The figures of actors and the comic masks exhibited under the glass shade and in Table-Case K bring before us the different characters prominent in Athenian comedy of the fourth and third centuries B.C., and in the Roman comedy derived from it. It was a comedy of everyday life, in which the same well-known types were constantly reappearing. Such were the parasite (No. =57=), who bears all the marks of a fondness for good living, and carries a flask and a ham; the glutton (Nos. =58= and =59=), distinguished by his large padded stomach; the money-lender (No. =60=), with his acute and cunning expression, grasping his purse tightly by his side with both hands, and partially concealing it beneath his cloak (fig. 20). The adventures of the slave and his punishments were a favourite theme with poets of the new comedy. No. =61= (fig. 21) may represent the trusted elderly slave aghast at the misdoings of his young master. A still greater favourite is the runaway slave who seeks refuge from his irate master in the protection of the altar. The bronze statuette (No. =62=), and the terracotta (No. =63=) show him seated on the altar, and in No. =64= his hands are tied behind him. A typical comic mask (No. =65=) is illustrated above (fig. 22, left), characterised by its exaggerated features, especially the wide open mouth, the snub nose and thick bushy eyebrows. The satyric play, which of the three kinds of Greek drama kept nearest in spirit to the early Dionysiac village revel, is illustrated by the satyric masks (No. =66=; fig. 22, centre), with their high upstanding hair and semi-bestial features, as well as by the masks of the bald-headed Seilenos, the constant companion of Dionysos in his revels. Most of the examples of masks shown in the case are merely representations. A few such as No. =67= with pierced eye and mouth-holes, and of life size, may have been intended for use. Two heads of actors from marble reliefs (Nos. =68=, =69=) show to what extent the face of the actor could be seen, within the apertures of the mask. (50) _Cat. of Vases_, II., B 80; _Journ. Hell. Stud._, I., pl. 7; (51) _Cat. of Vases_, II., B 509; _Journ. Hell. Stud._, II., pl. 14; (52) _Cat. of Vases_, IV., F 269; cf. Heydemann in _Jahrb. d. arch. Inst._, I. (1886), p. 260 ff.; (53) _Cat. of Vases_, IV., F 151; (54) _Cat. of Lamps_, 446; Cf. Froehner, _Hoffman Sale Cat._, 1886, p. 38, No. 127; (55) _Cat. of Roman Pottery_, M 121; _Gazette Arch._, 1877, p. 66, pl. 12. On the ancient theatre generally, see Haigh, _The Attic Theatre_, edn. 3, where references to literature will be found. For Masks, see Daremberg and Saglio, Dict., _s.v._ Persona. [Footnote 12: _Hecyra_, _prolog._, 30 ff.] [Footnote 13: Cf. Dem., _de Cor._, 122: [Greek: kai boas rhêta kai arrêta onomazôn, hôsper ex hamaxês].] [Footnote 14: