Nye, Edward (2016): "The pantomime repertoire of the Théâtre des Funambules," Nineteenth century theatre and film, 43: 1 (May): 3-20. Félicien Rops, Blowing Cupid's Nose [1881] James Ensor The Strange Masks [1892], Pierrot's Despair [1892], Pierrot and Skeleton in Yellow [1893] Carpenter, Alexander (2010). " 'Give a man a mask and he'll tell the truth': Arnold Schoenberg, David Bowie, and the mask of Pierrot". Intersections: Canadian Journal of Music. 30 (2): 5–24. doi: 10.7202/1006375ar. American (U.S.A.)— Clements, Colin Campbell: Pierrot in Paris (1923); Faulkner, William: The Marionettes (1920, pub. 1977); Hughes, Glenn: Pierrot's Mother (1923); Johnstone, Will B.: I'll Say She Is (1924 revue featuring the Marx Brothers and two "breeches" Pierrots; music by Tom Johnstone); Macmillan, Mary Louise: Pan or Pierrot: A Masque (1924); Millay, Edna St. Vincent: Aria da Capo (1920); [49] Renaud, Ralph E.: Pierrot Meets Himself (1933); Rogers, Robert Emmons: Behind a Watteau Picture (1918); [50] Shephard, Esther: Pierrette's Heart (1924); Thompson, Blanche Jennings: The Dream Maker (1922); [51] Walker, Stuart: The Moon Lady (written 1908, produced c. 1915).

Japanese— Osamu Shimizu: Moonlight and Pierrot Suite (1948/49; male chorus; text by Horiguchi Daigaku). Dobson, Austin (1913). "After Watteau". Collected Poems (9thed.). New York: E.P. Dutton & Company. p.476 . Retrieved 2016-07-01– via Internet Archive. Poem first published in December 1893 number of Harper's Magazine. Pertwee, Bill (1979). Pertwee's promenades and Pierrots: one hundred years of seaside entertainment. Newton Abbot (Eng.): Westbridge Books. ISBN 0715377949. Lithuanian— Lipchitz, Jacques (worked mainly in France and U.S.A.): Pierrot (1909), Detachable Figure (Pierrot) (1915), Pierrot with Clarinet (1919), Seated Pierrot (1922), Pierrot (1925), Pierrot with Clarinet (1926), Pierrot Escapes (1927).Pedneault-Deslauriers, Julie (2011). "Pierrot L.". Journal of the American Musicological Society. 64 (3): 601–45. doi: 10.1525/jams.2011.64.3.601. (Analyzes Pierrots of Arnold Schoenberg and Paul Margueritte in light of late-19th-century notions of "hysteria.") Sentenac, Paul. (1923). Pierrot et les artistes: mémoires de l'Ami Pierrot. Paris: Sansot, Chiberre.

Canadian— Major, Henriette: The Vampire and the Pierrot (2000; children's book); Laurent McAllister: "Le Pierrot diffracté" ("The Diffracted Pierrot" [1992]). Belgian— Dell'Acqua, Eva: Pierrot the Liar (1918); Renieu, Lionel: The Chimera, or Pierrot the Alchemist (1926; libretto by Albert Nouveau and Fortuné Paillot). Wague, Georges (1913). La pantomime moderne, conférence prononcé le 19 janvier 1913, dans la salle de l'Université Populaire. Paris: Editions de l'Université Populaire. If you are looking for a unique crochet pattern, than look no further. This Pierrot Clown doll is my most popular pattern on Etsy.

Argentinian— Ortolan, Marco: Venetian Clown (n.d.); Soldi, Raúl: Pierrot (1969), Three Pierrots (n.d.). On Pierrot in the art of the Decadents and Symbolists, see Pantomime and late nineteenth-century art; for his image in the art of the Modernists, see, for example, the Juan Gris canvases reproduced in Works on canvas, paper, and board.

Canio's Pagliaccio in the famous opera (1892) by Leoncavallo is close enough to a Pierrot to deserve a mention here. Much less well-known is the work of two other composers— Mario Pasquale Costa and Vittorio Monti. Costa's pantomime L'Histoire d'un Pierrot ( Story of a Pierrot), which debuted in Paris in 1893, was so admired in its day that it eventually reached audiences on several continents, was paired with Cavalleria Rusticana by New York's Metropolitan Opera Company in 1909, and was premiered as a film by Baldassarre Negroni in 1914. [62] Its libretto, like that of Monti's "mimodrama" Noël de Pierrot a.k.a. A Clown's Christmas (1900), was written by Fernand Beissier, one of the founders of the Cercle Funambulesque. [63] (Monti would go on to acquire his own fame by celebrating another spiritual outsider much akin to Pierrot—the Gypsy. His Csárdás [c. 1904], like Pagliacci, has found a secure place in the standard musical repertoire.)Of course, writers from the United States living abroad—especially in Paris or London—were aberrantly susceptible to the charms of the Decadence. Such a figure was Stuart Merrill, who consorted with the French Symbolists and who compiled and translated the pieces in Pastels in Prose. Another was William Theodore Peters, an acquaintance of Ernest Dowson and other members of the Rhymers' Club and a driving force behind the conception and theatrical realization of Dowson's Pierrot of the Minute (1897; see England above). Of the three books that Peters published before his death (of starvation) [76] at the age of forty-two, his Posies out of Rings: And Other Conceits (1896) is most notable here: in it, four poems and an "Epilogue" for the aforementioned Dowson play are devoted to Pierrot. (From the mouth of Pierrot loquitur: "Although this pantomime of life is passing fine,/Who would be happy must not marry Columbine".) [77] Séverin (Séverin Cafferra, called) (1929). L'Homme Blanc: souvenirs d'un Pierrot. Introduction et notes par Gustave Fréjaville. Paris: Plon.