of the stage was a
_porticus_. At Herculaneum, on a balustrade which divided the orchestra
from the stage, was found a row of statues, and on each side of the
_pulpitum_, an equestrian figure. Below the theatre (great and small)
was a large square constructed, says Vitruvius, for the reception of the
audience in bad weather. It consisted of Doric columns, around an open
area, forming an ample portico for this purpose, whilst under it were
arranged _cellae_, or apartments, amongst which were a soap manufactory,
oil mill, corn mill, and prison. An inner _logia_ was connected with a
suite of apartments. There was also an _exedra_, or recess.

Among the Romans, theatrical approbation was signified by an artificial
musical kind of noise, made by the audience to express satisfaction.
There were three species of applause denominated from the different
noises made in them, viz.: _Bombus_, _Imbrius_, and _Testae_.

First, a confused din, made either by the hands or mouth. The second and
third, by beating on a sort of sounding vessel placed in the theatres
for that purpose. Persons were instructed to give applause with
skill--and there were even masters who professed to teach the art. The
proficients in this way let themselves out for hire to the poets,
actors, &c., and were so disposed as to support a loud applause. These
they called _Laudicena_. At the end of the play, a loud peal of applause
was expected, and even asked of the audience either by the chorus or by
the person who spoke last. The formula was "_Spectatore Claudite_," or
"_Valete et Plaudite_." The applauders were divided into _Chori_, and
disposed in theatres opposite to each other, like the choristers in
cathedrals, so that there was a kind of concert of applause. The free
admission tickets were small ivory death's heads, and specimens of these
are to be seen in the Museum of Naples. From this custom, it is stated,
that we derive our word "Deadhead," as denoting one who has a free
entrance to places of amusement.

With the dawn of the Roman Empire, Pantomime, in Italy, is first
authentically mentioned. The Emperor Augustus always displayed great
favour to the Art, and even by some writers he has been credited with
being the originator of Pantomime. This, of course, as we have seen, is
impossible, and to use a familiar and trite saying, the Pantomimic Art
is "as old as the hills" themselves. Again, Bathyllus and Pylades (both
freed slaves, the former born in Cili