In the ancient temporary Roman theatres, the body of the building, or place where the spectators sat, was open at top to receive the light. But Quintus Catulus, during the entertainments exhibited at his dedication of the Capitol, introduced the luxury of canvass, which was drawn partially or completely over the theatre at pleasure(597). This curtain was at first of simple unornamented wool, and was merely used as a screen from the sun, or a protection from rain; but, in process of time, silken hangings of glossy texture and splendid hues waved from the roof, flinging their gorgeous tints on the _proscenium_ and spectators:— “Et vulgo faciunt id lutea russaque vela, Et ferrugina, quum, magnis intenta theatris, Per malos vulgata trabesque, trementia fluctant. Namque ibi consessum caveai subter, et omnem Scenalem speciem, patrum, matrumque, deorumque, Inficiunt, coguntque suo fluitare colore(598).” 2. _The Orchestra_ was a considerable space in the centre of the theatre, part of which was allotted for the seats of the senators. The remainder was occupied by those who played upon musical instruments, whose office it was, in the performance both of tragedies and comedies, to give to the actors and audience the tone of feeling which the dramatic parts demanded. In tragedies, the music invariably accompanied the Chorus. It was not, however, confined to the Chorus; but appears to have been also in the monologues, and perhaps in some of the most impassioned parts of the dialogue; for Cicero tells of Roscius, that he said, when he grew older, he would make the music play slower, that he might the more easily keep up with it(599). I do not, however, believe, that comedy was a musical performance throughout: Mr Hawkins, after quoting a number of authorities to this purpose, concludes, “that comedy had no music but between the acts, except, perhaps, occasionally in the case of marriages and sacrifices, if any such were represented on the stage(600).”