Arlecchino
A tight-fitting long jacket and trousers, sewn over with random, odd-shapen patches of green, yellow, red and brown – possibly remnants of leaves… The jacket is laced down the front with a thong and caught by a black belt worn very low on the hips. The shoes are flat and black . He wears a beret, or later a malleable felt hat with a narrow brim, with a feather or tail of a fox, apparently this was a sign of the wearer being a butt of ridicule. There is a sentimental French story of Arlequin’s friends giving him the offcuts of their mardi gras costumes for the poor boy to make one of his own, but the
Italian Arlechinno has patches which are sewn on, rather than the sewn together lozenges of the later French Arlequin and English Harlequin. A shape-shifter: he frequently adopts disguises and cross-dresses without demur. – Rudlin
There were varicolored patches, darker than the background of the costume, sewn here and there on the breeches and the long jacket laced in front. Hhis soft cap was in the mode of Charles IX, of Francois I, or of Henry II; it was almost always decorated with the tail of a rabbit, hare or fox, or sometimes with a tuft of feathers. This attire had much definite character in itself, and might be considered a conventialized and ironic treatment of the dress of a tatterdemalion. It was not until the 17th century that the patches took the form of blue, red and green triangles which were arranged in a symmetrical pattern and joined together by a slender yellow braid. At the end of the
17th century the triangles became diamond-shaped lozenges, the jacket was shortened, and a double pointed hat took the place of the toque. – Duchartre
A diamond pattern of reds, greens, yellows and browns, with red tights and large pockets inside his jerkin to pull things from (rather than other places). His sleeves have spaces for the yellow shirts to come through. – Tim Shane
Mask:
A black stocking wound round the lower face and then up and over the head is a vestige of the full Carnival mask, lending credence to the alternative African slave suggestion as to his origin. Low forehead with wart, small round eyes. The deriviant Truffaldino has a less rounded mask, and longer, almond-shaped eyes. Martinelli is thought to have played him without a mask, in blackface with red and white squiggles. – Rudlin
His head was shaved in the same manner as the acient mimes. – Duchartre
His tan mask (deeper than tan) represents the complexion of the inhabitants of those mountains burned fierce by the sun. – Goldoni

Capitano
Satire on military profession, therefore dress follows period changes of uniform. Feathered helmet or hat (mon panache). Huge boots (not necessarily a matching pair) with exaggerated garters. Spanish varieties have exaggerated ruff. Costume sometimes diagonally striped or slashed in the style of Francois I. But whatever the style, close scrutiny reveals the truth: ‘Magnificent in words, but his purse is always empty and under his beautfully richly damascened cuirass he wears but a frayed and tattered leather jerkin’. –Rudlin
Il Capitano himself, however, always claims that his tattered undergarments are caused by the amazing virility of his body hair bursting through whenever he gets angry. Indeed, for this reason he used to wear no shirt at all ‘but now that I have calmed down I wear linen like any other man’. – Duchartre quoting Gherardi
Each one (Capitano) wears a splendid uniform embellished with the turbans of infidels who have fallen by his sword. And each is also a gallant slayer of hearts. – Duchartre
Blue and Green velvet doublet with yellow stripe down his back indicating his cowardice. Sometimes a colored cape or great coat. – Shane
Mask:
Long nosed crocodile mask. – Fletcher
Long nose, often unambiguously phallic. – Rudlin
The mask of the earliest Captains was flesh-colored, and had a great menancing nose which served as the keynote to their character. It was also provided with fierce, bristling moustaches, which seemed like vertable iron spikes defending the entrance to a citadel only too ready to capitulate. The mask, in its general aspect, was intended to emphasize the contrast between a brave appearance and a craven nature. The warmasks of negro-tribes were designed for the same purpose. – Duchartre

Pantalone
Dark colors of black, grey and red. Dynamic Pantaloons, red tights and yellow turkish slippers. – Tim Shane
Always preserved the ancient Venetian costume; the black dress and woolen bonnet are still worn in Venice; and the red underwaist and breeches, cut out like drawers, with red stockings and slippers, are a most exact representation of the equipment of the first inhabitants of the Adriatic marshes. – Goldoni
Tight-fitting long red trousers or red breeches and stockings, a short, tight-fitting jacket, a loose long black cloak with plain sleeves, red-woolen skull-cap and yellow turkish slippers. Supposedly, he changed the colour of his tights and/or cloak tp black as a sign of mourning when Negroponte was captured by the Turks from the
Venetians. – Rudlin
Wore red breeches, a red vest, and a black ankle-length coat. – Gordon
Mask: Long, hooked nose with bushy eyebrows, sometimes also a moustache. Pointed beard just forward as if to meet the nose coming down, thuse giving a very dynamic profile. – Rudlin
Wore a dark brown mask with a hooked nose. -Gordon
He wore a brown mask with a prominent hooked nose, and, occaisionally, round spectacles. The moustache was greay and sparse. A white beard stretched from ear to ear, and came to one or two points well in advance of the chin, so that the tufts shook ludicrously as soon as Pantalone began to talk. -Duchartre

Dottore
Black academic dress satirising Bolognese scholars. Long jacket with black coat overreaching to his heels, black shoes, stockings and breeches, and black skull-cap. Lolli, in mid-seventeenth century, added a wide ruff round the neck and a very wide-brimmed black felt hat. – Rudlin
Black robe/jacket with traditional academic cap. – Shane
Mask: Covers the nose and forehead only. The actor’s cheeks are thus revealed and often reddened to show Il’ Dottore’s fondness for the bottle. According to Goldoni the mask itself has a bibulous orgin: ‘the idea of the singular mask which covers his face and nose, was taken from a wine stain which disfigured the countenance of a jurist-consult of those times.