Witch Doctor Mask Easy Ancient Theater Masks
Venetian Carnival masks as they are commonly known today were part of almost everyday attire in Venice, Italy centuries ago. Today masks always mean a carnival party or festival. But, that was not always the case centuries ago.
According to James Johnson is a cultural historian who writes and teaches on modern and early modern European states at Boston University states:
"In Venice, carnival of course meant masks, but masks did not always mean carnival"
How Many Types of Venetian Carnival Masks Are There?
The most common Venetian Carnival masks are the following:
- Medico della pesta (known as the Plague Doctor)
- Il Dottore
- Pulcinella
- Volto
- Pantalone
- Moretta
- Capitano
- Gnaga
- Colombina
- Brighella
- Bauta
- Arlecchino or Zanni
Let's check out each of the masks.
Plague Doctor Masks – Venetian Carnival Masks
Plague Doctor masks, also known as the 'Medico della Peste' are arguably the most historically ghoulish but also one of the more distinctive Venetian Carnival masks. A half-mask with an exaggerated nose, it stands out for its bird-like features such as a long beak and small, round holes for the eyes. The costume is also associated with a commedia dell'arte character called Il Medico della Peste who wears a distinctive plague doctor's mask. Once a terrifying symbol of death, today a Plague Doctor costume is increasingly a popular choice by carnival goers or as a Halloween costume.
What is the Plague Doctor Mask History?
The history of the Plague Doctor masks goes back to the 16th Century. French physician Charles de Lorme, started wearing a full face mask with a hollow beak while treating plague victims.
Lorme wrote the mask had a "nose half a foot long, shaped like a beak, filled with perfume with only two holes, one on each side near the nostrils, but that can suffice to breathe and to carry along with the air one breathes the impression of the drugs enclosed further along in the beak."
The mask served a purpose. It was worn by doctors and physicians as a medical uniform. With the belief, it would have protected them from infected patients. Originally, the mask's eye holes were sealed by two pieces of glass for an added layer of protection. Most plague doctor masks lack this feature today.
Though the beak mask has become an iconic symbol of the Black Death, there is no evidence it was actually worn during the 14th Century epidemic.
The costume was used in Italy in the 17th century. Consisted of an ankle-length overcoat and a bird-like beak mask, often filled with sweet or strong smelling substances along with gloves, boots, a wide-brimmed hat, and an outer over-clothing garment.
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A maritime city of immense international traffic, Venice was constantly exposed to the transmission of pathogens imported from foreign nations which subsequently facilitated the contraction of diseases and plagues such as the pest. Initially not directly connected to the carnival, the costume of the pest doctor gradually found its way into it, morbidly playing with the notion of the deathly while – associated with the transitory – recalling the fleeting that becomes reversed during the frolic festivities
Why Did the Plague Doctor Have Beaks?
Plague masks beaks were not just for artistic reasons. They served a medical purpose.
The beaks had two horizontal cuts on the side of the masks to let air pass through. The beaks were filled with dried flowers such as roses and carnations, herbs including lavender and peppermint, or spices. The beaks were filled with pleasant senses so doctors could avoid the smells of death and illness as they tended towards sick patients.
The purpose of the mask was to keep out deadly smells that were thought to be the principal cause of the disease.
Fast forward a few hundred years later the medical purpose of the Plague Doctor mask has long been forgotten. Even in the middle of the Corona virus, Plague Doctor masks still serve as one of the most sought out masks to be worn at the Venice Carnival, to shock people with its horror instead of serving as a medical tool.
Il Dottore Mask – Venetian Carnival Masks
Il Dottore Mask originate from the Commedia dell'Arte stock character Il Dottore "the Doctor." Not to be confused with the Dottore Della Peste or the infamous Plague Doctor, the character first appeared on stage in the mid 16th century and is considered one of the "old men" along with Pantaloon.
At times a lawyer, at others a medical doctor, but normally never understood, he served as a mirror of society at that time. The mask is unique in its own right. Most Venetian masks in the Commedia dell'Arte were half masks, Il Dottore mask is one-third mask that covers basically just the forehead and nose.
What is the Significance?
Dottore in the Italian language does not necessarily mean a medical doctor. The term is used in various aspects such as one who reaches a high level and is usually given to high-level education students.
The role of Il Dottore originated during carnivals and fairs. These fairs began to sell elixirs, promising to help any chronic condition. The seller's pattern became the long speeches of Il Dottore.
Originally from Bologna, home to the oldest University in the world (1088) he claims to be a graduate but more than likely is not. The character was in the early days, a Doctor of Law rather than of medicine, but then there was hardly any sphere of human knowledge upon which he would hesitate to pontificate.
Depending on the play or theater, il Dottore can be very educated or speak complete nonsense, which was usually the crowd's favorite. As the crowd favorite, Il Dottore expects everyone's attention as he gives his expertise, mostly babbling on and on each and every subject. Usually, his citations in Greek or Latin are often mispronounced. Il Dottore will utilize his voice in every impossible way to keep the attention to himself, shunning others. One of the most memorable characteristics is he shows off his scholarly gown and proudly taps his belly as the il Dottore never says no to a meal.
It seems the title of Il Dottore is in name only for this character.
There is no record in history of any case that Dottore has ever cured. – Pierre Louis Duchartre
Il Dottore Costume
Il Dottore was the original goth as he was dressed in complete black. The choice of footwear, from a short black gown to the knees, to a long black robe which extended to the heels, to a torque hat were all in the uniform of the darkest color. , in the mid-seventeenth century, added a wide ruff around the neck and a very wide-brimmed black felt hat.
What Does Il Dottore Mask Look Like?
Il Dottore masks covered just the forehead and nose, signifying his strong thoughts and inquisitive intrusions. In addition, the mask's forehead represents the intellectual part while the nose signifies the smells of different food the Il Dottore would enjoy.
The actor's cheeks are indeed exposed and at times could be colored up in a red hue to signify to the audience Il Dottore's few too many drinks.
The nose is bulging from the mask to mimic the character's plump body.
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 origin: '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. – Tiddy, The Mummer's Play
Pulcinella Masks – Venetian Carnival Masks
Pulcinella mask is a genuine traditional Venetian masquerade mask from a classic character "Pulcinella' from the Commedia dell'Arte, the ancient theatre in Venice in the 16th to 18th centuries. But, its origins, while disputed are associated with Neapolitan puppetry. Pulcinella's character has been popular in many forms since his introduction to Commedia dell'Arte by Silvio Fiorillo in 1620.
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Pulcinella's origins are disputed. While the character is associated with the peasants near Naples, its origins recall some characters of Latin fables. But, a statue dating from the first century BCE at the Louvre Museum generally recognized as Macchus, presents some physical traits similar to Pulcinella's: a hunched humpback, with a prominent belly and a large hooked nose.
Pulcinella's swagger, as well as his characteristic squeaking voice – rendered in the puppet theatre by a swazzle, evoke the chicken that is the source of his name (pullicinello or pulcino), and it is said that he was hatched from a turkey egg. This appears for the very first time in 1300 when its name stood for "little chick."
Pulcinella Mask History
Silvio Fiorillo, the inventor of this mask at the end of the 16th century used to wear a mask different from today's it is, In the past the Pulcinella masks were "mid mask", also called "lupo" with a big bent nose, a face full of wrinkles and very small eyes.
Andrea Calcese (called Ciuccio) performed the role of Pulcinella for the first time in a real theatre at the end of the Carnival festivities in Naples, April 16, 1618. The puppet made its appearance in Naples in the middle of the 17th century, keeping his black half-mask, his ample shirt, and his white skullcap but most frequently deprived of his hump. Thus was born the Neapolitan tradition of the guarattelle, as Pulcinella's plays are called – a tradition that survives even today.
Pulcinella migrated to Rome, Emilia-Romagna, and to Venice, where his popularity in St Mark's Square was so great that he inspired namesake puppets called puricinei. In each case, Pulcinella adapted to his new environment and local languages.
Pulcinella Characteristics
Pulcinella is a dualistic character and many regional variants of Pulcinella were developed as the character diffused across Europe. So, there is no clear-cut version of the character. Pulcinella can be portrayed as either a servant or master, depending on the scene. Dumb or much aware of the situation, Pulcinella acts as though he is the most intelligent and competent, despite being completely ignorant
One to never show his true colors, Pulcinella tries to get those below him to think highly of him. But, Pulcinella bends over and appeases those above him and in power. Always seeking victory though he often does not decide this until after they have won, Pulcinella always manages to win. The ultimate self-preservationist, Pulcinella is looking out for himself in almost every situation, yet he is skillful enough to satisfy everyone around him.
Antonio Fava, a world-renowned mask maker and Master of Commedia dell'arte, is particularly fond of the character:
"Pulcinella, a man without dignity, is nevertheless indispensable to us all: without [him] … none of his countless 'bosses' could ever escape from the awkward tangle of troubles in which they find themselves. Pulcinella is everyone's savior, saved by no one. This accidental helpfulness is key to his success. He goes out of his way to avoid responsibility, yet always ends up with more of it than he bargained for.
What is a Pulcinella Mask?
The origins of the mask still remain very much a mystery. One theory is Pulcinella derived a famous painting by Annibale Carracci, of Puccio d'Aniello, a peasant with a sun-damaged face who oddly had a long nose.
The mask has changed throughout time. While the nose seems to vary from long and curved to shorter and hooked the nose bird's beaks appearance is the most prominent feature of Pulcinella masks which remains. Often more than not wrinkles on his forehead to give him a comical appearance are also prevalent. A furrowed brow or simply raised eyebrows are also common of Pulcinella.
Pulcinella's are also renowned for his clothes: a large white shirt and white trousers, a black belt on his waist, black shoes, a white hood.
Volto Masks – Venetian Carnival Masks
The Volto mask (Italian for face) or larva (meaning ghost in Latin) is the iconic modern Venetian Carnival masks. These full-face masks were known as "citizen's masks" originally worn by the common folk during the Carnival of Venice for their simplicity and ease of anonymity.
Covering the face both the most generic and typical among the variety of masks donned by the Venetians – was made of leather, thus perfectly fitting the wearer's head who would preserve it for a "lifetime of use."
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With its ghost-like appearance, it remains one of the most popular masks during the Venice Carnival because it has evolved to richly decorated patterns and bright colors.
Most were in the popular volto intero style – the stylized full-faced, white masks often worn by women during Carnevale.
(Dan Brown, Inferno)
What is a Volto Mask?
Often made of stark white porcelain or thick plastic, though also frequently decorated and colorful often worn with a tricorn and cloak. The "volto" is also quite heavier than a typical mask and has a much tighter fit such as covering the whole of the chin.
Unlike many Venetian Carnival masks, it also extends farther back to just before the ears and upwards to the top of the forehead; The nose and lips are simple facial expressions. Unlike the bauta, the Volto masks cannot be worn while eating and drinking because is too complete and tight and the lips are always sealed closed.
Today's masks have evolved from ghostly, bone-white classics to more extravagant colors and feathered masks, making them some of the most memorable and most photographed masks at the Venice Carnivale. It would be difficult to find two of the same Volto masks at any event.
In the film Eyes Wide Shut by Stanley Kubrick, the iconic masks gained an aura of notoriety for the infamous scene of the masked ball starring Tom Cruise.
Pantalone Masks – Venetian Carnival Masks
The Pantalone mask is one of the best-known of the Venetian Carnival masks. It rose from the La Commedia dell' Arte character Pantalone who was one of the most powerful characters.
An old Venetian merchant, often very rich and highly esteemed by the nobility, Pantalone is originally known simply by his formal title, Magnifico. A self-made man, he has reached his wealth with ruthless tactics and keeps his money close to him.
Every Commedia dell Arte mask are inspired by a specific person's social status. Pantalone was an ambassador of the Republic of Venice and bring the symbol of Venice, the San Marco's lion, to Venice's colonies.
But the origins of the name Pantalone are still not clear.
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It is said his name origins are from San Pantaleone, one of the city's most venerated saints after a church is named.
Other sources state the name comes from "Piantaleoni" referring to the merchants who went to "plant the lion" of San Marco in conquered lands to establish new trades and routes.
The term could be even older and it stems from the Greek expression, "Panda Leonda" meaning "Powerful in all things"
The Disney character Scrooge McDuck could have been influenced by Pantalone.
The History of Pantalone
It is often claimed that the comedy of Pantalone stems from his mercantile obsessions with material concerns, his nose for a good deal, and his parsimony. However, the available evidence of scenarios and associated literature makes very little mention of trading activities as being a source of humor for the old Venetian.
Instead, Pantalone is more usually portrayed as a manipulative parent attempting to obstruct his children's amorous liaisons, by seeking to marry them off to people they don't want to marry, and often having lustful designs of his own on the younger generation.
Yet, time and again, it is Pantalone's mercantile profession that is assumed to be the essence of his comic persona. Implicit in this is the immateriality of whether he is a merchant or some other kind of rich man. What is important is that he has the power and authority to be able to meddle in other people's affairs and to obstruct their happiness.
The Outfit
Early representations of the Pantalone regularly portray him as an old man in tight-fitting red hose, or 'calza', and an equally tight-fitting jacket, known in dialect as a 'zipon', over which was often draped a black cape called a 'zimarra'.
A further detail often added is a rather prominent codpiece. Sometimes, the upper and lower garments are connected by a number of ribbons looped through eyelets and then tied together in rather ostentatious bows.
In her extensive study of Renaissance theatre costume, Stella Newton makes the following observation:
Throughout the fifteenth century, all masculine dress had included long hose, joined at the crutch and covering the buttocks, attached, by means of ties passed through a horizontal row of eyelet-holes to a firmly constructed, tight, waist-length jacket.
The effect of decorated nudity was enhanced by a separate covering to fit over the genital organs to which attention was called by additional ties or ribbons. It was, needless to say, hardly a fashion to recommend itself to the middle-aged – less still to the aged.
The very clarity and persistence of Pantalone's image seem to justify the notion that stylization and stereotyping were defining cornerstones of this genre of comedy. However, at least in the case of Pantalone's costume, we know that it came from real and actual apparel worn by the Venetian upper classes.
The comic element stemmed rather from its inappropriately youthful detail, such as the figure-hugging zipon and hose, and the occasionally exaggerated codpiece, which was nevertheless all recognized accouterments of their day.
What is a Pantalone Mask?
Pantalone masks are usually black or brown masks. Gaunt and swarthy with a hooked protruding nose and, on some occasions, rounded with spectacles were common features of Pantalone Masks. Pantaloon eyebrows were also grey and bushy.
His facial hair included a mustache that was thin and pointy and a white beard stretched from ear to ear, meeting his nose. Or the mask had a disorderly gray goatee.
Various descriptions of the Pantalone masks are mentioned in throughout history:
Long, hooked nose with bushy eyebrows, sometimes also a mustache. Pointed beard just forward as if to meet the nose coming down, thus giving a very dynamic profile. – John Rudlin
He wore a brown mask with a prominent hooked nose, and, occasionally, round spectacles. The mustache was gray 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. – Pierre Louis Duchartre
Moretta Masks – Venetian Carnival Masks
Moretta masks or Muta became very common among Venetian women especially between the 17th and 18th centuries as a mask of seduction. Hiding the face and not speaking was considered attractive and mysterious.
The Moretta—a woman's Carnivale mask – was basically black in color with no sparkle or flare, along with no opening for the nose or mouth. Usually made of velvet, the mask is oval shape. Wearing the mask the female could not speak.
Used to convey seduction, anonymous, and silent intentions, the Moretta masks made the woman who wore them rather uninhibited in showing their bodies.
What are Moretta Masks?
The moretta (meaning dark one) or servetta muta (meaning mute servant woman) is a small strapless black velvet oval mask with wide eyeholes and no lips or mouth worn exclusively by girls and ladies. It derived from the visard mask invented in France in the sixteenth century but differed in not having a hole to speak through. The mask was only just large enough to conceal a woman's identity and was held in place, not by a string, but by the female biting on a button. Also called 'the mute', its particularity furthermore stemmed from the fact that in order to fix it in place, the wearer had to hold a small wooden piece between the teeth thus making it impossible to talk. The women wearing this mask were unable to speak, hence muta.
The look was often finished off with accompanied by a carefully chosen attire besides suitable veils. That way it drew attention to both hair and attire of its wearer.
A huge success in Venice, the Moretta masks were considered highly erotic and elicited Casanova to later write that "it was impossible to imagine a more interesting thing."
The Rhinoceros by Pietro Longhi, sometimes called Clara the rhinoceros, depicts this mask in use in 1751. It fell into disuse about 1760.
Despite its unique history and role of seduction in old Venice, a Moretta Venetian Carnival mask is not popular today. It can be difficult to purchase one in many shops in Venice due to its uncomfortableness.
Capitano Masks – Venetian Carnival Masks
Capitano masks and the character of Il Capitano is one of the primary stock characters in the Commedia dell'Arte. Representing Spanish mercenary soldiers; who were despised by the Italians and ridiculed in the theatre of the marketplace, Il Capitano became one of the most popular and notorious characters and has been famously portrayed in history in various theaters and stories.
Today, Il Capitano Venetian Carnival masks remain quite popular at Carnivale for its more memorable feature: a long phallic nose.
Who Is Il Capitano?
Il Capitano was a parody of a young professional soldier — very bold, full of swagger, but cowardly and not heroic. One of the first of the Commedia he was a soldier of ancient Roman comedy. An unsympathetic character, he was originally a parody of the French and Spanish mercenaries who overran 16th-century Italy.
ll Capitano blustering claims to wealth and military and amatory successes were exploded, often by the roguish asides of his squire and confidant. Usually, on the move, feared by townspeople only because he able to convince, but albeit absurd, an act of intimidation. But, once a battle starts, he flees from combat.
His goal is to generally find a cushy situation, though he never will. His plan is usually to con a gullible investor or swindle a widow out of her savings.
The Captain is an eternal stranger. Usually of Spanish origin, he is a parody of the hated soldier of occupation who strutted the Italian cities. He is always new to the town in which he finds himself; and he likes it that way, for no one is likely to challenge his version of the past, which he paints in the vivid colours of his imagination, incorporating tales of unsurpassed valor, daring and destruction. – Joseph Rudin
The character has been portrayed and is a variant in multiple theater productions and characters. Il Capitano is most famously Moliere's Don Juan (1660) and Mozart's Don Giovanni (1787).
Il Capitano – Venetian Carnival Masks
Il Capitano's costume resembles the clothing of soldiers during the specific time period. But the costume is a satire on the military. Huge boots swallow his feet, Usually depicted in breeches and a jacket with a helmet, or morion, buff straps, and a belt with an enormous sword which he almost never uses, and if he does, it is in fear.
His mask is flesh-colored and sports "a great menacing nose, a keynote to his character". The nose is usually a long point nose and can also represent a phallic significance as the Il Capitano was a seducer of woman, but not necessarily successful.
The masks could resemble a human or animal because many masks in the Commedia dell' Arte were inspired by animals. A fox and dogs were inspirations for Il Capitano.
The masks could also have a fierce, bristling mustache. The mask was intended to emphasize the distinction between a brave soldier and a coward.
The second variety of Il Capitano Masks has a small nose and a more comical face: smaller eyes, a mustache, and larger cheeks.
Gnaga Masks – Venetian Carnival Masks
There is more than meets the eye with Gnaga Venetain Carnival masks. The history and tradition of the Venice Carnivale have on the account to be understood as intrinsically interwoven with the wearing of masks which endowed with a vast array of meaning. While Gnaga Masks are distinguishable with cat-like features it basically served a sole purpose: It was worn by men disguising themselves as women – the original drag queens of the Venetian Republic.
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Gnaga Masks History
Gnaga masks are one of the few Venetian Masks with a captivating story that helped a portion of society in the lagoon city.
Mostly a small mask usually with flamboyant features was coupled with a women's dress. It was usually reserved for patrician men who enjoyed indulging in homosexual rendezvous to explore their desires and wishes.
At the time, homosexuality was illegal and punished by hanging in Piazza San Marco
But, there was a loophole in Venetian law.
Since wearing a mask meant becoming the mask, a man wearing a Gnaga mask assisted him to dress as a woman. The law stated the individual wearing masks had to act in accordance with the mask. This meant a man wearing a Gnaga, was wearing a "lady mask" and was considered as acting out a role. So, the man behind the mask was allowed to be involved sexually with other men. No masked person could be arrested per the law.
Gnaga masks it contributed to an increase in homosexual activity in sixteenth-century Venice so much, the prostitutes' of Venice in 1511 sent a petition to Bishop Antonio Contarini seeking his help. Contarini allowed – although never formally sanctioned – allowing prostitutes to show off their physical attractions from the first-floor windows of brothels. The Ponte delle Tette (Bridge of Tits) and Fondamenta delle Tette (Canal Path of Tits) date from this time and still exist today, minus the prostitutes.
Gnaga masks basically covered only the upper part of the face, and mostly resemble either a cat's but some masks had the feature of a pig.
The name Gnaga seems to have derived from "gnao", the meowing of the cat. The wearer of the mask could carry a basket containing a kitten emitting shrill sounds and meows. During Carnival celebrations, a basket under the arm that contains a cat was a common feature paired with the mask.
Colombina Masks – Venetian Carnival Masks
A recurring character in the Commedia dell'arte (also known as Columbine), the Colombina masks is an eye mask covering only the upper part of the face around the eyes and part of the nose. Meaning "little dove" in Italian, the Colombina is usually painted in the symbolic colors of gold or silver, it is crafted with a variable of silver, crystals, fabrics, and feathers. These Venetian Carnival masks can be worn with a ribbon or held by to the face by a baton.
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Colombina History
The origins of the Colombina is a stock theatrical character that originated about 1530 in Italian Commedia dell' Arte as a saucy, clever servant girl and soubrette. The character was a fan favorite of Italian theatergoers for generations. Colombina sees through the schemes, and unravels them, tricking the antagonist in the process. Her greatest love is men. She usually chases after Capitano, and fends off the advances of Pantalone. But in the end, Colombina winds up with one of the Zanni.
Unlike other Venetian Carnival masks, with historical implications, the Colombina is entirely a modern creation. It is said the mask was created as not to hide the actress's beautiful facial features. There seem to be no historic paintings depicting its use on the stage or in social life.
Colombina Masks – Venetian Carnival Masks
The Colombina masks began as a woman's correlation to the Bauta mask. This Venetian mask is often decorated with more feminine flourishes, from gilding to gems and feathers. But, both men and women may wear it because of the variety of shapes and colors that are now available. It is not unusual to see couples wearing these masks together at the Venice Carnivale or at masquerade parties.
Today, many Colombina Venetian Carnival masks are the most popular to counterfeit. Imported products made of plastic or similar materials fill the vendors' carts all around Venice.
Brighella Masks – Venetian Carnival Masks
Brighella masks originate from the Brighella stock character in the Italian Commedia dell'arte. Originally one of the comic servants, or the first Zanni is one of the most disturbing of the Commedia characters.
His name comes from an Italian word that can mean "bother" or "contention" and was born in the Northern Italian city of Bergamo. A roguish, quick-witted, opportunistic, and sometimes lascivious and cruel figure, Brighella was a jack-of-all-trades whose loyalty as a soldier, hangman's varlet, assassin, or gentleman's valet could be easily bought.
Who was Brighella?
His character could be adapted to whatever the needs of the scenario might be, just as Brighella himself is adaptable to any circumstance. As in a stereotype of those who have risen from poverty, he is often most cruel to those beneath him on the social ladder; he even goes so far as to kill on occasion.
Brighella is a masterful liar and can make up a spur-of-the-moment lie for any situation. He is an inveterate schemer, and he is good at what he does. If his plans failed, it was almost always out of luck on behalf of the other characters. When he is a servant, he will either serve his master devotedly or look for every opportunity to ruin and take advantage of him as he happens to see fit—whatever will gain the greatest advantage for himself and himself alone.
He is fond of money, but spends it rapidly, and tends to be especially fond of the drink. In fact, he has few good qualities save for his ability to entertain the audience.
Brighella Masks – Venetian Carnival Masks
Brighella's costume was suitably picaresque. He wore an olive-tinted green half mask with a cunning look of degenerate and a hooked nose and thick sensual lips.
The mask's intentions were to convey the intelligent and malicious spirit in him.
His jacket and full trousers were striped with green braid, and he wore a short cloak, a green bordered toque, and yellow shoes and belt; he carried a dagger that later became a wooden prop and a large leather purse.
Bauta Masks – Venetian Carnival Masks
The Bauta mask is among the most prevalent Venetian Carnival masks during the Venice carnival. As mentioned before, in Venice, a carnival of course meant masks, but masks did not always mean carnival. The Bauta masks are a perfect example of this.
Historically, they are considered the traditional Venetian mask because of their unique history which is shrouded in mystery.
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History of the Bauta Mask
The origins of the name "Bauta" are still not clear. Some claim Bauta comes from the Venetian exclamation "bau-bao" which was used to frighten children. But the term is more than likely derived from the German verb 'behüten' which translates to protect or to shield.
Until 1797, when the Republic of Venice fell to Napoleon Bonaparte, Venetian masks were a common part of everyday life. Even when it was not Carnival season, Bauta masks were worn by all social classes of Venetians who wanted to hide their identities. The 'Bauta mask ghost' became an idea by foreign travelers who believed Venice was a city 'full of ghosts' with a carnival all year long.
Why Did the Venetians Wear the Bauta Mask?
The Bauta masks soon became the most prevalent mask to disguise and veil identity. Venetians regarded the Bauta mask as a common everyday feature of life, similar to a COVID mask today. Untouchable by law, the Baúta served as the ultimate protection against intrusion in one's privacy. The loss of the mask literally translated into 'losing face'.
At the point of its emergence in the 18th century mainly worn by aristocrats, for – safely covered from curious gazes – could anonymously participate in the Carnival festivities without revealing their public authority and for political reasons. Together with a black circular or semicircular cape called a tabarro and a zendale hood, the Bauta had become a standardized society mask and disguise regulated by the Venetian government.
Bauta masks were mandatory at certain political decision-making events when all citizens were required to act anonymously as peers.
But, not only did the rich and politicians don the historical masks.
The Bauta was also useful for criminals, who could hide in plain sight in the lagoon city. It was also used by the Venetian police and spies to question and intimate without the fear of their true identity being discovered.
Hiding one's gender was another motive and shown throughout history. Originally only worn by men, many paintings also depict women wearing Bauta masks. The Ridotto and The Perfume Seller by Pietro Longhi are two examples of this from the 1750s.
As gambling started moving from a private activity between small groups of nobles to a major attraction of the Carnivale and attracting foreign visitors, along with the rise of sexual promiscuity and homosexuality, the Bauta masks were a key tool in concealing an individuals identity.
Worn by both men and women alike, the Bauta masks were more than just a mask. Moreover, it involved a whole outfit, thus giving total anonymity. In this respect, it featured a degree of uniformity for the mostly black, cape-like plaid called "tabarro" and the white mask covers the face or "volto" in Italian.
What Were Bauta Masks Made Of?
The Bauta mask originally was only in white. But, it has become more elaborate in design over the centuries. The main characteristics of the Bauta Mask are a thick brow ridge, a projecting "chin line", no mouth, and a beak-like chin.
The Bauta mask is very popular today as it allows conversations, eating, and drinking without having to take the mask off.
A Bauta costume usually has the following:
- A black silk hood decorated with lace.
- A white Bauta Mask is called the Face.
- A black hat, matching the period of the time.
Arlecchino Masks – V enetian Carnival Masks
Arlecchino masks were part of the Commedia dell'Arte and gave rise to an array of fixed characters such as 'Arlecchino', the prankster. Arlecchino , meaning harlequin in Italian, is a Zanni character probably of medieval origin. Tracing the origins of the name and existence of the character is extremely complex. Whatever its origins, the Arlecchino masks developed their own specific style in the theatrical forms of the 16th century, most notably in the Commedia dell' arte.
Arclecchino Mask History
Easily the most popular and famous character to come out of Commedia dell' Arte. It appeared for the first time in a document published in Paris in 1584, the Prologue to Fiammella by the comic writer Bartolomeo Rossi, where "Arlequin" was mentioned. Literally, "Harlequin," he is Pantalone's witty and hyperactive prankster of a servant. Constantly becoming carried away with the moment he is in. Because of this he can appear to be foolish but has the ability to outwit everyone else Arlecchino 's popularity was because of his agility and acrobatics to get out of unpredictable situations.
He may not have had high education, but he had street smarts and was very mischievous and clever. Arlecchino has a love interest for the servant girl Columbina, but his lust for her only is behind his love of food or fear of his master.
A contemporary example of the Arlecchino is Bart Simpson from the popular The Simpson. Another example would be Jim Carrey's performance as the titular character in the film The Mask (1994) in which through a masked persona, effectively subvert modern laws and society's leadership. Arlecchino has evolved into the Harlequin of later centuries. Today, he a stereotype for fools, clowns, and pantomimes.
Arlecchino Costume and Mask
Arlecchino wears a multicolored, triangular-patterned outfit and a black or red mask. Arlecchino 's costume and mask are significant because they are a reflection of his energetic personality. Physically, Arlecchino is described as wearing a costume covered in irregular patches, similar to the clothes of a clown. A hat outfitted with either a rabbit or fox's tail and a mask which many says resembles the face of a cat. The mask itself is identified sometimes by boils or bumps on the forehead, small eyes, a piggish nose, and hollow cheeks. Usually, the Arcchelino masks today have devilish and feline features.
Aside from his mask and jacket, his belt is perhaps the most important accessory that he wears. The "slapstick" was two wooden sticks tied together that would make a loud clapping noise when Arlecchino hit someone in the head, face, or on the backside.
Venetian Carnival Masks
As you can tell Venetian Carnival masks are unique not only in their visual elements but also in their rich history and significance through the centuries. Today they bring fun and joy to the millions of people who wear them. We hope you find a unique and memorable mask to your liking. Check out our store where I have personally selected over 200 masks direct from Venice, Italy handcrafted by Master Artisans with decades of experience.
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Source: https://www.thevenetianmasks.com/venetian-carnival-masks-all-masks/
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