masks. The most generally accepted theory is that they were first employed at the festivals of Bacchus, and recent discoveries have proved them to have been in use in ancient Egypt, numerous specimens having been found at the heads of mummy-cases. These early examples are composed of a substance closely resembling papier-mache, and painted in imitation of life.
It was in Greece, however, that the mask reached its apotheosis. There it formed an indispensable factor in classic drama. Its introduction on the stage is attributed to Thespis, who is held to have substituted masks for cosmetics.
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 role 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,
