V-Venezia magazine - Special issue - Carnival 2014

Venezia

magazine

anno 2, speciale Carnevale fe b b ra i o 2 0 1 4

e ve n ti m o s tre i ti n e ra ri

The sestieri

San Marco traditions

Floating sets ancient crafts

The tailors

Special Carneval

Buongiorno siora maschera!

L u c a B i a n c h e tto

Special Carnival 201 4

The Carnival season

discovering the birth of Carnival An d re a B orso

S p e c i al e C arn eval e

The Carnival season discovering the birth of Carnival This year, the Venice Carnival season will last between February 15 to March 4.

The Carnival in Venice has always attracted visitors from all over Europe and, now more than ever, from all over the world. Despite not being the biggest, it is definitely the better known and most fascinating after 900 years.

Evidence of the first Carnival date back to 1094 and it immediately became an exciting celebration for all the population.

Once upon a time, Carnival time meant that all Venetians could leave their jobs aside and have fun 足 stages were set up in the main campi (squares), along the Riva degli Schiavoni and in St. Mark's Square.

People came to admire the various attractions like

jugglers, acrobats and dancing animals, trumpets, penny足whistles and drums would be played in every campo or calle and street vendors would sell dried fruit, chestnuts, fritole (fried doughnuts with a variety of fillings) and all kinds of sweets.

Young nobles arranged historical masquerades which became very famous. They were grouped together in the so足called 'Compagnie della Calza', which wore distinctive hosiery and created and organised the performances throughout Carnival time. 23 'Compagnie della Calza' were active between 1487 and 1565.

1700s The Carnival reached its maximum splendour in the

The Flight of the turk or of the Angel

M a g d a M ore l l i

This tradition was named by the enterprise of which he was the protagonist in the mid 1500's a young turkish tumbler of trade. From a boat docked at the pier in front of the Piazzetta , the acrobat was able to get up to the belfry of the Campanile of San Marco, walking on a rope only with the help of a barbell. It was a show so exciting that by that year the company renewed itself over the centuries, with the addition of countless variations . It is usually held the last Thursday before Lent , with the Piazza San Marco from the packed crowd and the presence of the Doge and the nobility. In later versions the " Svolo " was repeated by professional acrobats , until some commoners called " Arsenalotti " ( the workers of the shipyards of the Arsenale ) wanted to try , specializing in such an endeavor. Over the years the " Svolo " changed forms and customs , becoming an official ceremony divided into three phases, the so足 called " Turkish " 足 or "Angel" for the fake wings on his back 足 had to do: climb the rope up to the bell tower by show, then spins down to the loggia of the Palazzo Ducale where the Doge received from her hands a bouquet of flowers or cards with the sonnets and finally climb the bell tower. Often in exchange for the bouquet of flowers , the Doge rewarded the " Turkish " with a sum of money . As has become tradition , Mary will be the winner of the 2013 Carnival dubbed the new Angel edition 2014.

1700s. This is the century that saw Giacomo Casanova scamper around the city while Guardi, Boucher, Fragonard, Longhi and Tiepolo painted what happened during the festivities and Carlo Goldoni wrote his comedies, creating characters that would live on to this day.

People would attend official events, especially the Forze d'Ercole, i.e. strength and balance displays where contestants would challenge each other by creating very complex acrobatic figures, and the Volo del Turco, where an acrobat would slide down a rope from St. Mark's bell tower. In addition, there were fireworks as well as tightrope walkers, puppeteers and street artists.

Private parties were held in the magnificent palaces,

where guests could gamble or take part in luxurious masked balls. Ridotto, a casino located in palazzo Dandolo in San Mois辿, was run by the state and it stayed open between 1638 and 1774. It became one of the most popular places during Carnival time. The only ones who were allowed in without wearing a mask were the Barnabotti, i.e. the impoverished nobility who had no other option than to work as croupiers.

1800s Things changed in the 1800s. Venice became the most romantic city in the world and was visited by many of the most important people of the time such as Wagner, Byron, George Sand, Ugo Foscolo and Empress Sissi of Austria. After the fall of the Republic in 1797, Carnival

celebrations were downsized and eventually ceased after the Austrian and French occupation. The tradition only survived in the Murano and Burano islands.

Modern Carnival After years of complete silence, in 1979 Carnival celebrations were revived and immediately became an event not to be missed. Thanks to the help of some citizens and local associations, the first modern Carnival was inaugurated that year, and the town council, Teatro La Fenice, the Tourist office and the Biennale organised a whole variety of events lasting ten days.

At Carnival time, there are numerous improvised events and shows by street artists or planned by the organisers in the campi all over Venice. All kinds of masks fill up the calli 足 from the most traditional ones inspired by the XVIII century to the most original and creative.

The heart of the celebrations is St. Mark's Square, where a huge stage is set up for concerts and shows, but there are also many events all over the city spreading the festive spirit to all the Sestieri. While the expensive and extravagant parties organised in the palaces recreate the splendour of the Serenissima Republic, the square remains the place where the Carnival still has the characteristics of a local festival.

and the mysterious creatures that inhabit them.

Everyone recognises the need for human beings to narrate the mysteries of nature through fairy tales. All cultures worldwide have created an infinite number of symbols and characters to describe the origin of life, atmospheric elements, plants and animals first using myths and then fairy tales.

2014 Edition 足 Wonder and Fantasy Nature The theme of this year's Carnival is fairy tales, wonders and fantasy. It will be the Carnival of fantasy and of nature 足 a truly global one, as every culture has used fantasy and fairy tales as metaphors of life. It will be a topical Carnival, because fairy tales are the right way to deal with relationships between humans and the environment 足 woods, valleys, seas, mountains, lagoons

M i ch e l e P e g ore r

An n a b e l l a S a ccon e

P a ol o P e rl a sca

E x h i b i t i o n s i n Ve n i c e

Franco Fontana. Full Color

Thefantasticstoriesinourarchives

from febbraio 15th to may 18th − Istituto

21st february − Soprintendenza archivistica

A region and its concentration camps

Veneto di Scienze, Lettere ed Arti

per il Veneto

until march 23th − Ikona Gallery

www.istitutoveneto.it

www.save.archivi.beniculturali.it

www.ikonavenezia.com

A Homage to Goffredo Parise until february 16th

− Centro Culturale

Vasco Ascolini ­photographs until february 23th − Cultural Flow Zone

Mario Lasalandra exhibition

www.unive.it

until march 23th − Centro Culturale

Candiani www.candiani.comune.venezia.it

Candiani

Il San Giovannino di Ùbeda

www.candiani.comune.venezia.it

until february 23th − Palazzo Grimani www.palazzogrimani.org

TheyearsofRomeoMartinez

The treasures of the Ghetto

until february 16th − Ca' Pesaro, Venezia

The nature of things

www.capesaro.visitmuve.it

until february 25th − Casa di Carlo Goldoni

alla Ca' d'Oro

www.carlogoldoni.visitmuve.it

www.cadoro.org

dal 19 febbraio al 27 aprile − Ca' Foscari

Sport, sportsmen... in Europe at war

The Empire of Light

Esposizioni

until february 23th − Museo Ebraico

until

www.unive.it

www.museoebraico.it

Guggenheim

Viktor Popkov 1932­1974

until march 31th − Galleria G. Franchetti

april

14th

−

Collezione

www.guggenheim­venice.it

FairyTalesfromallovertheworld

Gifts by Shah Abbas

Culturale Candiani

The theatre of Eleonora Duse and Gabriele D'Annunzio

www.candiani.comune.venezia.it

fino al 28 febbraio − Fondazione Cini

www.palazzoducale.visitmuve.it

from february 21st to april 23th − Centro

www.cini.it

until march 27th − Palazzo Ducale

Peggy

−

Archives of Landscape Paintings until march 28th − Ca' Rezzonico

−

www.carezzonico.visitmuve.it −

American dialogues ­ Giuseppe Panza di Biumo

−

until may 4th − Ca' Pesaro www.capesaro.visitmuve.it

Genesis

−

−

until may 11th − Casa dei Tre Oci www.treoci.org

TheImageoftheEuropeanCity

−

until may 18th − Museo Correr www.correr.visitmuve.it

Renaissance

−

until may 25th − Espace Louis Vuitton www.visitmuve.it

Léger 1910 ­1930

−

until june 2nd − Museo Correr www.correr.visitmuve.it

The Serenissimo prince

−

until june 30th − Palazzo Ducale www.palazzoducale.visitmuve.it

Prima Materia

−

until december 31st − Punta della Dogana www.palazzograssi.it/it/mostre/prima­ materia

Madonnas. Dressed statued of the Virgin Mary until december 31st − Museo Diocesano d'Arte Sacra www.veneziaupt.org

−

S e e y o u i n Ve n i c e

Operette Morali

From one modernity to another

dal 12 al 16 febbraio − Teatro Goldoni

15 febbraio − Palazzetto Bru Zane

www.teatrostabileveneto.it

www.bru­zane.com

Venice before Venice

Free guided tours

13, 17 febbraio e 13 marzo − Biblioteca

dal 15 febbraio al 3 marzo − Peggy

Nazionale Marciana

Guggenheim Collection

Festa di Carnevale

www.marciana.venezia.sbn.it

www.guggenheim­venice.it

16 febbraio − Sala ex cinema Perla

Barocco Sorrentino

"Venice"... through its stories

13, 18, 20, 25 febbraio − Centro Culturale

dal 15 febbraio al 4 marzo − Teatro San

In viaggio tra i satelliti

Candiani

Gallo

16 febbraio − Planetario Lido di Venezia

www.candiani.comune.venezia.it

www. Teatrosangallo.net

www.astrovenezia.net

Rehabilitation is Fun

NordicWalkinCarnival

I bestiolini (Little beasties)

14, 21, 28 febbraio − Centro Culturale

15 febbraio − Itinerari vari

16 febbraio − Teatro Momo

Candiani

www.carnevale.venezia.it

www.culturaspettacolovenezia.it

Fiat Color

Reijseger­Fraanje­SyllaTrio:DownDeep

Visite guidate a Ca' Pesaro

15 febbraio − Istituto Veneto di Scienze,

16 febbraio − Centro Culturale Candiani

dal 15 febbraio al 3 maggio − Ca' Pesaro

Lettere ed Arti

www.candiani.comune.venezia.it

www.capesaro.visitmuve.it

www.istitutoveneto.it

st_art per tutti

La Traviata

16 e 23 febbraio − Peggy Guggenheim

15 e 22 febbraio − Punta della Dogana

dal 15 febbraio al 8 marzo − Teatro La

Collection

www.palazzograssi.it

Fenice

www.guggenheim­venice.it

16 febbraio − Ca' Pesaro www.capesaro.visitmuve.it

www.candiani.comune.venezia.it

Carnival 2014

www.teatrolafenice.it

Mato de guera 16 febbraio − Teatro Co rso www.dalvivoeventi.it

www.comune.venezia.it

Kids Day

Candiani Groove

dal 15 febbraio al 4 marzo − Sedi varie

A Venetian party on water

16 e 23 febbraio − Centro Culturale Candiani

www.carnevale.venezia.it

15 e 16 febbraio − Canal Grande e Sestiere

www.candiani.comune.venezia.it

The Legend of the Flying Rabbit 15 febbraio − Teatro Fondamente Nuove www.teatrofondamentanuove.it

Cannaregio www.carnevale.venezia.it

L'American Dream di Giuseppe Panza

Raccontando Venezia 18 febbraio − Biblioteca Civica di Mestre ­ Villa Erizzo www.comitatovenezia.it

The King's Speech

Meeting Comics

dal 19 al 23 febbraio − Teatro Goldoni

22

www.teatrostabileveneto.it

Stampalia

Atelier Casa Macchietta

febbraio

−

Fondazione

Family visit to the Candiani Centre Querini

www.querinistampalia.org

23 febbraio − Centro Culturale Candiani www.candiani.comune.venezia.it

Free guided tour

19, 22, 23, 26 febbraio − Fondazione

Festa delle Marie

dal 24 al 28 febbraio e 3 marzo − Palazzetto

Querini Stampalia

22 febbraio e 4 marzo − Piazza San Marco

Bru Zane

www.querinistampalia.org

www.carnevale.venezia.it

www.bru­zane.com

Jewish Art Music

5. Kids Carnival

The Imaginary Invalid

19 febbraio − Fondazione Ugo e Olga Levi

dal 22 febbraio al 4 marzo − Biennale di

dal 26 al 28 febbario e 2 marzo − Teatro

www.fondazionelevi.it

Venezia

Goldoni

www.labiennale.org

www.teatrostabileveneto.it

19 febbraio − Centro Culturale Candiani

Travelling Theatre

The nights of Arsenale

www.candiani.comune.venezia.it

dal 22 febbraio al 4 marzo − Piazza San

dal 27 febbraio al 4 marzo − Arsenale di

Marco

Venezia

www.carnevale.venezia.it

www.carnevale.venezia.it

Best Masked Costume Contest

Guided tours ­ Diana's Tales

dal 22 febbraio al 4 marzo − Piazza San Marco

27

www.carnevale.venezia.it

Querini Stampalia

Ancient and current welcoming

Mestre Film Fest 19 febbraio − Centro Culturale Candiani www.candiani.comune.venezia.it

The Barber of Seville dal 20 febbraio al 9 marzo − Teatro La

febbraio,1,2,4

marzo

−

Fondazione

www.querinistampalia.org

Fenice

Safari Naturalistico in Museo

www.teatrolafenice.it

23 febbraio − Museo di Storia Naturale

Masked Ca' Foscari

www.msn.visitmuve.it

27 febbraio e 4 marzo − Ca' Foscari

LeMappedelTesoro(TreasureMaps)

www.unive.it

20 febbraio e 27 marzo − Biblioteca

Giove e i suoi satelliti

Nazionale Marciana

23rd february − Planetario Lido di Venezia

Circus Klezmer

www.marciana.venezia.sbn.it

www.astrovenezia.net

27 febbraio − Teatro Toniolo

Meetings on the subject of sustainability

Carnival parade 23 febbraio − Piazzetta Lepanto

Backstage

20 febbraio − Centro Culturale Candiani

www.comune.venezia.it

28 febbario − Palazzo Mocenigo

www.candiani.comune.venezia.it

Bobo Rondelli e l’Orchestrino

culturaspettacolovenezia.it

www.mocenigo.visitmuve.it

Conference on Tomaso Buzzi

23 febbraio − Centro Culturale Candiani

The Beatles in cinemas

21 febbraio − Fondazione Giorgio Cini

www.candiani.comune.venezia.it

28 febbraio − Centro Culturale Candiani

www.cini.it

Flight of the Angel

www.candiani.comune.venezia.it

IlCarnevaledeibambiniallaSerradeiGiardini

23 febbraio − Piazza San Marco

The birth of cinemas

22, 23 febbraio , 1 e 2 marzo − Serra dei

www.carnevale.venezia.it

28 febbraio − Istituto Veneto di Scienze,

Giardini www.serradeigiardini.org

One Thousand and One Nights

Blue Notes 23 febbraio − Teatro La Fenice www.teatrolafenice.it

Lettere ed Arti www.istitutoveneto.it

Il Campiello

22 febbraio − Teatro Fondamente Nuove

28 febbraio e 2, 5, 7, 11, marzo − Teatro

www.teatrofondamentanuove.it

Malibran www.teatrolafenice.it

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Special Carnival

B u ongiorno Si ora Mas cher a !

Masks and costumes in the Venetian tradition

BaÚte, morette, gnaghe and plague doctors are some of the most famous masks in the Vene­ tian tradition, to which those from the Commedia dell'arte were added, made famous by theatrical plays and by the comedies of Carlo Goldoni in particular. Zanni, Pantalone, Arlecchino, Pulcinella, Colombina... Just how do you dress up to take part in one of the many

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masked balls organised every evening during Carnival time? There are no doubts ­ a classi­ cal Venetian costume: baùta for him and mo­ retta for her and tabarro (black cape) and tricorn (three­cornered hat) for both.

It would be just unthinkable to leave Venice without having taken a peek at one of the many specialised shops and studios, without having bought a mask or having rented a Carnival costume. These were in fashion already at the time of Goldoni who, in his "Le Massere" comedy, explains that those who could not afford to buy splendid costumes would rent them from the revendigola (se­ cond­hand retailer).

Just entering a workshop that makes masks or costumes is like taking a leap into the past and entering a magic and dream­like world.

Despite the fact that there are many mask and costume shops of all kinds, there are still some workshops where craftsmen create pa­ per­maché or leather masks using traditional methods, or studios where designers and tai­

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lors sew unique outfits and accessories. No­ wadays, masks have become popular again ­ once the Carnival was revived in the 1980s, the work of maschereri ­ craftsmen who created masks ­ and specialised tailors was requested yet again.

H i s to r y o f Ve n et i a n m a s k s 'Buongiorno Siora Machera' (Good Morning Ms. Mask) was the usual greeting of Vene­ tians during Carnival time as identities, sex and social status disappeared beneath the charm of costumes. Since the very beginning, masks in Venice became a synonym for free­ dom, a way to break social rules and hide one's identity even in everyday life. The first evidence of masks being used dates back to the 1200s, but it was in the 1700s that they became fashionable ­ everybody wore one from old people to children, nobles and commoners, rich and poor people alike, as

well as servants when they went shopping, theatre attendants and beggars. At least until 1797, the year in which the Republic came under French domination, Venetians wore masks not only at Carnival time ­ i.e. from Boxing Day (De­ cember 26, the ancient date of the start of the Carnival) to midnight on Shrove Tuesday ­ but also throughout the year and the use of the ta­ barro and the baùta were allowed on festive days. In the mid 1700s, the Venetian painter Pie­ tro Longhi depicted this tradition in many of his works. Il ridotto (Pinacoteca Querini Stampalia ­ Venice), for example, depicts a room in a casino with many masked characters: some wearing a white "face" and others a black moretta, one of the most ancient Venetian masks. Traditional masks were made of leather or papier­maché and were used as disguises. The tabarro or the domino (a long cape with a hood) and the disturbing white "face" made everyone look the same, thus guaranteeing they would not be reco­ gnised.

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B a ù ta

mute', since it has no lips or mouth and was held in place by the The most popular Venetian costume, wearer biting on a button, which appeared around the year 1600. It which prevented them was worn by both from speaking. men and women and it consists of a black G n a ga tabarro and a veil covering the The gnaga, whose name shoulders worn with probably derives from a black tricorn hat the word "gnau", the and a larva ("ghost" noise of a cat, is a ma­ in Latin), a white sk that resembles a cat. mask hiding the fa­ It was usually worn with ce. It was very popu­ women's clothes and a lar as one could eat white bonnet and used by and drink while men to impersonate a wo­ wearing it. It was man. At Carnival time, used a lot also in Gnagas would often carry a theatres and at basket with a kitten. parties, but many also used it normally, as it allowed people to court or be courted without being recognised. It be­ Pa n ta l o n e came the synonym of freedom of expres­ sion and that is why people would Among the costumes taken from the curtsey out of respect when they met one Commedia dell'arte, Pantalone is maybe in the calle. the best­known. Its name could derive from San Pantalon, one of the Venetian M o ret ta saints to whom a church is dedicated in the sestiere of Dorsoduro. Pantalone was The moretta is a black velvet oval mask an old merchant, a symbol of the Vene­ worn by nobles or humble wo­ tian bourgeoisie and trade ethics whose men. The name derives mind was always thinking of business ­ from the word "mo­ which sometimes was profitable and at ro", which means other times led him to ruin ­ and he ne­ black in Venetian, ver missed a chance to make a pass at a and it became lady. The mask is characterised by a very popular hooked nose, protruding eyebrows and because it a pointed beard. exalted the pale complexion and red hair ty­ T h e P l a g u e D o c to r pical of Vene­ tians.

It is The mask was designed in the XVI different from century by the French doctor Charles other masks be­ de Lorma. It is not a tradi­ cause it is tional Carnival ' mask, but it was actually worn as a

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precaution to avoid catching the terrible plague that started sprea­ ding through Venice in 1630. Doctors would wear it along with a black cloak and gloves and the beak would be filled with aromatic es­ sences to neutralise the miasmas of the plague. It became a symbol of death.

P u l c i n e l l a ( P u n ch ) A famous Neapolitan mask with a beak­like nose and a huge mouth.

It can resemble a rooster so it is thought that the name derives from "pulcino", which means chick. He is a loser and lazy acrobat. His co­ stume is white and loose­fitting with a tall hat and can also be admi­ red in the frescoes painted by Tiepolo at Ca' Rezzonico, the Museum of 18th century Venice.

A rl e c ch i n o ( H a rl e q u i n ) It is the most popular mask of the Commedia dell'arte, originating in lower Bergano in the 1500s. The character is fraudulent and nosy, not very bright, always hungry and always ready to scrounge. The costume is a chequered jacket and trousers, a felt hat decorated with a rabbit or fox tail and a belt with a batocio, the spatula used to mix polenta. He is an acrobatic character with a tendency to spice up every movement. The mask has devil and cat­like traits, with a blunt nose and a bump on his forehead, indicating that his adventures always end op with some sort of brui­ se.

B ri g h e l l a He is Harlequin's alter ego. Originating in upper Bergamo, he represents the smart servant in the Commedia dell'arte. His name derives from the verb "brigare", which means to trick. He is an opportunist, ready to indulge all of his master's wi­ shes to his own personal advantage. The costu­ me is white with green stripes resembling a livery and is someti­ mes combined with a cloak and a hat with a green border. The mask can be either black or olive green and it has mou­ staches. He sings and plays a guitar.

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Balanzone A comic character originating in Bologna. He is a lawyer, doctor and sometimes notary, who has no emotions but thinks he knows every­ thing about anything, which often leads to comical monologues. He is an obese man who enjoys food, wears a black costume with a wide white collar and a notary or a doctor's hat. His mask is dark and is made in such a way that his nose and his ridi­ culous warts stand out. He is also known as Balordo, Graziano or simply Dottore.

I n d i ri z z i u t i l i Museo Mondonovo Maschere Master Guerrino Lovato recreated his famous Venetian papier­maché mask workshop here.

Palazzo Corielli ­ Via Cardinal De Lai, 2 ­ Malo (Vicenza) Tel: 0445 580600 (Ufficio Cultura del Comune di Malo) Advanced booking required. Free entrance. www.maskedart.com Nicolao Atelier di Stefano Nicolao Nicolao created many costumes for theatres, films and historical parades.

The shop has a vast array of period costumes complete with all the accessories that can also be rented out separately.

Cannaregio 2590 www.nicolao.com

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Colombina(Columbine) Loyal companion to Arlecchino, Colombina is a malicious and cunning servant. She is also known as Arlecchina, Corallina, Riccioli­ na, Camilla and Lisetta until she became the sophisticated Mario­ nette in Goldoni's “The Shrewd Widow”. She wears a patched dress with an apron and a white bonnet. She rarely uses a mask, but when she does, it is a dark half­mask leaving her mouth uncovered. She speaks in various dialects, but mostly Venetian and Tuscan.

Atelier Pietro Longhi Handmade period costumes, hats, masks and accessories for rent and for sale.

San Polo, 2608 ­ Venezia www.pietrolonghi.com Banco Lotto n°10 ­ Artigianato dal carcere Prestigious period costumes from the 1500s to the 1900s for rent or for sale. Any other period upon request.

Salizzada Sant’Antonin, Castello 3478 A www.ilcerchiovenezia.it La pietra filosofale di Carlo Setti Carlo Setti has been creating paper­maché and leather masks for over 20 years. He is the only one still making leather masks in Venice and they are created using an antique techniques which requires the use of particular horn hammers and box sticks.

Frezzeria 1735 ­ San Marco Tel. +39 041 5285885

T h e s t o n e s o f Ve n i c e

The sestieri

S a n M a rc o It is one of the 6 sestieri of Venice, the heart of the city ever since the Serenissima was founded, when it was called Rivoalto. It borders with Castello and Cannaregio and is connected to San Polo through the Rialto bridge and Dorsoduro throu­ gh the Accademia bridge.

San Giorgio island is also part of the sestiere. St. Mark's Square and its Basilica, a splendid example of Go­ thic architecture, is right at the centre together with the Procuratie ­ three connected buildings used by Procurators ­ the Libreria Sansovi­ niana and the Napoleonic Wing. The Doge's Palace, a true Venetian Go­ thic masterpiece and a symbol of the power of the Republic, is located between the Piazzetta and the Molo (Quay). Opposite the bell tower, whi­ ch is almost 1,000 m high, stands the Clock Tower, with two bronze figures representing two shepherds striking the hours on a bell.

ancient crafts

Tailors The Republic started to regulate the arts and crafts guilds back in 1182. Arts were protected and safeguarded to keep "popular consent" alive, as this was very important for good government.

The first statute dates back to the beginning of the 13th century and it concerned the tailors.

Venetian "sartori", i.e. tailors, had been very popular since the Renaissance period, but they reached the peak of their creativity between the 1600s and 1700s as the love of Venetians for Carnival masks flourished. These became increasingly popular because

they levelled out all class divisions and people who wore masks were even allowed to make fun of the authorities and aristocracy.

It was in fact in Venice that Mariano Fortuny, a Spanish artist who moved to the city at the end of the 1800s, became very famous and is now recognised as the first fashion designer ever thanks to its stile and designs that still look modern today.

At the beginning of the 1900s, his clothes were produced in Venice and sold all over Europe.

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traditions

Floating sets For most of Venice's guests, all the rowboats are identified more or less with the gondolas.

Actually, the range of boats is wide: for on­the­water cele­ brations, for example, during the centuries, real types, called margarota, balotina, peota or bissona, have been developed.

The ritual of the Serenissima has always given a remarkable role to extravagances and entertainment, obviously on the water.

Reserved monumental sets, fi­ reworks and water processions were often reserved to the most ex­ cellentguestsduringofficialvisits.

The bissone – long and tapered boats with a flat bottom and led by a variable number of paddlers ­ used to open the processions, adorned with sumptuous deco­ rations, adjustable according to the allegoric representation cho­ sen by the client.

The fantasy of decorators ­ in so­ me cases, even important masters such as Tiepolo or Piranesi ­ relie­ ved from functional constraints,

could run free from restraints in sumptuous and bizarre inventions to astonish the audience.

The drawings and the prints preserved at the Museum Correr bear a rich witness of this.

Towards the end of the XIXth century, though, the entire orga­ nization of the celebrations was no longer reserved exclusively to private clients (schools, congre­ gations, diplomats or rich or no­ ble families) and passed under the control of the municipality.

Unfortunately, today, the cele­ bration is limited only to the tra­ ditional events, yet always long­awaited by citizens.

Even today, ten of these typical boats, rebuilt about forty years ago by the master Giovanni Giu­ poni, form the water procession of the Historical Boat Race and each one of them is adorned wi­ th an allegoric theme.

Still today, they are pitching in between the nets of the Arsenal waiting to sail out on the next procession.

Fr ì to ł e ve n e s s i a n e (small Venetian fried doughnuts) Ingredients for 6 people 500 g flour; 2 glasses of milk; 2 eggs; 130 g sultanas; 80 g granulated sugar; 40 g fresh yeast; 2 shot glasses of grappa; 1 untreated lemon; a pinch of powdered cinnamon; a pinch of salt; oil for frying; icing sugar Preparation time: 1 hour, 5 hours for leavening Preparation: Soak sultanas in the grappa. Melt the yeast in half a glass of lukewarm water. Prepare the dough by mixing flour, eggs, milk, sugar, lemon zest, cinnamon and salt into a bowl. Add melted yeast and the sultanas with the grappa.

Amalgamate the mixture with a wooden spoon until very soft. Cover the dough and let it rest in a warm place for 5 hours. Once raised, mix the ingredients once again and, if necessary, add a little bit of milk or water to make it more fluid. Warm up a pan filled with oil and place dollops of dough into it with a spoon.

Distance them enough so that they do not stick together. Turn them immediately when brown and, once ready, take them out using a skimmer and place them on a paper towel to absorb any excess oil. Roll them in icing sugar.

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V足Venezia magazine

year 2, special issue - Carnival 201 4 Bi-monthly online magazine by the Tourism Department of the City of Venice Contacts:

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