There is no confusing the mask peculiar to the Greek theatre with that of any other country or period. The industry rose to the dignity of an art, as the beauty-loving Hellenes would tolerate nothing ugly or ill-made on their actors. The dramatic masks consisted of an entire head, with hair, beard, and ornaments arranged in exact accordance with the character to be portrayed. All the features were strongly accentuated, vividly coloured, and of supernatural size. The eyes were deeply sunken, the nose exaggerated, and the mouth open. Inside the parted lips was a metal construction designed to make the voice carry a considerable distance--a necessary measure, as all performances took place in colossal open-air buildings. The moment an actor appeared upon the scene a glance at his mask sufficed to determine the rôle he was about to play; and, whether masculine or feminine, the details were equally exact. How comprehensive the range of selection was may be gathered from the fact that masks were broadly divided into three great classes, namely, Tragical, Comical, Satirical, each of which was in turn subdivided as follows:-- 1. Eight masks of old men, typifying differences of age, rank, humour, etc. 2. A series of eleven masks of young men. 3. Seven varieties of masks of slaves. 4. Eighteen masks of women. In addition to the above, the masks depicting gods and heroes were placed in a separate category. These never varied, and each displayed the attributes of the deity portrayed. Thus Actæon appeared with the antlers of a deer, Argus with a hundred eyes, Diana with a crescent; and so on. The earliest masks were fashioned from wood fibre, which in due time gave place to leather, and finally to wax. In Rome the art of mask-making was further elaborated. Trades and professions were distinctively personated. Double-faced masks were introduced, one side representing laughter and the other tears, so that by turning his right or left profile to the audience, the actor could change his expression at will. Among the Romans the use of the mask was not restricted to the theatre. It was worn in processions, and at certain festivals, notably those dedicated to Pan, where masks of vine leaves were customary. A strange funeral rite consisted of a performance given by a comedian wearing a mask made in the likeness of the defunct. This mummer's mission was to follow the coffin, acting and reciting the salient features of the dead man's career, impartially setting forth both the good and the bad. In the reign of Augustus, patrician ladies were in the habit, when indoors, of wearing masks delicately perfumed and treated with cosmetics. This fashion was revived by Henry III. of France and his courtiers for the preservation of the complexion.