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Horat. Epistol. ad Pisones, 285, and the learned, though perplexed note of Dacier, who might have allowed the name of tragedies to the Brutus and the Decius of Pacuvius, or to the Cato of Maternus. The Octavia, ascribed to one of the Senecas, still remains a very unfavorable specimen of Roman tragedy.] [Footnote 63: In the time of Quintilian and Pliny, a tragic poet was reduced to the imperfect method of hiring a great room, and reading his play to the company, whom he invited for that purpose. (See Dialog. de Oratoribus, c. 9, 11, and Plin. Epistol. vii. 17.)] [Footnote 64: See the dialogue of Lucian, entitled the Saltatione, tom. ii. p. 265-317, edit. Reitz. The pantomimes obtained the honorable name; and it was required, that they should be conversant with almost every art and science. Burette (in the Memoires de l'Academie des Inscriptions, tom. i. p. 127, &c.) has given a short history of the art of pantomimes.] [Footnote 65: Ammianus, l. xiv. c. 6. He complains, with decent indignation that the streets of Rome were filled with crowds of females, who might have given children to the state, but whose only occupation was to curl and dress their hair, and jactari volubilibus gyris, dum experimunt innumera simulacra, quae finxere fabulae theatrales.] It is said, that the foolish curiosity of Elagabalus attempted to discover, from the quantity of spiders' webs, the number of the inhabitants of Rome. A more rational method of inquiry might not have been undeserving of the attention of the wisest princes, who could easily have resolved a question so important for the Roman government, and so interesting to succeeding ages. The births and deaths of the citizens were duly registered; and if any writer of antiquity had