a Bathyllus rather than to more illustrious antagonists[19]. But the personal instincts of Tiberius were not so genial as those of Augustus. Early in his principate he attempted to restrain the undignified court paid by senators and knights to popular dancers, and when this measure failed, he expelled the _histriones_ from Italy[20]. The example was followed by more than one of his successors, but Rome clamoured fiercely for its toys, and the period of exile was never a long one[21]. Both _mimi_ and _pantomimi_ had their vogue in private, at the banquets and weddings of the great, as well as in public. The class of _scenici_ further included a heterogeneous variety of lesser performers. There were the rhapsodes who sung the tragic _cantica_, torn from their context, upon the stage. There were musicians and dancers of every order and from every land[22]. There were jugglers (_praestigiatores_, _acetabuli_), rope-walkers (_funambuli_), stilt-walkers (_grallatores_), tumblers (_cernui_, _petauristae_, _petaminarii_), buffoons (_sanniones_, _scurrae_), beast-tamers and strong men. The pick of them did their ‘turns’ in the theatre or the amphitheatre; the more humble were content with modest audiences at street corners or in the vestibule of the circus. From Rome the entertainers of the imperial race naturally found their way into the theatres of the provinces. Tragedy and comedy no doubt held their own longer in Greece, but the stage of Constantinople under Justinian does not seem to have differed notably from the stage of Rome under Nero. Marseilles alone distinguished itself by the honourable austerity which forbade the _mimi_ its gates[23].