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The Venetian Carnival has a long and rich history, dating back to the 10th century. The first records of the Venice Carnival dates back to 1094, when Doge Vitale Falier sanctioned the celebration of the Republic of Venice's victory over the Patriarchs of Aquileia. The Patriarchate of Aquileia was once a potent and influential entity with jurisdiction over territories in present-day Italy, Slovenia, and Austria. However, it was not until 1296 that the Venetian Senate officially established the day before Lent as a public holiday, marking the beginning of the Carnival tradition. During the preparation of Lent, which lasts up to two weeks in February/March, parties were off-limits, and so was eating foods like meat, sugar, and fats. As a result, people would try to get rid of all of their rich food and drink beforehand (and get their partying out of the way!). Hence… carnival. (In fact, the word Carnevale is said to come from the Latin words carne and vale, meaning “farewell to meat”!)
(fun fact! The tradition of masking has a long history in Venice. All the way back in 1268, a law was even passed to ban – of all things – putting on masks and throwing perfumed eggs!)
By the 16th century, the popular Commedia d’Arte troupe performed slapstick comedy in the piazzas of Venice—while masked. Believe it or not, though, masking was hardly just a Carnival tradition. Venetian masks are the symbol and soul of the Venice Carnival, representing a unique form of art and expression in a world dulled by political tyranny and wealth classes. Unfortunately, though the carnival was completely banned in 1797 by Napoleon, who feared the political messages behind the masks, he prohibited public festivities and the wearing of masks to prevent citizens from conspiring against his troops. This ban, later continued by the Austrian government, halted the public celebrations for almost two centuries until, in 1979, a group of dedicated Venetian artists banded together to revive the carnival and ultimately the soul of Venice along with it.
Carnival was a time of celebration and transgression, when Venetians could free themselves from social and moral constraints while enjoying dancing, shows, games, and banquets. Carnival was also an opportunity to challenge authorities and hierarchies, thanks to the use of masks and disguises, which, by concealing the identity and status of the masked person, allowed them to mingle among different social classes. Masks were, in fact, a fundamental element of the Venetian Carnival; there are various types and models, each with a precise meaning and a particular function, and by the time of the Renaissance, masks were a fixture of Carnevale celebrations. They can be classified according to material, shape, and decoration. The most commonly used material for making Venetian masks is papier-mâché, which is shaped and painted by hand according to ancient, artisanal techniques. Masks can also be divided into character masks and fantasy masks. Character masks are those that are inspired by characters from the “commedia dell’arte”, a theatrical genre, born in Italy in the 16th century, that staged comic, satirical, and grotesque situations. Some of the most famous character masks include:
- The Bauta: a white mask that covers the entire face, with an elongated shape and a protruding chin, which allows talking and eating without taking it off. The Bauta comes with a black cloak and a tricorn, the three-pointed hat. It was the most widespread and most democratic mask, because it could be worn by men and women, and by all social classes, guaranteeing anonymity and freedom of speech; it was also used on official occasions, such as voting or political meetings
- The Moretta: an oval mask made of black velvet, covering only the upper part of the face and held in the mouth with a button. The moretta comes with a dark dress, a black hat, and a veil. It was the typical mask of women, especially noblewomen, who used it to seduce and intrigue, exploiting the contrast between the black of the mask and the white of the skin. The moretta prevented speech and, therefore, enhanced body language and gaze.
- The Larva: a black or white mask, covering the entire face, with its simple and anonymous shape, reminiscent of a ghost or skeleton. The Larva comes with a dark dress, a black cloak, and a hat. It was the favorite mask of Venetians who wanted to go unnoticed and escape scrutiny or who enjoyed frightening and surprising others. The larva was also the lightest and most comfortable mask and, therefore, the most suitable for those who wanted to attend parties and balls
Fantasy masks, on the other hand, are those that are inspired by themes, characters, or eras other than Venetian reality and are characterized by considerable creativity and originality. Among the most famous fantasy masks, you find:
- The plague doctor: a mask that covers the entire face, with a long beak, reminiscent of a bird’s nose. The plague doctor comes with a hat, stick, cloak, and black gloves. This was the mask worn by doctors who treated plague victims, a disease that struck Venice several times between the 14th and 18th centuries. The beak was used to hold herbs that were believed to protect against contagion. The plague doctor is a mask that evokes mystery, fear, and death, but also science, cure, and hope.
- The cat: a mask that covers only the upper part of the face, with two ears, two whiskers, and two green or yellow eyes. The cat is matched with a colorful dress, hat, cape, and tail. The mask was inspired by domestic animals, much loved by Venetians, representing cunning, sympathy, and sensuality. The cat was a mask leading to many funny and ironic situations and was especially loved by children and young people.
- The columbine: a mask covering only the eyes, with a rounded shape and decorated with feathers, stones, pearls, and other ornaments. The Columbine is accompanied by an elegant and refined dress and a fan. The columbine was a mask that enhanced women’s beauty and grace, and allowed them to flirt and joke with others. In fact, it is inspired by the character of Colombina, the cunning and lovelorn servant girl in the commedia dell’arte.
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