Pierrot [1883]; "The Painter Aman-Jean as Pierrot" [1883]), Léon Comerre ("Pierrot" [1884]), Henri Rousseau ("A Carnival Night" [1886]), Paul Cézanne ("Mardi gras [Pierrot and Harlequin]" [1888]), Fernand Pelez ("Grimaces and Miseries" a.k.a. "The Saltimbanques" [1888]), Pablo Picasso ("Pierrot and Columbine" [1900]), Guillaume Seignac ("Pierrot's Embrace" [1900]), and Édouard Vuillard ("The Black Pierrot" [c. 1890]). The mime "Tombre" of Jean Richepin's novel "Nice People" ("Braves Gens" [1886]) turned him into a pathetic and alcoholic "phantom"; Paul Verlaine imagined him as a gormandizing naïf in "Pantomime" (1869), then, like Tombre, as a lightning-lit specter in "Pierrot" (1868, pub. 1882). Laforgue put three of
Pierrot of Pierrot "loquitur": "Although this pantomime of life is passing fine,/Who would be happy must not marry Columbine".) Another pocket of North-American sympathy with the Decadence—one manifestation of what the Latin world called "modernismo"—could be found in the progressive literary scene of Mexico, its parent country, Spain, having been long conversant with the "commedia dell'arte". In 1897, , another Decadent who, at the age of twenty-two, died even more tragically young than Peters, embarked on a series of Pierrot-themed short stories—"Pierrot Enamored of Glory" (1897), "Pierrot and His Cats" (1898), "The Nuptials of Pierrot" (1899), "Pierrot's Gesture" (1899), "The Caprices