DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.5596#0262
DECOEUM.
229
danced away your marriage."1 That man was es-
teemed awkward and ill-bred, whose action did not
correspond with the music to which he danced.
Milizia says that only two instances are known of
figures being represented sitting with their legs
crossed. But here we have a female raising one of
her feet almost to the level of the block on which
she is sitting, an attitude the difficulty of which will
be evident to any one who tries it, and at the same
time keeps the other foot on the narrow ledge be-
neath. Instead of a soft undulating outline, we have
nothing but sharp angles,—the bent knee, the bent
elbow, the bent wrist, the turned head, the sharp
1 Herod, vi. 129: Athen. xiv. 25. The expression afterwards
became proverbial.
229
danced away your marriage."1 That man was es-
teemed awkward and ill-bred, whose action did not
correspond with the music to which he danced.
Milizia says that only two instances are known of
figures being represented sitting with their legs
crossed. But here we have a female raising one of
her feet almost to the level of the block on which
she is sitting, an attitude the difficulty of which will
be evident to any one who tries it, and at the same
time keeps the other foot on the narrow ledge be-
neath. Instead of a soft undulating outline, we have
nothing but sharp angles,—the bent knee, the bent
elbow, the bent wrist, the turned head, the sharp
1 Herod, vi. 129: Athen. xiv. 25. The expression afterwards
became proverbial.