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Show ON PANTOMIME. 129 ciently transparent for the spectator to perceive the shades of that secret passion which he endeavours as much as possible to conceal. The performance of the mime sometimes depends on those who act with him; if they are not animated, he necessarily becomes cold. But the principal performer should rather take possession, as it were, of the stage, and give a tone to the rest, whose acting should be responsive to his, and form a part of it. It is this harmony between the characters of Pantomime which contributes most essentially to general theatrical effect. It may be here observed, that an actor performing in a small theatre may restrain his gestures and moderate his exertions; but if, on the contrary, the theatre is of extensive dimensions, his pantomimic action must be increased in vigour also, and more strongly marked. ON THE ORIGIN OF THOSE MASKED CHARACTERS W H O PERFORM IN ITALIAN COMEDIES. The following short discourse upon masked characters is taken from Pietro Verri. Supposing it to be a subject not void of interest to theatrical amateurs, treating as it does on the origin of Mimes, whom we have already so often mentioned, we thought ourselves sufficiently authorised for introducing it here. The custom of performing in masks, may be traced to the most remote antiquity. During the polished ages of Greece, no actor appeared on the stage without this peculiar appendage. In ancient comedy, masks were in such universal use that they were adapted to every species of character: there were the miser's mask, the parasite's mask, the mask for the good servant, and the mask for the |