in the Père Lachaise Cemetery in Paris (see photo at right). Pantomime Character roles Pierrot was not Baptiste's only creation. As Robert Storey has pointed out, Deburau performed in many pantomimes unconnected with the Commedia dell'Arte: He was probably the student-sailor Blanchot in Jack, l'orang-outang (1836), for example, and the farmhand Cruchon in Le Tonnelier et le somnambule ([The Cooper and the Sleepwalker] late 1838 or early 1839), and the goatherd Mazarillo in Fra-Diavolo, ou les Brigands de la Calabre ([Brother Devil, or The Brigands of Calabria] 1844). He was certainly the Jocrisse-like comique of Hurluberlu (1842) and the engagingly naïve recruit Pichonnot of Les Jolis Soldats ([The Handsome Soldiers] 1843). Like Chaplin's various incarnations, all of whom bear some resemblance to the Little Tramp, these characters, though singular and independent creations, must undoubtedly have struck their audiences as Pierrot-like. For Deburau and Pierrot were synonymous in the Paris of post-Revolutionary France. Pierrot Deburau's Pierrot was more aggressive in his acrobatics (his "superabundance", in Péricaud's words, "of gestures, of leaps") than Baptiste's "placid" creation, and much less aggressive in his audacity and daring. Deburau dispensed with Pierrot's coarseness and emphasized his cleverness. As theater historian Edward Nye writes, "Pierrot had somehow intellectually matured and learnt to moderate his worst excesses, or even to turn them into relative virtues." The poet Gautier reproached him for having "denaturalized" the character. Part of this may have been due to what Rémy calls the vindictiveness of Deburau's own personality; Deburau forged a role with a commanding stage presence. The expressivity of his acting was abetted by his alterations in Pierrot's costume. His overlarge cotton blouse and trousers freed him from the constraints of the woolen dress of his predecessors, and his abandoning the frilled collar and hat gave prominence to his expressive face. A black skullcap, framing that face, was his only stark adornment. But his real innovations came in the pantomime itself. His biographers, as well as the chroniclers of the Funambules, contend that his pantomimes were all alike. The "naive scenarios" that "limited" his acting, according to his Czech biographer, Jaroslav Švehla, "did little more than group together and repeat traditional, threadbare, primitive, and in many cases absurd situations and mimic gags (cascades), insulting to even a slightly refined taste." And Adriane Despot, author of "Jean-Gaspard Deburau and the Pantomime at the Théâtre des Funambules", agrees: "most of the pantomimes are essentially