PANTALONE - The Master: 

With his exceptional greed and status at the top of the social order, Pantalone is "money" in the Commedia world. His full name, including family name, is Pantalon de' Bisognosi, Italian for 'Pantalone of the Needy'.  Pantalone is described as being too self-absorbed to notice and interact much with the audience, but he is so obvious that it serves the same purpose.

LA SIGNORA - The Master's Wife:

She is tough, beautiful and calculating, and wears very wide dresses along with very heavy makeup. She walks with a flick of the toe and her arms held far out to the sides of her body.  La Signora could be a "courtesan" (high class ), but more usually she manages to wrangle her way into the household of an old man, usually Pantalone, where she would inevitably cuckold him. She was an older sexually experienced, known as Rosaura.

BRIGHELLA - The Evil Servant:

Brighella is a masterful liar and can make up a spur-of-the-moment lie for any situation. He is an inveterate schemer, and he is good at what he does. If his plans failed, it was almost always out of luck on behalf of the other characters. When he's a servant, he will either serve his master devotedly or look for every opportunity to ruin and take advantage of him as he happens to see fit—whatever will gain the greatest advantage for himself and himself alone. He is fond of money, but spends it rapidly, and tends to be especially fond of the drink. In fact, he has few good qualities save for his ability to entertain the audience.

PEDROLINO - The Loyal Servant:

Pedrolino is most often presented as having an all-white wardrobe and wearing exaggeratedly over-sized and loose-fitting clothes, typically including a white jacket with large buttons and comically long sleeves, a large neck ruff, and a large, floppy hat. He is one of the few unmasked male characters that was not an Innamorati. Instead of a mask, Pedrolino is said to have been defined, according to some Commedia historians, by a white "floured" makeup, also known as infarinato, which later inspired, in part, the makeup of the modern-day white-faced clown.