANCE anism employed by the ancients in the use of the feet in turningby tripping. Fig. 84: IV crossed, right forward on the sole—left at rear onthe half-toe. Fig. 85: IV crossed, on the half-toe. Fig. 86: IV, crossed on the toe. 110. Perhaps the dancer in Fig. 87 is in the posi-tion of the Principle IV forward (Fig. 61), but it isnot easy to be sure on account of the perspectivewhich hindered the painter from striking out boldlyto depict the Position of the Half-fourth (101).The style of design is mediocre but the dance repre-sented is worse: the toe, instead of being held low, islifted so that the sole of the foot is visible from thefront, a most ungraceful pose and one never per-mitted in the better type of Greek dance any morethan in ours (180). 111. Of the III and the V it is difficult to findprecise examples.
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Keywords: ., bookcentury1900, bookdecade1910, bookpublisherl, booksubjectdance
