While on the subject of the drama, as represented at Rome in the days of Plautus and Terence, we may refer to the fact that masks were worn by the actors, which gave to a theatrical performance some absurd and not very interesting features. There were several sets of masks among the properties of a regular theatre, beginning with that of the first tragic old man, which had a quantity of venerable white worsted attached to it for hair, with cheeks as chalky as grief and tears, strong enough to have washed out the fastest colour, might be supposed to have rendered them. The mask of the second tragic old man was less pale than that of the first, for he was not supposed to have attained to that universal privilege of aged heroism,--a countenance sicklied o'er with a pale coat of whitewash. The mask of the tragic young man, or youthful hero, was remarkable for its luxuriant head of hair, which, from the earliest days of the drama to the present hour, seems to be accepted as the stage indication of a noble character. The tragic masks for slaves embraced some interesting varieties, including a sharp nose, intended to be indicative of many a blow from fortune's hand,--a sunken eye, to bespeak a sorry look-out,--and, occasionally, long white hair, quite straight, which was supposed to convey the idea of the party having seen better days, though the analogy is difficult, unless the lankiness of the locks may be held to show that a favourable turn has in vain been waited for. The mask of a tragic lady had all those signs of a genuine female in distress which are even to this day required on the stage, where long black hair, in terribly straightened circumstances, is the emblem of an anxious mind, which has long been a stranger to curl-papers. When insanity, as well as anguish, had to be represented by the mask, the hair was undivided in the centre, but floated in wild profusion, as if the wearer had gone through a great deal, and as if, whatever she had gone through, her hair had caught in the middle of. The classical mask of the first comic old man was drawn excessively mild and benevolent, to indicate that propensity for scattering purses among the poor, and bestowing his daughter, with some millions of sesterces, on young Lucius, which were the probable attributes of the Greek and Latin stage veteran. There was also the mask of the testy old man, who was represented perfectly bald, as if he was always taking something or other into his head which had torn all the hair out of it. The masks for comic young men had the ordinary characteristics of stage humour, including red hair, pug noses, broad lips, and raised eyebrows, which are in these days supplied from those recognised sources of dramatic drollery, the burnt cork, the gum-pot, and the paint-box.