Costumes in commedia dell'arte skirts were of different colors. Scaramouche wore black clothes without a mask. Defiant eyebrows and a powdered face accompanied the large black mustache. He had a white collar, and a large loose hat that hung down over his neck. Tartaglia wore a black hat and very thick glasses. Rosetta was Pulcinella's maid or wife, who wore a dress with patches, like the early Arrlechino. Trivelino was a Zanni who dressed in the Arlecchino fashion. Costumes in commedia dell'arte Each character in Commedia dell'arte is distinctly different, and defined by their movement, actions, masks, and costumes. These costumes show their social
Pierrot helped steer the pantomime away from the old fabulous and knockabout world of fairy-land and into the realm of sentimental—often tearful—realism. In this he was abetted by the novelist and journalist Champfleury, who set himself the task, in the 1840s, of writing "realistic" pantomimes. Among the works he produced were "Marquis Pierrot" (1847), which offers a plausible explanation for Pierrot's powdered face (he begins working-life as a miller's assistant), and the "Pantomime of the Attorney" (1865), which casts Pierrot in the prosaic role of an attorney's clerk. Legrand left the Funambules in 1853 for what was to become his chief