, but of satires,
accompanied with music set to the flute, recited with suitable gestures.
After satires, which had afforded the people subject of coarse mirth
and laughter, were, by this regulation, reduced to form and acting, by
degrees became an art, the Roman youth left it to players by profession,
and began, as formerly, to act farces at the end of their regular
pieces. These dramas were called _Exodia_, and were generally woven with
the _Atellanae_ Comedies. These were borrowed from the Osci, and were
always acted by the Roman youth. Tacitus speaks of _Atellanae_ Comedies
written in the spirit and language of the Osci having been acted in his
time.

It is thought that the Etruscans possessed histories, poems, and dramas,
and, if these, then certainly they knew the Pantomimic Art, out of
which, in all probability, their dramatic entertainments grew. To the
Etruscans the Romans owe their early civilization.

The Etruscan era is supposed to have commenced about 1044 B.C., and we
are told that the Etruscans shared with the Greeks, and the Phoenicians,
the maritime supremacy of the Mediterranean. In the sepulchral chambers
of the Necropolis of Tarquinii, which extends for many miles, there are
several scenes painted in the archaic style by the Etruscans,
representing the Chase, the Circus, and Dancing Girls.

Soon after its innovation among the Romans, Pantomime spread all over
Italy and the provinces. So attractive did it become in Rome, and so
popular, that Tiberius issued a decree forbidding the knights and nobles
to frequent their houses of entertainment, or to be seen walking in the
streets with them. Trajan also oppressed and banished the Pantomimists.
Under Caligula, however, they were received with great favour, and
Aurelius made them priests of Apollo. Nero, who carried everything to
the extremity of foolishness, was not content in patronising the
Pantomimes, but must needs assist, and appear himself, as a _Mimi_. Here
again, in Nero, another claimant as the author of Pantomime has been put
forward.

"So great (observes Gaston Vuillier, in his 'History of Dancing,') was
the admiration for Pylades and Bathyllus that the theatrical supporters
clothed themselves in different liveries, and broils in the public
streets were of frequent occurrence." "The rivalries of Pylades and
Bathyllus," says De Laulnaye, "occupied the Romans as much as the
gravest affairs of state. Every citizen was a Bathyllian or a Pyladia