See Burney’s Hist. of Music, i. 153. sqq. Scalig. Poet. i. 21. Antiq. of Athens, &c., Supplementary to Stuart, by Cockerell, Kinnaird, Donaldson, &c. p. 39. Footnote 1047: Vitruv. v. 6. Antiq. of Ath. by Cockerell, Donaldson, &c. p. 39. Tectum porticus quod est in summa gradatione, respondet Sienæ altitudinem, ut vox crescens æqualiter ad summas gradationes et tectum perveniat. Buleng. de Theat. c. 17. Footnote 1048: Marinus’s edition of Vitruv. t. iv. tab. 81. Footnote 1049: Empty pots were built into the walls of certain public edifices to augment the sound of the voice. Aristot. Prob. xi. 8. i. 1. v. 5. The orchestra was sometimes strewed with chaff, which was found to deaden the voice. 25. Plin. ii. 51. ----- The materials wherewith the masks were constructed varied, no doubt, considerably in different ages;[1050] but that they were ever manufactured of bronze or copper is scarcely credible, if we reflect upon the weight of so voluminous an apparatus, covering the entire head and neck, composed of either of those metals. Such metallic specimens as have come down to us are to be regarded simply as model-masks, or as works of art, designed by the statuary as ornaments. The intention, at first, of this disguise being to give additional boldness and self-confidence to the actor, by concealing from his neighbours the shamefacedness which a raw performer would sometimes naturally feel while strutting about in imperial robes, and pouring forth the _sesquipedalia verba_ of Pelias and Telephos, they were contented to cover the face with a piece of linen, having openings for the eyes and a breathing-place.[1051] To this appears to have succeeded a mask manufactured from the flexible bark of certain trees,[1052] shaped, of course, and coloured to resemble the human countenance. The next step was to employ wood, some kinds of which, while possessing the advantage of extreme lightness, might be wrought with all the delicacy and fineness of a statue, while, better than any other material, it would receive that smooth and polished enamel by which were represented the texture[1053] and complexion of the skin. Specimens of masks of this kind have been found among nations in a very rude state; among the inhabitants, for example, of Nootka Sound, whose dress, we are told,[1054] “is accompanied by a mask representing the head of some animal: it is made of wood, with the eyes, teeth, &c., and is a work of considerable ingenuity. Of these masks they have a great variety, which are applicable to certain circumstances and occasions. Those, for example, which represent the head of the otter or any other marine animals, are used only when they go to hunt them. In their war expeditions, but at no other time, they cover the whole of their dress with large bear-skins.” ----- Footnote 1050: Scalig. Poet. i. 14. Poll. iv. 143. Footnote 1051: Suid. in θέσπις, p. 1315. d. Poll. x. 167. Footnote 1052: Virg. Georg. ii. 387.