used to feature a bushy black mustache or beard, but this was mostly abandoned through the 17th century. Costume and props Most often portrayed in a baggy, white ensemble consisting of a long-sleeved, loose-fitting blouse with buttons down the front, Pulcinella pairs this with wide-legged trousers, the whole outfit complemented by a belt of sorts that cinches below the belly. This gives him a place to hold props while emphasizing his pot belly. A hat is always worn, though the style can vary. Typically, it can either be a skull cap, a hat with turn-up brim, a soft conical hat whose point lays down, or a rigid sugar-loaf hat. The sugar-loaf hat gained popularity in the late 17th and early 18th centuries. Each hat is white. Pulcinella has two main props: The first is a cudgel - a relatively short stick often used primarily as a weapon. He calls this his "staff of credit". His other prop is a coin purse - traditionally attached to his belt so as to stay close to the body. Etymology A plausible theory derives his name from the diminutive (or combination with "rooster")) of Italian ("chick"), on account of his long beaklike nose, as theorized by music historian Francesco Saverio Quadrio, or due to the squeaky nasal voice and "timorous impotence" in its demeanor, according to Giuseppe (Joseph) Baretti. According to another version, Pulcinella derived from the name of Puccio d'Aniello, a peasant of Acerra, who was portrayed in a famous picture attributed to Annibale Carracci, and was characterized by a long nose. It has also been suggested that the figure is a caricature of a sufferer of acromegaly. Variants Many regional variants of Pulcinella were developed as the character diffused across Europe. From its east to west coasts, Europeans strongly identified with the tired, witty "everyman" that Pulcinella represented. In many later adaptations, Pulcinella was portrayed as a puppet, as commedia dell'arte-style theatre did not continue to be popular throughout all of the continent over time. He was said to evolve into "Mr. Punch" in England. As half of Punch and Judy, he is recognized as one of the most important British icons in history. The first recorded show to have involved the Punch-style marionette was performed in England in May 1662, outside of London in Covent Garden, by Bologna-born puppeteer Pietro Gimonde, also known as Signor Bologna. This marionette was named Punchinello,