[1] _Deuteronomy_, xxii. 5, a commonplace of anti-stage controversy from Tertullian (_de Spectaculis_, c. 23) to _Histrio-Mastix_. Tertullian (_loc. cit._) asserts, ‘non amat falsum auctor veritatis; adulterium est apud ilium omne quod fingitur.’ [2] J. Denis, _La Comédie grecque_ (1886), i. 50, 106; ii. 535. The so-called mimes of Herodas (third cent. B. C.) are literary pieces, based probably on the popular mime but not intended for representation (Croiset, _Hist. de la Litt. grecque_, v. 174). [3] Livy, vii. 2; Valerius Maximus, ii. 4. 4 (364 B. C.). [4] Juvenal, x. 81; Dion Chrysostom, _Or._ xxxii. 370, 18 M.; Fronto, _Princip. hist._ v. 13. A fourth-century inscription (_Bull. d. Commis. arch. comun. di Roma_, 1891, 342) contains a list of small Roman _tabernarii_ entitled to _locum spectaculis et panem_. [5] The holding capacity of the theatre of Pompey is variously given at from 17,580 to 40,000, that of the theatre of Balbus at from 11,510 to 30,085, that of the theatre of Marcellus as 20,000. [6] Friedländer, ii. 100; Haigh, 457; Krumbacher, 646; Welcker, _Die griechischen Tragödien_ (1841), iii. 1472. [7] Juvenal, i. 1; Pliny, _Epist._ vi. 15; vii. 17; Tacitus, _de Oratoribus_, 9, 11. [8] The _Sententiae_ of Publilius Syrus were collected from his mimes in the first century A.D., and enlarged from other sources during the Middle Ages (Teuffel-Schwabe, § 212). Cf. the edition by W. Meyer, 1880. The other fragments of the mimographs are included in O. Ribbeck, _Comicorum Romanorum Fragmenta_ (3rd ed. 1898). Philistion of Bithynia, about the time of Tiberius, gave the mime a literary form once more in his κωμῳδίαι βιολογικαί (J. Denis, _La Com. grecque_, ii. 544; Croiset, _Hist. de la Litt. grecque_, v. 449). [9] _Incerti_ (fourth century) _ad Terentium_ (ed. Giles, i. xix) ‘mimos ab diuturna imitatione vilium rerum et levium personarum.’ Diomedes (fifth century), _Ars Grammatica_, iii. 488 ‘mimus est sermonis cuiuslibet imitatio et motus sine reverentia, vel factorum et dictorum turpium cum lascivia imitatio.’ [10] Ovid, _Tristia_, ii. 497: ‘quid, si scripsissem mimos obscoena iocantes, qui semper vetiti crimen amoris habent.’ [11] _Hist. Augusta, Vita Heliogabali_, 25 ‘in mimicis adulteriis ea quae solent simulato fieri effici ad verum iussit’; cf. the _pyrrichae_ described by Suetonius, _Nero_, 12. The Roman taste for bloodshed was sometimes gratified by mimes given in the amphitheatre, and designed to introduce the actual execution of a criminal. Martial, _de Spectaculis_, 7, mentions the worrying and crucifixion of a brigand in the mime _Laureolus_, by order of Domitian: ‘nuda Caledonio sic pectora praebuit urso non falsa pendens in cruce Laureolus.’ [12] Martial, i. 1; Ausonius, _Ecl._ xviii. 25; Lactantius (†300), _de Inst. div._ i. 20. 10. Probably the influence of a piece of folk-ritual is to be traced here.