The masks of the regular theatre were made of chalk, or pipe-clay, or terra cotta. A few were of metal, but these were chiefly the masks of the Mimes. The chalk or clay masks were so transparent and artfully prepared, that the play of the muscles could be seen through them; and it appears that an opening was frequently left for the eyes, since Cicero informs us expressly, that in parts of high pathos or indignation, the actor’s eyes were often observed to sparkle under the vizard(634). From a vast collection of Roman masks engraved in the work of Ficoroni, _De Larvis Scenicis_, it appears that most of them represented features considerably distorted, and enlarged beyond the natural proportions. A wide and gaping mouth is one of their chief characteristics. The mask being in a great measure contrived to prevent the dispersion of the voice, the mouth was so formed, and was so incrusted with metal, as to have somewhat the effect of a speaking-trumpet—hence the Romans gave the name of _persona_ to masks, because they rendered the articulation of those who wore them more distinct and sonorous(635). There are, however, a few figures in the work of Ficoroni, carrying in their hands masks which are not unnaturally distorted, and which have, in several instances, a resemblance to the actor who holds them. M. Boindin, on the authority of a passage in Lucian’s _Dialogue on Dancing_, thinks that these less hideous masks were employed by dancers, or pantomimic actors, who, as they did not speak, had no occasion for the distended mouth(636). Roscius, who had some defect in his eyes, is said to have been the first actor who used the Greek mask(637): but it was not invariably worn even by him, as appears from a passage of Cicero.—“All,” says that author, “depends upon the face, and all the power of the face is centred in the eyes. Of this our old men are the best judges, for they were not lavish of their applause even to Roscius in a mask(638).”