[1046]. See Burney’s Hist. of Music, i. 153. sqq. Scalig. Poet. i. 21. Antiq. of Athens, &c., Supplementary to Stuart, by Cockerell, Kinnaird, Donaldson, &c. p. 39.
[1047]. Vitruv. v. 6. Antiq. of Ath. by Cockerell, Donaldson, &c. p. 39. Tectum porticus quod est in summa gradatione, respondet Sienæ altitudinem, ut vox crescens æqualiter ad summas gradationes et tectum perveniat. Buleng. de Theat. c. 17.
[1048]. Marinus’s edition of Vitruv. t. iv. tab. 81.
[1049]. Empty pots were built into the walls of certain public edifices to augment the sound of the voice. Aristot. Prob. xi. 8. i. 1. v. 5. The orchestra was sometimes strewed with chaff, which was found to deaden the voice. 25. Plin. ii. 51.
[1050]. Scalig. Poet. i. 14. Poll. iv. 143.
[1051]. Suid. in θέσπις, p. 1315. d. Poll. x. 167.
[1052]. Virg. Georg. ii. 387.
[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.
[1054]. Meare’s Voyage, p. 254.
[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.