When Livius Andronicus had succeeded in establishing at Rome a regular theatre, which was formed on the Greek model, and was supported by professional writers, and professional actors, the free Roman youth, who were still willing, amid their foreign refinements, occasionally to revive the recollection of the old popular pastimes of their Italian ancestry, continued to amuse themselves with the satiric pieces introduced by the _Histrions_ of Etruria, and with the Atellane Fables which Oscan performers had first made known at Rome(367). The actors of the regular drama were not permitted to appear in such representations; and the Roman youths, to whom the privilege was reserved, were not, as other actors, removed from their tribe, or rendered incapable of military service(368); nor could they be called on like them to unmask in presence of the spectators(369). It has been conjectured, that the popularity of these spectacles, and the privileges reserved to those who appeared in them, were granted in consequence of their pleasantries being so tempered by the ancient Italian gravity, that there was no admixture of obscenity or indecorum, and hence no stain of dishonour was supposed to be inflicted on the performers(370). The Atellane Fables consisted of detached scenes following each other, without much dramatic connection, but replete with jocularity and buffoonery. They were written in the Oscan dialect, in the same way as the Venetian or Neapolitan jargons are frequently employed in the Italian comedies; and they differed from the Greek satiric drama in this, that the characters of the latter were Satyrs, while those of the Atellane fables were Oscan(371). One of these was called Maccus, a grotesque and fantastic personage, with an immense head, long nose, and hump back, who corresponded in some measure to the clown or fool of modern pantomime, and whose appellation of Maccus has been interpreted by Lipsius as _Bardus_, _fatuus_, _stolidus_(372). In its rude but genuine form this species of entertainment was in great vogue and constant use at Rome. It does not appear that the Atellane fables were originally written out, or that the actors had certain parts prescribed to them. The general subject was probably agreed on, but the performers themselves filled up the scenes from their own art or invention(373). As the Roman language improved, and the provincial tongues of ancient Italy became less known, the Oscan dialect was gradually abandoned. Quintus Novius, who lived in the beginning of the seventh century of Rome, and whom Macrobius mentions as one of the most approved writers of Atellane Fables, was the author who chiefly contributed to this innovation. He is cited as the author of the _Virgo Prægnans_, _Dotata_, _Gallinaria_, _Gemini_, and various others.