Among the typical masks they distinguish between sex, age, and differences of figure; thus there was a mask called “the young girl,” another “the thin old woman,” “the fat old woman,” etc.; then they distinguished according to the colour or cut of the hair: there was the “curly-headed youth,” the “short-haired maiden,” the “fair man,” the “grey satyr,” or by the beard: the “man with a long beard,” the “beardless satyr,” or by the complexion: the “brown man,” the “fair woman with flowing hair,” and even by the shape of the nose, as the “satyr with a pug-nose.” Other masks were characterised by the social position they were to represent, such as “the old housewife,” “the countryman,” “the old hetaera,” “the soldier,” “the lady’s maid with elaborate coiffure,” or according to special peculiarities of mind or character; “the worthy young man,” “the talkative old woman.” Even varying moods of mind or feelings were represented by the masks, and it is probable therefore, that when an important change took place in any one person, the actor changed his mask behind the scenes. The writers also supply various instances to show the different means by which special traits of character were represented. One of these tokens was the colour of the complexion; a brown complexion characterised healthy men, living much out of doors, or devoting themselves to physical exercise; a white complexion was given to women and to delicate or effeminate youths; pale or yellowish to invalids, or those whose mind was disordered or suffering, as for instance unhappy lovers. The colour and expression of the eyes was also important; they distinguished between dull, piercing, dark, gloomy, sad, etc., and all this was not represented by the actor, but was already indicated in the mask. The eyebrows, too, were of importance; when they were drawn up high they indicated, in comedy, pride and boastfulness, and were thus allotted to parasites, soldiers, etc.; narrow eyebrows indicated seriousness or a sad state of mind. No less important for the character of the mask was the treatment of the forehead, nose, etc. To explain all this we give, in Figs. 154 and 155, the front and side view of a tragic terra-cotta mask, whose wide-open mouth, staring eyes, brows drawn upwards, and wrinkled forehead indicate fear and terror. A contrast to these is the comic mask (Figs. 156 and 157), with the funnel-shaped mouth opening, the pug-nose, squinting eyes, and eyebrows drawn down towards the middle. Similar is the mask worn by the comic actor in Fig. 158, who in other respects appears in the costume of ordinary life--that is, in the short slave’s dress--and the mask of the comic actor in Fig. 159 is a similar caricature.