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 of Pierrot" (1900)—culminating, after the turn of the century (and in the year of Couto's death), with "Pierrot-Gravedigger" (1901). For the Spanish-speaking world, according to scholar Emilio Peral Vega, Couto "expresses that first manifestation of Pierrot as an alter ego in a game of symbolic otherness ..." Inspired by the French Symbolists, especially Verlaine, Rubén Darío, the Nicaraguan poet widely acknowledged as the founder of Spanish-American literary Modernism ("modernismo"), placed Pierrot ("sad poet and dreamer") in opposition to Columbine ("fatal woman", the arch-materialistic "lover of rich silk garments, golden jewelry, pearls and diamonds") in his 1898 prose-poem "The Eternal Adventure