Pierrot gave kicks and no longer received them; Harlequin now scarcely dared brush his shoulders with his bat; Cassander would think twice before boxing his ears. Deburau seems to have had a predilection for "realistic" pantomime—a predilection that, as will later become evident here, led eventually to calls for Pierrot's expulsion from it. But the pantomime that had the greatest appeal to his public was the ""pantomime-arlequinade-féerie"", sometimes "in the English style" (i.e., with a prologue in which characters were transformed into the "commedia" types). The action unfolded in fairy-land, peopled with good and bad spirits who both advanced and impeded
Pierrot important factor that probably hastened his degeneration was the multiplicity of his fairground interpreters. Not only actors but also acrobats and dancers were quick to seize on his role, inadvertently reducing Pierrot to a generic type. The extent of that degeneration may be gauged by the fact that Pierrot came to be confused, apparently because of his manner and costume, with that much coarser character Gilles, as a famous portrait by Antoine Watteau attests (note title of image at right). But in the 1720s, Pierrot at last came into his own. Antoine Galland's final volume of The "Thousand and One