[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