19), representing a tragic scene, the difference between the cothurnus of the servant and that of the hero is very conspicuous.[742] Whether the cothurnus was worn by all the characters in a tragedy, or only by the more important ones, is uncertain. There was another tragic boot called the ‘krepis’, of a white colour, which was introduced by Sophocles, and used by the chorus as well as by the actors. Possibly this may have been a boot more like those of ordinary life than the cothurnus, and may have been worn by the subordinate characters.[743] The illustrations show that the cothurnus was rather a clumsy contrivance, and that it must have been somewhat inconvenient to walk with. The tragic actor had to be very careful to avoid stumbling upon the stage. Lucian says that accidents were not infrequent. Aeschines met with a misfortune of this kind as he was acting the part of Oenomaus at Collytus. In the scene where Oenomaus pursues Pelops he tripped up and fell, and had to be lifted up again by the chorus-trainer Sannio.[744] The use of the cothurnus, combined with the onkos, or prolongation of the crown of the mask, added greatly to the stature of the tragic actor. To prevent his seeming thin in comparison with his height, it was found necessary to increase his bulk by padding. His figure was thus made to appear of uniformly large proportions.[745] [Illustration: FIG. 19.] The garments of the tragic actor were the same as the ordinary Greek dress, but their style and colour were more magnificent. They consisted of an under-garment or tunic, and an over-garment or mantle. The tunic was brilliantly variegated in colour. Sometimes it was adorned with stripes, at other times with the figures of animals and flowers, or similar ornamentation. A special tunic of purple was worn by queens. The ordinary tragic tunic reached down to the feet. But the tunics worn by females upon the stage were sometimes longer than those worn by men, and trailed upon the ground, as the name ‘syrtos’ implies. On the other hand, it appears from various illustrations that shorter ones were occasionally provided for attendants and other minor characters. The tunic of the tragic actor was fastened with a broad girdle high up under the breast, and flowed down in long and graceful folds, giving an appearance of height and dignity. It was also supplied with long sleeves reaching to the waist. In ordinary life sleeves of this kind were considered effeminate by the European Greeks, and were mostly confined to the Greeks of Asia. The general character and appearance of the tragic tunic is well exemplified in the illustrations already given.[746]