The Carnival has its roots in many traditions, from the Latin feast of Saturnalia to the Greek feast of Dionysian cults celebrating the start of spring, when masks were used for symbolic representation. It signalled a time in which everything was permitted in an apparent incarnation of the world turned on its head.

In fact, the Carnival was a means of rigidly controlling the impulses. The tendency to excess was merely a benevolent concession for a prescribed period of time. 

In the strictly hierarchical Venetian society, it was deemed necessary to give the most humble classes the illusion of becoming similar to the more powerful classes, albeit wearing a mask: the aim was to diminish social tensions and maintain consensus. Top

Carnival was prolonged even further. It usually began on December 26, ending on Ash Wednesday, although carnival licence was often given for the wearing of masks from October 1 and it was not unusual to attend parties and banquets during Lent.

During the Festa della Sensa, which lasted 15 days, the use of masks and disguises was allowed.

In other words, Carnival lasted for a few months and this certainly helped to create the image of Venice as a city dedicated to pleasure. Top

Venice's population took part in official festivities in the public square, in particular on "giovedì grasso" (Carnival Thursday), with the Strength of Hercules and the Flight of the Turk (an acrobat who descended a rope from the bell tower of Saint Mark's). There were also fireworks and live entertainment with acrobats, tightrope walkers, puppeteers and street entertainers, all under State control.

As well as these public festivities there were numerous private parties in the patrician houses and palaces, where magnificent balls and gambling took place. Top 

In this climate of pleasure, there had to be gambling and il Ridotto at S. Moisé, the public gaming house run by the State, became one of the focal points of the Venetian carnival.

Between 1638 (when it opened) and 1774 (when it closed), thousands of masked gamblers let thousands of ducats flow into the State coffers.

It was only open during carnival (which lasted quite a few months), and only the croupiers and the so-called barnabotti (impoverished Venetian aristocrats) were exempt from wearing masks. Top

The Serenissima Republic fell to the French in 1797 and its final century of power appears concentrated on life's more exterior and frivolous pleasures, although in reality the situation was far more complex.

During this period Carnival, with its parties, entertainments, masks, theatres and public gaming house, became a tourist attraction for the whole of Europe, welcoming thousands of visitors eager to experience its extremely unusual and effervescent atmosphere, with Venice itself becoming "The Magnet of Europe". Top

In the plays of Carlo Goldoni (1707-1793), Carnival is mentioned so often that his work has become an important source of documentation.

His works were often shown during the long carnival season, which we find mentioned in some of his most famous plays, such as La vedova scaltra, Le massere, Le morbinose, I rusteghi, and Una delle ultime sere di Carnovale.

Goldoni's attitude to the luxury and ostentation of carnival is certainly not benevolent, with his plays suggesting a more simple and moderate form of entertainment.Top

He probably best personifies the pleasure-seeking, lustful and decadent aspects of 18th century Venice.

Although a complex and articulate man, in life he was considered a sorcerer, man of letters, spy, libertine, fugitive, inveterate gambler, forger, traitor, seducer, cardsharp, poet, slanderer, atheist, cheat, rogue, blasphemer and alchemist.

Protected by his mask, he attended the best salons, the most fashionable theatres and Il Ridotto, where he squandered gold ducats at the gaming tables, and did not disdain from frequenting even the most squalid brothels: wherever he went, he left a trail of scandal behind him.Top

The Masks

The art of mask-making

The use of masks by both the Venetians and foreign visitors during Carnival, which even then was a great tourist attraction, created a demand for masks and consequently the figure of the mask-maker evolved.

These were registered artisans who created masks in papier maché or waxed canvas to satisfy the needs of the most demanding customers. Top

 

The most fashionable masks and costumes

The Venetian costume par excellence is the bauta, worn by men and women: it consists of a black cloak and a tricorn hat, plus a white mask completely concealing the wearer's face.

Total anonymity was guaranteed by the bauta as it allowed the wearer to eat and drink without having to remove the mask. Top

 

Another mask worn by women was the "moretta", an oval of black velvet attached to the woman's face thanks to a button held between the teeth.

Also popular was the domino, a long cape with a hood completely concealing the wearer's face. 

People who could not afford the rich Carnival clothes could hire them from the "revendigola" (secondhand retailer), as we learn in the Goldoni's comedy "Le Massere", and engage in distraction, in the

"liston.. Ghe xe un mondo de baronaggia, che no se pol caminar. Truffaldini, purichinelli, gnaghe..."
(The jealous women, act I°)

(literally, walking and showing off in the Liston ...crowded by so many rascals that it's impossible to walk) Top
 

 

The "commedia dell'arte"

The mask found its official consecration in the theatre and some of the characters from the commedia dell'arte became actual stereotypes, perfectly reflecting Venetian society.

And so we have Pantalone, the rich old merchant, the know-all doctor Balanzone, from Bologna, the crafty servant Brighella and the daft Harlequin, both having Bergamo origins, and finally the cunning serving wench Colombina.

The popular work-shy clown Pulcinella is neither from Veneto nor Bergamo, but has his origins in Naples.
 

 

Very popular, even if it's not Venitian, is  Pulcinella (Punch), the typical mask of Naples. He is a lazy bones buffoon. Top

 

Today masks

During the last days of Carnival the city teems with people in masks who happily invade streets and squares in search of fun and getting themselves noticed.

It's possible to see every kind of costume, from static and icy 18th century noblewomen courted by equally frosty fops, to the most inventive and creative personalised modern costumes.

Saint Mark's Square and the city's other main squares act as perfect stages for those who wish to become, at least for a few hours a year, the protagonists of another life. Back to Top