d,
which they raised considerably in height. About the body fell long and
trailing robes of splendid material and colour, and on the feet were
thick-soled boots which increased the height by several inches. The
comedian played in low shoes or slippers; and "boot" and "slipper"
were therefore terms in common vogue to distinguish the two kinds of
theatrical entertainment. Of Pliny's two favourite country-houses on
Lake Como one was called "Tragedy" as standing high, the other
"Comedy" because on a lower site beside the water. The whole effect
sought in the heroic play was the grandiose, and no attempt was made
to reproduce the actualities of life. In the accompanying illustration
will be seen the tragic hero as he appeared upon the Roman stage. In
considering this somewhat amazing apparition it must be remembered
that at Rome, as in Greece, the theatre was huge, effective
opera-glasses were not known, and subtle changes of facial expression
would have passed unnoticed. The make-up of the actor, like the
painting of the scenes, was compelled to depend upon broad effects.

With its love of the false heroic, of rhetorical bombast, of sumptuous
dress, magnificent scenes, and gorgeous accessories in the way of
"supers" and processions, the Roman tragic drama of this period must
have borne a striking resemblance to the corresponding English pieces
of the Restoration or age of Dryden. Perhaps the most popular part of
the performance was the music and dancing, whether by individual
actors or as ballets, accompanied by the flageolet, the lyre, or the
cymbals.

In comedy there was apparently no originality. As in the oldest days
of their drama the Romans had copied the Greeks, so they copied them
still. We may believe that the acting was often excellent; especially
in respect of intonation and gesture, but little can be said for the
play, whether from the point of view of literature or of morals. Since
verbal description must necessarily be of little force, it will serve
better to present here a few specimens of comic masks and a scene from
comedy:

[Illustration: FIG. 82.--COMIC MASKS.]

[Illustration: FIG. 83.--SCENE FROM COMEDY.]

Much more in demand were theatrical performances of a lower kind.
These were farces, interludes, character-pieces, and dumb-shows known
as "pantomimes." The farce was a loosely constructed form of
fooling comedy, containing much of the ready Italian improvisation or
"gag," and regularly intr