[53] Quinct. 1, 5, 20. [54] B nec penitus caret aspiratione, nec eam plene possidet. Prisc. 1, 5, 26. [55] Ab scala Mediana. Orelli, 3093. The grammarians condemn the use of scala in the singular as a solecism. (Quinct. 1, 5, 16). M. Abudius Luminaris, who raises this monument, had married his own freedwoman; "Patronus idemque conjux." There are inscriptions by freedmen to patronæ, who were also their wives. Such marriages were forbidden by Severus, unless under the sanction of a judge; and when the patrona was of such humble rank, "ut ei honestæ sint vel liberti sui nuptiæ." Fabretti, p. 290. Anicia Glycera (Orell. 4649) records her gratitude to her husband, "qui ex imo ordine ad summum me perduxit honorem," as from a slave he had made her his wife. The Greek slave would often be, in manners and culture, superior to the Roman master. [56] Spon. Misc. p. 143. There has been a great controversy respecting the medical men of Rome--whether they were slaves; the monuments show them to have been commonly Greek freedmen. [57] Orelli, 2645. [58] P. 239. Juv. 5, 170. An imitation of the _caput rasum_ appears to be still the professional costume of the clown. [59] Grut. p. 312, 7. Juv. 2, 112. Quinct. 11, 3. [60] See in Smith's Dictionary, s. v. Bathyllus, an account of the _furore_ of the Romans for the pantomimic representations and their vicissitudes of imperial favour or prohibition. [61] L. Marius Austus Enuntiator ab scæna Græca. Orelli, 2614. [62] Grut. p. 637, 1. [63] Hist. 8, 10. [64] Grut. p. 332. The contest took place A.D. 110. [65] Mai Auct. Class 5, p. 414. [66] Anthol. iv. 357. Lucian, [Greek: peri orchêseôs--Kathêsai katauloumenos thêludrian anthrôpon orôn, esthêsi malakais kai asmasin akolastois enabrunomenon, kai mimoumenon erôtika gynaia tôn palai tas machlotatas Phaidras kai Parthenopas kai 'Podopas tinas.] A truer representation, it is to be feared, of what pantomime actually was, than the semi-serious defence of Lucian, who makes the theatre a school of self-knowledge and self-control, and the education of the dancer a course of mythological and poetical learning. [67] Bulletino dell Istit. Arch. 1838, p. 165. The inscription is, "Fuit Atistia uxor mihei, femina opituma, quoius corporis reliquiæ quod superant sunt in hoc panario."--Henzen, 7268. [68] Maitland on the Catacombs, p. 138. [69] Archæol. Journal, 4, 55. [70] P. 6. [71] Gruter, p. 926-8. [72] Gruter, p. 904. [73] Fabretti, p. 560, who observes, "In tanto inscriptionum sepulcralium numero rari admodum reperiuntur qui longam senectutem expleverint." [74] Orelli, 4849.