Pompeii, its history, buildings, and antiquities : an account of the destruction of the city with a full description of the remains, and of the recent excavations, and also an itinerary for visitors . he actor nor heardhis voice. To obviate these inconveniences masks were in-vented, which not only by their exaggerated features and ex-pression could be discerned in the remotest part of thetheatre, but also seem to have been contrived to assist the voiceof the actor, and render it audible from afar. These maskswere brought to a great degree of beauty and perfection, sothat, as may be seen at Pom
Pompeii, its history, buildings, and antiquities : an account of the destruction of the city with a full description of the remains, and of the recent excavations, and also an itinerary for visitors . he actor nor heardhis voice. To obviate these inconveniences masks were in-vented, which not only by their exaggerated features and ex-pression could be discerned in the remotest part of thetheatre, but also seem to have been contrived to assist the voiceof the actor, and render it audible from afar. These maskswere brought to a great degree of beauty and perfection, sothat, as may be seen at Pompeii in several instances, theywere frequently imitated by architects in cornices andmouldings, and by artists in paintings of festoons and otherornaments. It will not therefore be out of place here togive some account of their origin and nature. We have not the means, nor would it be to the purpose, todescribe the earliest form of the mask, or to trace its pro-gress. Ultimately it was formed of brass or some sonorousmaterial, or the mouth at least lined with metal, so as tocollect and reverberate the voice with something like thepower of a speaking-trumpet. The Greeks called it Trpoa-wiretoi,.
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Keywords: ., bookauthordyerthomashenry180418, bookcentury1800, bookdecade1860
