Venetian Masks

The mask has been one of Venice's central traditions, and certainly its most famous, since the 13th century. Artisan mask makers, mascherieri, hand paint their papier-mâché works in the original baroque style while street vendors offer a wide selection to meet everyone’s individual tastes. During the time of the Republic, masks not only expressed creativity but also granted temporary social and political anonymity. The typical masks each had different meanings and backgrounds, ranging from the Black Plague to theatre.

The Bauta: This full coverage masks in the grotesque style was originally plain white with a projecting square jaw line that allowed the wearer to eat, talk, and drink. It was often worn with a cape and tricorn. By the 18^th century it had become part of the Venetian government, required at certain political decision-making events. It offered anonymity and equality during secret ballots.

Il Ridotto in Venezia by Pietro Longhi
click to enlarge

The Moretta (or Servetta Muta): Inspired by the French visard mask, which was used to protect lady’s faces from tanning and burning, this black velvet oval mask was featureless except for the eyeholes and was held in place by a button or pin held in the wearer’s mouth. Worn by patrician women, the mask intentionally rendered them mute and anonymous, hence the name “the mute servant.”

The Dama (Lady): After the Moretta fell into disuse later in the 18th century, the Dama mask became popular for elegant ladies, featuring extravagant ornamentation and attached headpieces.

http://impressivemagazine.com/2013/06/16/7-types-of-venetian-masks/

The Medico della Peste (Plague Doctor): During the time of the Bubonic Plague, some doctors wore a mask with built in eyeglasses and a beak over the nose. Some filled the hollow beak with herbs to cover the stench of the disease. They often paired the mask with a long black cloak, hat, and white gloves. Doctors hoped these sanitation precautions would keep them safe from sickness.  It is also said that the eerie appearance of the costume was to disguise the doctor from the demons of the plague and thereby protect them.

http://www.arsminerva.org/#!Il-Medico-della-Peste/zoom/ctzx/image1jsj

The Volto (Face): Also known as the Citizen Mask because it was worn by many of the common people, this white, expressionless mask covers the entire face and has basic facial features (although it does not have the protruding or hinged jaws of the Bauta or Commedia masks to allow eating). It can be either plain or elaborately embellished and painted. Today it is one of the most widely recognized Venetian masks and is part of many of the elaborate costumes in the Carnival parades and pageants.

Masks of the Commedia dell’Arte: these are the masks worn by the archetypal characters of the Commedia dell’Arte, a type of improvisational theatre based on a set of stock characters. Each character had certain exaggerated qualities meant to represent or caricature a particular Italian district or town. The use of masks in the costumes was inspired by the mask tradition of Venice. Eventually people wore the masks and costumes of the characters during the Carnival. They are overly expressive masks that convey the defining emotion or trait of the character.

http://www.themaskery.com/commedia_dell.html

click to enlarge

Arlecchino: The Harlequin provides slapstick humor with his agility contrasting his slow brain. His mask with raised eyebrows displays his surprised credulity. He can be the "noble savage" as well as the "wise fool."

Columbina: Counterpart to Arlecchino, she is the amorous lady's maid, characterized by intelligence, independence, and femininity. A Columbine mask is the popular half-mask covering only the eyes and cheekbones and highly embellished with feathers, beads, metals, or crystal. These have either ribbons to tie around the back of the head or a baton attached to the side with which to hold the mask to the face. It is said Columbina's mask is small because she did not want to cover her beautiful face.

Brighella: Arlecchino's enemy, Brighella is also a servant, but unlike Arlecchino, he is extremely cunning and dangerous. He is selfish and opportunistic with no sense of honor. His half-mask is typically olive-colored and displays a look of lust or greed.

Pantalone: Representing the old miserly merchant of Venice, Pantalone is greedy and gullible. His name comes from his characteristic red pantaloons. His mask is wrinkled to emphasize his age and has narrowed, greedy eyes.

Pulcinella: The pot-bellied and gleefully malicious servant evolved into the Mr. Punch of the notorious Punch and Judy shows. His mask features a long hooked nose, perhaps referring to his name meaning "little chick."

Il Dottore: The proud but incompetent doctor boasts of his prowess while prescribing ridiculous treatments. He satirizes the Bolognese scholars in black academic robes. His mask covers only the nose and forehead, revealing reddened cheeks from drinking.

Il Capitano: The Captain is an arrogant coward hiding behind his bravado. He makes up tales about his conquests and his title of Captain is almost certainly self-appointed. He is a caricature of the Spanish soldiers because during the late Renaissance, many parts of Italy were under Spanish domination. His mask displays a haughty expression, a long upturned nose, and occasionally a mustache.

Tartaglia: This character's defining trait is his stutter. He is also farsighted and dainty, inspiring the character of Porky Pig. His mask often features glasses or squinting eyes and a generally confused expression.

Pedrolino: Later evolving into the innocent romantic Pierro, Pedrolino is likable, simple, and often the victim. His oversized hand-me-down costume shows his low social status and he wears either no mask or just white powder to express his sensitivity.

Gli Innamorati: The Lovers wear no mask to contrast with the rest of the actors, but they do wear heavy make up and beauty marks. They are immature and childlike and are more in love with being in love than they are with each other.

illustrations from http://www.atelierdesarts.com/maschere/maschere.htm

Carnevale di Venezia

The origins of the Carnival are uncertain, but it is believed to have begun as a celebration of the Republic of Venice’s victory over Ulrich II of Treven, Patriarch of Aquileia in 1162 and later combined with pre-lent festivities. The introduction of the masks in the 13^th century may have been in protest of various laws or the social hierarchy of the time through class-anonymous disguises. Eventually revelers adopted masks representing the characters of the Commedia dell’arte, the Bauta used for anonymity in the government, and the “plague doctor” mask used during the Black Death. As Venice’s power began to decline during the 17^th century, the Carnival became a way for the city to display its strength to the rest of the world and keep up its image. When Austria took control of Venice, the King outlawed the Carnival as well as mask wearing. The tradition remained extinct until the 1970s when the Italian government decided to revive the Carnival in an effort to restore Venice’s rich heritage and identity. Now it is one of the most internationally recognized events, drawing millions of visitors every year.

Carnevale all’Arsenale and Volo dell’Angelo

Though originally the Carnival consisted of games representing Venetian history and victories, today the festivities include pyrotechnic shows, theatrical performances, acrobatics, music, dance, pageants, and mask competitions. However, the Carnevale all’Arsenale and Il Volo dell’Angelo retain their historic roots.

Il Carnevale all’Arsenale takes place each night for the two and a half weeks at Venice’s Arsenale or boatyards. An area along the lagoon side is decorated to look like a Renaissance era Venetian street, with costumed actors and vendors. A variety of shows – such as flame throwers, live bands, and Cirque du Soleil-esque acrobatics – rotate throughout the week.

A fireworks, flames, and water show on the lagoon set to classical music represents Venetian naval power and victory in the Battle of Lepanto. This battle in 1571 of the Venetian, Papal, and Spanish fleets against the Turks over the island of Cyprus was one of many growing conflicts between the Republic of Venice and the Ottoman Empire. Venetians celebrated their victory as a God-given triumph for the side of Christianity. Ironically, this battle also marked the decline of Venice’s naval domination, and eventually it had to cede Cyprus to the Turks in order to continue trade relations.

            Il Volo dell’Angelo, meaning “flight of the angel,” was originally “flight of the Turk.” In the 16^th century, a Turkish acrobat walked on a tightrope to the top of the bell tower in St. Mark’s Square and then descended upside down along the balcony of the Palazzo Ducale (Doge’s Palace), giving flowers and reciting poems. Nowadays the selected Angel (this year Julia Nasi) descends from the top of the bell tower with the help of a crane and steel wire, throwing flowers and officially launching the Carnival.

A relatively new tradition is the Flight of the Eagle, featuring an Italian athlete who symbolizes strength, courage, and rebirth. This year, the “Aquila” is Carolina Kostner, the bronze medalist female figure skater at the 2014 Sochi Olympics.

Pictures courtesy of carnevale.venezia.it

More Venetian Architecture

The Doge's Palace, or Palazzo Ducale, was the home of the elected ruler of Venice, or Doge, for centuries. It has also been the house of law courts, civil administration, bureaucracy and the city jail. Below is a picture of the Doge's Palace that I took:

Venetian Gothic (as mentioned in my other post) is the named given to the combination of Byzantine, Gothic, and moorish architecture. This style originated in the 14th century with the meeting of these three influences. The window-like structures of the arcade include the pointed arches and the quatrefoil above that is typical of a Venetian Gothic style window. As you can see in the arches below the arcade of the Doge's, There are Gothic pointed arches surrounding the entirety of the Doge's Palace. Part of the style of the Venetian Gothic architecture is a lightness and grace in their architecture. Because of the canals running through the entirety of the city, the space in Venice was limited and every amount of land was necessary space. This sets Venetian Gothic architecture apart from the architecture of many other European cities. Many other cities wanted to make their buildings large and heavy, but due to the land limitations in Venice, Venetians did not make their buildings any larger or heavier than was necessary. This resulted in the very light and graceful structure as seen in buildings such as the Doge's Palace.

Basilica di San Marco

We have been traveling a ton recently so we will have to take some time to update everyone on what we have been doing! First we went to Venice so I will talk a little bit about that. Venice is a very unique city in that it is accessible not by cars, but by boats in canals, and by foot. Venice also has a very interesting mix of architectural styles. One place this can be seen very clearly is in the Basilica di San Marco (St. Mark's Basilica). Below is a picture I took from right in front of the Basilica.

Below is a picture that has more of a full view of the Basilica: 

http://www.bing.com/images/search?q=saint+marks+basilica&FORM=HDRSC2#view=detail&id=7BCE911A2EF82AD0E0B8D559F019C2BB3DAA7BD5&selectedIndex=1

The Basilica has a large number of different styles mixed in and represents what came to be known as Venetian Gothic architecture. This style of architecture was a result of the trade relations that Venice developed with the East. Byzantine domes were featured as well as Islamic minarets. Gothic pointed arches were also mixed into this type of architecture. On the Basilica di San Marco mosaics can be seen. These mosaics are in the Byzantine style. Onion-shaped cupolas can be seen on top of the Byzantine domes. The cupolas are in a style borrowed from Islamic art. In the picture that is closer up it is easier to see that there are both pointed gothic arches and rounded Roman arches. The Basilica di San Marco is a great example of the blending of architectural styles that is typical in Venice.