Footnote 1053: Vid. Horat. de Art. Poet. 278. Athen. xiv. 77. Suid. v. χοιρίλλος, t. ii. p. 1160. f. Etym. Mag. 376. 47. Poll. iv. 133, sqq. Schol. Soph. Œdip. Tyr. 80. Footnote 1054: Meare’s Voyage, p. 254. ----- But while the above improvements were going on in the national theatre,[1055] the rustic drama continued to preserve its original simplicity, the actors to prevent their being recognised, shading their brows with thick projecting crowns of leaves, and daubing their faces[1056] with lees of wine. Thus disguised they chanted their songs upon the public roads, sitting in a waggon,[1057] whence the proverb, “he speaks as from the waggon,” _i. e._ he is shamelessly abusive, which was in fact the case with the comic poets. ----- Footnote 1055: On the Roman Stage the actors appeared in hats up to the age of Livius Andronicus. Roscius Gallus was the first who put on a mask, which he did on account of his squinting. Ficorini, Masch. Scen. p. 15. On the origin of the Mask see Paccichelli De Larvis, Capillamentis, et Chirothecis. Neap. 1693. Footnote 1056: Schol. Aristoph. Nub. 29. Scalig. Poet. i. 13. Footnote 1057: Schol. Aristoph. Eq. 545. Nub. 29.—Demosth. De Coron. § 37. Ulp. in. § 5. ----- The masks were divided into three kinds, the Tragic, the Comic, and the Satyric. Those belonging to Tragedy were again subdivided into numerous classes, representing every marked variety of character, and every stage of human life from childhood to extreme old age. In the highly varied range of countenances thus brought into play, the mask-maker enjoyed abundant opportunities of exhibiting his skill. The hair, of course, was real and adjusted on the mask like a wig,[1058] differently fashioned and coloured according to the age, habits, and complexion of the wearer. In some cases it was gathered together and piled up on the forehead,[1059] in a triangular figure,[1060] adding many inches to the actor’s stature; at other times it was combed smoothly downwards, from the crown, twisted round a fillet and disposed like a wreath about the head as we sometimes find it in the figures of Asclepios and the philosopher Archytas. Some characters were represented wholly bald, with a garland of vine-leaves or ivy wreathed about the brow,[1061] others were simply bald in front, while a third class exhibited a bushy fell of hair, something like a lion’s mane. Young ladies displayed a profusion of pendant curls, kept in order by the fillet or sphendone, or gathered up in nets, or twisted about the head in braided tresses. In representing certain characters the eye-sockets were left open, so that the actor’s eyes could be seen moving and flashing within;[1062] but on other occasions, when the part of a squinter was to be acted by a performer who did not squint or vice versa, as in the case of Roscius Gallus, the mask-maker must have represented the eyes by glass or some