Fourteen of these figures are said to have been found together in a burial in Attica. They are among the earliest known statuettes of actors and are superbly executed and preserved. Originally they were brightly painted. They document the beginning of standardized characters and masks, indicating the popularity not of a specific figure but of types—the old man, the slave, the courtesan, etc.—that appeared repeatedly in different plays. By the mid-fourth century B.C., Attic examples or local copies were known throughout the Greek world, from Southern Russia to Spain.
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Richter, Gisela M. A. 1953. Handbook of the Greek Collection. pp. 112, 253, pl. 93d, Cambridge, Mass.: Harvard University Press.
Pinney, Gloria Ferrari and Brunilde Sismondo Ridgway. 1979. Aspects of Ancient Greece p. 251, Allentown, Penn.: Allentown Art Museum.
Levi, Peter. 1980. Atlas of the Greek World. p. 147, Oxford: Phaidon Press.
Csapo, Eric and William J. Slater. 1994. The Context of Ancient Drama. pp. 70-1, pl. 9, Ann Arbor: University of Michigan Press.
Picón, Carlos A. 2007. Art of the Classical World in the Metropolitan Museum of Art: Greece, Cyprus, Etruria, Rome no. 181, pp. 160, 438, New York: The Metropolitan Museum of Art.
Shapiro, H. Alan. 2010. "Middle Comedy Figurines of Actors." The Art of Ancient Greek Theater, Dr. Mary Louise Hart, ed. p. 124, pl. 61, Los Angeles: J. Paul Getty Museum.
Karoglou, Kyriaki. 2016. "The Collection of Greek Terracotta Figurines at The Metropolitan Museum of Art." Les Carnets de l’ACoSt, 14: pp. 3–4, n. 21 [p.8], fig. 7a.