Illustration showing a scene from the ballet Pulcinella of the apparent death of Pulcinella by Florinda. This is described in Cyril W Beaumont's Complete Book of Ballets 'From the right enter Caviello and Florindo, disguised in long black cloaks and each bearing a sword. They glide stealthily round the square, then conceal themselves in doorways. It would seem that the astute and wary Pulcinella has some glimmer of their intentions for he swiftly rises, crosses himself, seizes Pimpinella, and flees through the inner door of the left-hand house. But the door is small so that Pimpinella must enter first; as Pulcinella follows, Florindo steps forth and thrusts at him with his sword. Pulcinella totters backwards, his knees tremble, his head shakes from side to side, he drags himself wearily along the ground, then collapes as if dead.'

Pulcinella was described as a ’ballet-opera in one act’ with music by Igor Stravinsky, after Giambattista Pergolesi , scenery, curtain and costumes by Pablo Picasso and choreography by Léonide Massine. It was first performed by the Ballets Russes on 15 May 1920 at the Théâtre National de l’Opéra, Paris and first seen in London on 10 June 1920 at the Royal Opera House

The story of this Ballet is based on extracts from a manuscript found in Naples, dated 1700, which contains numerous comedies, all with the traditional figure beloved of Neapolian theatres. The title of the comedy chosen is ‘The four Punchinellos’.
The country maidens are all in love with Pulcinella, and their betrothed, overcome with jealousy, plot to assassinate him. The day arrives when they hope to be revenged, and, disguising themselves in costumes resembling that of Pulcinella, they present themselves to their sweethearts. Pulcinella, the knave, however disguises himself as a magician. His friend impersonates him, and feigns to die from the blows dealt him by his enemies. Pulcinella runs to his friend’s succour.
The young men – believing that at last they have rid themselves of their rival – are about to return to their sweethearts, when the true Pulcinella makes his appearance, and arranges marriages for them all. He himself weds Pimpinella, and receives the blessings of his friend and impersonator, Fourbo, who, in his turn, dons the magician’s cloak.’

This volume in the Impressions of Russian Ballet series was never published.