They also instituted a dramatic musical school, a kind of Conservatorium, in which pupils from various parts of Greece were trained, and usually in turn became members of the guild. It is very interesting to examine the details, management, inner organisation, and life of the members of these actors’ guilds in the Alexandrine period, but unfortunately space does not permit us to do so here. All the arrangements already described show strong contrasts between ancient and modern theatres, and perhaps there is nothing which strikes us as so extraordinary as the Greek theatrical costume, and especially the appearance of actors in masks. It is impossible for us to understand this complete disregard of expression and change in representing feelings, and this perpetual stare of the unchanging mask. This curious custom has been explained in many different ways. It is a mistake to suppose that the Greek theatres were too large for the play of an actor’s expression to be observed, and that the coarse features of the mask were arranged with a view to this distance, in which their want of change would be less striking. Since they played in broad daylight, in the sharp clear light of a southern sky, the spectators, even in the most distant places, could have followed the play of the actor’s features, especially since the ancients had better eyes than our present generation. Nor is it correct to suppose that the masks were required in order that the funnel-shaped contrivance applied to its mouth should strengthen the sound; for the acoustics in the Greek theatres were usually so good that the very slightest word even whispered on the stage could be heard in the auditorium. Undoubtedly it would have been impossible without masks for the same actor to undertake many parts in quick succession; but at the same time we may ask whether they would have held so strictly to this system of dividing all the parts among three actors if they had not already possessed the masks, and thus the possibility of abiding within these limitations. The introduction of real characters, whose features were to be faithfully imitated was also facilitated by the masks, but good mimics could achieve this even without, as examples on the modern stage have shown. Consequently, none of these reasons really explain the use of masks; in reality they originated in the religious customs which were the origin of the drama, and afterwards were simply maintained with many other relics of its religious origin, as people had got accustomed to them and found them convenient. It had formerly been the practice at the Dionysia, whence the drama originated, for people to disguise their faces by smearing them over with husks of grapes, etc., or to cover them up completely, or disguise them with wreaths of ivy, etc. Instead of painting and covering them with leaves they gradually began to use pieces of linen, at first quite shapeless and destined only to cover the face and prevent