in Borgia's Museum of Baden's time), is open to the same objection as the
above. The gestures of slave, pander, parasite, etc., described in the
article are lively and expressive to be sure, but contain little to
differentiate them from those of daily life.

While much of our evidence is still to come, we believe that we are
already justified in the deduction that the actor contemporary with
Plautus must have indulged in the extravagances of the players in the
Atellan farces and the mimes. The _mimus_ of the Empire, we know,
specialized in ridiculous facial contortions.[85]

We must not forget too the vivacity indicated by the comic scenes among
the Pompeian and Herculanean wall-paintings,[86] which have a close
kinship with the Terentian MSS. pictures. Nor must we lose sight of the
fact that all our pictorial _reliquiae_ portray the later masked
characters, and hence play of feature, which must have been a notable
concomitant of the original Plautine performance, is entirely obscured.

As our intention is fundamentally to get at the original intent of our
poet and his actors, a discussion of the mask is not in order. Whether we
agree with Donatus' statement that masks were first introduced for comedy
and tragedy by Cincius Faliscus and Minucius Prothymus respectively,[87]
or with Diomedes' explanation[88] that Roscius adopted them to disguise
his pronounced squint, it is certain that they were not worn in Plautus'
time, when wigs and make-up were employed for characterization.[89] In
fact, the early performances of Plautus, unless we except the original
Terentian productions, stand almost alone in the history of Graeco-Roman
comedy as unmasked plays. This would give opportunity for the practice of
lively grimace and facial play.