A king with a sceptre, a Pyrenese sailor, a couple of street assassins, and a butcher chat amiably. An astrologer and a demon bustle past to join Brighella and Pulcinella watching a silent orchestra. None of them knows who the others are and yet they are surrounded by a formidable amateur paparazzi intent on taking their photographs against the Canaletto backdrop. For ten days a year this is completely normal; the Carnevale di Venezia, the most famous masquerade of all, is a fantastic, mysterious spectacle with a history to match.
Nowadays, the carnival lasts for the ten days before Ash Wednesday. The reason for the timing of the event is uncertain. It developed around the Christian pre-lent period but also involved festivals such as the annual victory celebration on Shrove Tuesday which first took place in 1162 after the defeat of Ulrico, Patriarch of Aquileia. His reparations consisted of a bull and twelve pigs which made up a feast in Piazza San Marco.
The distinguishing ingredient for the carnival however has roots deep in the history and culture of La Repubblica della Serenissima as Venice was called until Napoleon arrived in 1797. A decree from 1268 is the first document to mention masks. Their common use for several months of the year was seen by the Doges as causing immorality.
In the intimate calli of the city, hiding identity with masks was both popular and useful. Morals could be anonymously stretched and ignored, laws could be broken, gamblers could hide from those they owed money to, bankrupt noblemen could beg on the streets, and convents could be visited clandestinely.
The use of masks became limited over time to a period from Santo Stefano, the 26th of December, through to la quaresima (Lent). Carnival was born. Concealing social class, sex, and personal identity the mask became a symbol of freedom and transgression. People were able to abandon themselves without repercussions to the spirit of the festival. Wearing a mask outside of carnival became a serious offence.
By the 1700s the carnival had world renown and had taken on a wealth of traditional costumes. The bauta became probably the most famous mask with the tabarro (a cloak), a black silk hood, a lace cape, and a three cornered hat. A large cast of characters and their costumes developed including Brighella, Pulcinella, and Arlecchino from La comedia dell’arte. The music of Vivaldi accompanied the Liston della Maschera that became so big it moved from Campo Santo Stefano to Piazza San Marco. Bulls were released into the calli to charge at the carnival goers and raise the level of excitement.
After the downfall of La Republica della Serenissima, the carnival declined and its traditions were almost lost. It wasn’t until the 1980s that the masks were again to be seen in Piazza San Marco. Today the carnival is short and the expression of freedom which disguise once brought is less profound. However, there are thankfully no bulls and the quality and variety of masks displays an impressive revival of an art which was once fundamental to the experience of being Venetian.
Brighella an adaptable character from la commedia dell’arte
Pulcinella this became the inspiration for Punch (and Judy)
Arlecchino the Harlequin
calli the name of the narrow streets of Venice
bauta the traditional white mask
Liston della Maschera the liston was a strip of grass laid out for those who wanted to parade their costumes
This year the carnival is from 21st February 2003 - 4th March 2003.
You can find details from this site: Guest in Venice
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