1. The information in this part of the booklet introduces you to the practical things of your first days in Netherlands, Eindhoven and TU/e. The aim is to give you an idea of what to expect in your first days here and answers questions like: What's the weather like in the Netherlands? How do I find grocery shops? What are Dutch.
2. Mind the carnival songs composed by such men as. Lorenzo the Magnificent. Them out of some not tedious writer the institution of physic;7 that they may know the tempers, the humors, the. Final, carefully balanced glimpse of Venus and Adonis, Psyche and Cupid—images of erotic fulfillment from which the.

1. Carnival Of Venus Sheet Music

The Eastern Color Printing Company was a company that published comic books, beginning in 1933. At first it was only newspaper comic strip reprints, but later on original material was published. Eastern Color Printing was incorporated in 1928, and soon became successful by printing color newspaper sections for several New England and New York papers. Eastern is most notable for its production of Funnies on Parade and Famous Funnies, two publications that gave birth to the American comic book industry.

Eastern published its own comic books until the mid-1950s, and continued to print comic books for other publishers until 1973. Eastern Color Printing struggled financially from the 1970s to 2002, when the business closed, a victim of changing printing technologies.

The Carnival of Venus Introduction Allen Vizzutti Theme Cantabile Variation 1 Fast (tongued on repeal) 1994 Village Place Music used with permission Arban Complete Method for Trumpet.

• 1Company history

Company history[edit]

Foundation and early years[edit]

In March 1924, a newspaper in Waterbury, Connecticut purchased a Goss International single-width press to use in printing Sunday color newspaper comics sections. The Knickerbocker Press of Albany, New York, and the Springfield Republican of Springfield, Massachusetts, approached the Republican about using the press to print their own color comics supplements. The Springfield Union soon afterward did as well. The Eastern Color Printing Company, incorporated in August 1928 with William B. Pape as its vice president and principal executive officer, acquired the press and replaced it with a Goss four-deck press. The company acquired additional presses in 1929 and 1931. During this time period, Eastern, headquartered at 61 Leavenworth Street in Waterbury, established itself in the pulp magazine industry by being one of the few firms to print color covers for the pulps.

From 1928 to 1930, Eastern published 36 issues of a tabloid-format comics periodical, The Funnies, with original comic pages in color, for Dell Publishing. This title was the first four-color comic newsstand publication. Dell, owned by George Delacorte, would later be closely associated with other landmark Eastern Color Printing publications.

Around 1929, Eastern became the first major institution to perfect an engraving process that allowed for the addition of color to black-and-white comics, proving a boon to newspaper syndicates just beginning to introduce full-page Sunday comics sections. From 1929 through 1932, Sunday comic pages were printed in both black-and-white and color.

1930s[edit]

By 1932, Eastern Color Printing was printing comic sections for a score of newspapers, and by the following year, color for newspapers' Sunday comics section and black-and-white for the daily strips becomes the industry standard.

In 1933, Eastern's 45-year-old sales manager Harry I. Wildenberg reinvented the comic-book format when he saw the increasing popularity of newspaper comic strips and determined comics could be a successful medium for advertising. Sales offices at this time were located in New York City, New York (alternately listed at 40 or 50 Church Street in different sources).

In April 1933, Gulf Oil Company approved Wildenberg's idea and hired artists to create an original, promotional giveaway, Gulf Comic Weekly. Printed by Eastern, the comic measured 10-½' x 15' and was advertised on national radio. Each of its four pages contained a full-color single-page comic strip. The tabloid proved a hit at Gulf service stations. It was retitled Gulf Funny Weekly. Distribution rose to three million copies a week. The series ran as a tabloid until 1939 before adopting the standard comic-book format of the time; it ran a total 422 issues through May 23, 1941. Eastern also published another four-page tabloid, for Standard Oil, titled Standard Oil Comics.

In early 1933, Eastern also began producing small comic broadsides for the Ledger Syndicate of Philadelphia, printing Sunday color comics from 7' x 9' plates. Wildenberg and his coworkers realized that two such plates would fit on a tabloid-sized page, and later that year, Wildenberg created the first modern-format comic book when idly folding a newspaper into halves and then into quarters and finding that a convenient book size. In Spring 1933, Eastern printed one million copies of the first modern-format comic book, the 32-page Funnies on Parade, as a way to keep their press running, and as a promotion for Procter & Gamble.^[1]

The names of those associated with the project read as a who's-who of early publishers in what comics historians and fans call the Platinum Age and Golden Age of Comic Books: Max Gaines (founder of EC Comics), Leverett Gleason (publisher of Comic House and other titles, and creator of the Golden Age Daredevil), and many other future industry creators are all brought in to work under Wildenberg's supervision.

The Funnies on Parade promotion proved a success, and Eastern Color that year produced similar periodicals for Canada Drysoft drinks, Kinney Shoes, Wheatenacereal and others, with print runs of from 100,000 to 250,000.^[2] By late 1933, Eastern was publishing more giveaways: Famous Funnies: a Carnival of Comics, A Century of Comics, and Skippy’s Own Book of Comics. The latter was the first modern-format comic book about a single character.^{[citation needed]}

Carnival Of Venus Sheet Music

1934 [early]

Eastern prints Shell Globe, for distribution at 13,000 Shell gas stations. The series features cartoonist Bud Fisher’s popular characters Mutt and Jeff. The characters of Shell Globe are marketed wildly, through miniature figurines, posters, radio announcements, billboards, play masks, and window stickers.

Interest from advertisers tapers off a bit when advertisers doubt that children would be willing to pay money for comic strip reprints. Eastern Color Printing president George Janosik forms a 50/50 joint venture with Dell publisher George Delacorte to publish and market a comic book for retail sales. As a test to see if the public would be willing to pay for comic books, Famous Funnies: Series One, distributed locally, is published and sold for 10 cents each and sells out quickly. 40,000 copies of Famous Funnies: Series One are distributed in chain stores, featuring reprints from the newspaper reprints featured in Eastern’s earlier books. The comic book sells out completely.

1934 - May

Eastern employee Harold Moore proposes a monthly comic book series. Famous Funnies #1 appears with a July cover date. The title loses money at first, and George Delacorte sells his interest back to Eastern. Famous Funnies #2 marks the start of original material produced specifically for the book, and #3 begins a run of Buck Rogers features.

Mid-1934

Famous Funnies turns a profit beginning with issue #7. It gains popularity quickly, and the title lasts about 20 years. The success of Famous Funnies soon leads to the title being sold on newsstands alongside slicker magazines, and inspires at least five other competitors^[who?] to begin publishing their own comic books. Eastern begins to experiment with modifying the newspaper reprints to be more suitable to the comic book format. Lettering, reduced in reproduction to the point of illegibility, is reworked for the size of the comic book page. Adventure strips, reprinted in several weeks’ worth of strips at a time, is trimmed of panels providing a recap of previous events, contributing to a concise and more smoothly flowing version of the story.

1935

Eastern executive Max Gaines leaves Eastern Color Printing to work for Dell Comics. In 1945, Gaines sells all of his comic book properties to Dell with the exception of two. These two titles (Picture Stories from the Bible and Picture Stories from World History) are launched under a new publishing venture in 1946 under the name of EC. Although the EC initials stood for both Educational Comics and Entertaining Comics, it has been speculated that the initials were also a tribute to the first comic book company Gaines worked for, Eastern Color [Printing].^{[citation needed]} (In 1947, Max Gaines dies in a boating accident, and EC is taken over by his son William M. Gaines, who focused production on crime, horror and science fiction. EC was a primary target for Fredric Wertham’s Seduction of the Innocent, and the focus of the senate hearing that followed; the end result was that eventually EC cancelled all of its publications except for Mad.)

1936 - December

Eastern publishes the first issue of The John Hix Scrapbook, reprinting McClure's syndicated strip Strange as It Seems, a Ripley’s Believe It or Not-style collection of illustrated cartoons describing odd historical facts and scientific phenomena. In 1937, Eastern releases a second volume under the name The Second Strange as It Seems Scrapbook.

1937 - July

Having filled up the maximum floor space at their old American press-room at Printers Court, Eastern constructs a separate and new plant on Commercial Street. The new plant includes two new Scott presses.

1940s[edit]

In addition to publishing its own comic books, Eastern continues to do printing for the majority of publishers in the comic book industry. An article in the Hartford Courant dated Feb. 15, 1954 states that “An executive of one of the largest comic book printing firms in the nation, located in Waterbury, Conn. said 65,000,000 issues are printed each month. Of these 65 million issues, more than 40 per cent are printed in Connecticut.”^[3] Eastern Color Printing prints comics and advertising for other publishers through the 1960s, including comic books for Timely (Marvel), EC, and Big Boy Restaurants. Eastern also printed the Sunday funnies for a number of newspapers, including the Waterbury Sunday Republican, the New Haven Register, the Hartford Courant, and newspapers in Boston, Providence, and Worcester.

1940

Eastern introduces its second monthly title, Reg’lar Fellers Heroic Comics. The title is the official publication of Reg’lar Fellers of America, a junior athletic organization dedicated to developing wholesome summer recreation for teens. The title lasts until 1955; it eventually shortens its title to simply Heroic Comics beginning with issue #16 and changes again with issue #41 to New Heroic Comics.

Properties owned by the McNaught Syndicate and published by Eastern Color Printing are transferred to Columbia Comics, publishers of Big Shot Comics and other titles. Eastern appears to have retained a close relationship with Columbia, running advertisements for Columbia books in their own comic book titles.

Eastern Color Printing purchases a new Goss press, its sixth one.

1941

Eastern publishes Dickie Dare, featuring reprints of the newspaper strip of the same name. Dickie Dare features artwork by Bill Everett and Milt Caniff, two influential illustrators of golden age comic books. The series lasts four issues and runs until 1942.

Eastern acquires a seventh press. Finding it necessary to do own cover printing and binding for its successful comic books, Eastern acquires the Curtiss-Way plant in Meriden. Curtiss-Way was a Meriden printing facility dating back at least as far as 1895, when it was known as the Converse Publishing Company.

1941 - April

Inspired by the popular trend of superheroes, Famous Funnies #81 introduces Invisible Scarlet O'Neil, one of comics’ earliest super-heroines, authored by Russell Stamm. This issue marks a change in mood for Famous Funnies, as the covers switch from whimsical gags to more serious adventurous fare.

1941 - November

With the outbreak of World War II, the publishing industry participates in national drives to conserve paper. As a conservation measure, syndicates reduce the size of full-page Sunday comic strips to three-quarters or half the size of the newspaper page. As a result of this size reduction, newspaper strips are no longer suitable for further reduction in the comic book format, and Eastern is forced to commission new work rather than reprint material. Famous Funnies #88 carries the last sets of reprint material from the full-size newspaper page. Beginning with the following issue, Eastern Color Printing starts to commission new work for their comic book publications. Many features from the original Famous Funnies format are continued by the same artists. These artists now turned their strips into dual features – one for newspaper syndication with an emphasis on adult appeal, and the other to fit the new comic book page size and an emphasis on juvenile appeal.

1942

Eastern, needing to expand again, begins construction of an addition to its Commercial Street plant. The addition is completed and operational in 1946. The paper shortage of WWII forces publishers to drop from its standard 64-page format to a 52-page format, and in some cases a 48-page format. Eastern publishes the humor comic Jingle Jangle, which runs until 1949.

1943 - January

Eastern Color Printing alternates publishing Reg’lar Fellers Heroic Comics and a second edition of Heroic Comics on alternate months, switching between stories of everyday heroism and true war stories, respectively. The alternating format continues for a year, then Reg’lar Fellers.. is terminated in favor of the more adult-oriented war comic book.

1950s[edit]

Eastern Color Printing prints comic books for Export Newspaper Services, a New York-based company producing Spanish-language reprints of American comic books for distribution in Mexico.

1955 - June

Eastern Color Printing clashes with the Comics Code Authority over Heroic Comics. The CCA charges that Heroic – a war-themed comic book – contributes to juvenile delinquency by promoting violence. Eastern defends the title as an illustrated magazine of military history but makes the decision to suspend publication.

1955 - July

Famous Funnies ends publication with issue #218. Eastern constructs a new modern plant in Meriden that is not closely identified with comic book production. With the declining comic book market, Eastern begins to phase out publication of its own comic books, offsetting the shrinkage by printing more advertising circulars. Sunday newspaper comic supplements continue to be a standard product for Eastern.

1957

Eastern Color Printing, continuously installing and modifying its equipment, acquires its 14th press.

1960s[edit]

Eastern adds a 15th press, which is modified in the mid-1960s.

1960 - June

Eastern Color Printing sells its Curtiss-Way subsidiary to the New York-based Hughes Corporation, owner of several printing plants throughout Connecticut.

1961

After serving about three years at the Curtiss-Way division, Richard J. Pape, William B. Pape’s son, is put in complete charge of Eastern’s mechanical operations.

1968

Plans are formulated for a new building. Several new presses are purchased over the next couple of years.

1970s[edit]

1972

Eastern Color Printing closes its Waterbury plant and moves to Avon. Around the same time, Eastern sells many of its comic book file copies and cover proofs.

1973

By this time, Eastern phases out its comic book printing business in favor of printing Sunday comics supplements. Sears-Roebuck remains its largest customer.

1980s[edit]

1987 - January

Eastern Color Printing recruits CEO Robert Palmer. The following September, management of Eastern passes from the Pape family to Palmer.

1987 - February

Eastern suffers the loss of a Goss press valued at over $1 million in a fire at the plant.

1989

Eastern suffers a significant setback with the loss of its longtime customer, Sears Roebuck and Company. Sears-Roebuck converts all print advertising to heatset, a process Eastern is not equipped to produce. Within 6 weeks, Eastern loses approximately 40% of its sales.

1989–1990

Eastern embarks on a rebuilding program to replace the lost Sears business. The company experiences financial hardships compounded by the recession. After losing more customers to heatset printers, Eastern approaches Rockwell Graphics System (Goss) in 1993 about installation of a heatset press, which is installed the following year.

1990s[edit]

1999

Eastern incorporates digital technology into its pre-press processes. Eastern stays in business by printing advertising for corporations such as Circuit City, Michaels Stores, and Media Play.

2000s[edit]

2002 - June

Eastern Color Printing goes out of business.

Published titles[edit]

Source:^[4]

• The Amazing Willie Mays (1 issue, 1954)
• Big Chief Wahoo (7 issues, 1942-1943)
• Buck Rogers (6 issues, 1940-1943)
• Buster Crabbe (12 issues, 1951-1953)
• Club 16 Comics (4 issues, 1948-1949)
• Conquest (1 issue, 1955)
• Dickie Dare (4 issues, 1941-1942)
• Dover the Bird (1 issue, 1955)
• Famous Funnies - Series One (1 issue, 1934)
• Famous Funnies (218 issues, 1934-1955)
• Heroic Comics (97 issues, 1940-1955. Initially as Reg'lar Fellers' Heroic Comics and during the final years as New Heroic Comics)
• Jingle Jangle Comics (42 issues, 1942-1949)
• The John Hix Scrapbook (2 issues, 1938-1939)
• Juke Box Comics (6 issues, 1948-1949)
• Mickey Finn (4 issues, 1942-1944, thereafter continued by Columbia Comics)
• Movie Love (22 issues, 1950-1953)
• Napoleon and Uncle Elby (1 issue, 1942)
• Oaky Doaks (1 issue, 1942)
• Personal Love (33 issues, 1950-1955)
• Steve Roper (5 issues, 1948)
• Strictly Private (2 issues, 1942)
• Sugar Bowl Comics (5 issues, 1948-1949)
• Tales from the Great Book (4 issues, 1955-1956)

Giveaways include

• Century of Comics (1 issue, 1933)
• Famous Funnies: A Carnival of Comics (1 issue, 1933)
• Funnies on Parade (1 issue, 1933)
• Gulf Funny Weekly/Gulf Comic Weekly (422 issues, 1933-1941)
• Skippy’s Own Book of Comics (1 issue, 1933)
• Standard Oil Comics (19 issues, 1933-1934)
• Toy World Funnies (1 issue, 1933)

Notes[edit]

1. ^Brown, Mitchell. 'The 100 Greatest Comic Books of the 20th Century: Funnies on Parade' (Internet archive link)
2. ^Goulart, Ron. Comic Book Encyclopedia (Harper Entertainment, New York, 2004)
3. ^Hartford Courant (Feb. 15, 1954).
4. ^Grand Comics Database: Eastern Color

References[edit]

• George Carlson Biography^{[permanent dead link]}

The Carnival of Venice (Italian: Carnevale di Venezia) is an annual festival held in Venice, Italy. The Carnival ends with the Christian celebration of Lent, forty days before Easter, on Shrove Tuesday (Martedì Grasso or Mardi Gras), the day before Ash Wednesday. The festival is world-famous for its elaborate masks.

• 2Carnival masks
  • 2.2Types of masks

History[edit]

It's said that the Carnival of Venice was started from a victory of the Venice Republic against the Patriarch of Aquileia, Ulrico di Treven in the year 1162. In the honor of this victory, the people started to dance and gather in San Marco Square. Apparently, this festival started on that period and became official in the Renaissance.^[1] In the seventeenth century, the baroque carnival was a way to save the prestigious image of Venice in the world.^[2] It was very famous during the eighteenth century.^[3] It encouraged licence and pleasure, but it was also used to protect Venetians from present and future anguish.^[4] However, under the rule of the Holy Roman Emperor and later Emperor of Austria, Francis II, the festival was outlawed entirely in 1797 and the use of masks became strictly forbidden. It reappeared gradually in the nineteenth century, but only for short periods and above all for private feasts, where it became an occasion for artistic creations.^[5]

After a long absence, the Carnival returned in 1979.^[6] The Italian government decided to bring back the history and culture of Venice, and sought to use the traditional Carnival as the centerpiece of its efforts. The redevelopment of the masks began as the pursuit of some Venetian college students for the tourist trade. Since then, approximately 3 million visitors come to Venice every year for the Carnival.^[7] One of the most important events is the contest for la maschera più bella ('the most beautiful mask') which is judged by a panel of international costume and fashion designers. Here are the winners:

• 2015 : Le stelle dell'amore by Horst Raack, best costume for the official theme La regina della cucina veneziana by Tanja Schulz-Hess, most creative costume Monsieur Sofa et Madame Coco by Lorenzo Marconi
• 2014 : Una giornata in campagna by Horst Raack, and Radice Madre by Maria Roan di Villavera
• 2013 : Alla Ricerca del Tempo Perduto by Anna Marconi, most colourful costume Luna Park
• 2012 : Il servizio da thè del settecento (teatime) by Horst Raack, most creative costume Oceano by Jacqueline Spieweg
• 2011 : La famille Fabergé by Horst Raack, and Ommagio a Venezia by Paolo and Cinzia Pagliasso and Anna Rotonai, best costume for the official theme 19th century by Lea Luongsoredju and Roudi Verbaanderd
• 2010 : Pantegane from England
• 2009 : The voyagers of Marco Polo by Horst Raack and Tanja Schulz-Hess
• 2008 : Luna park by Tanja Schulz-Hess
• 2007 : La Montgolfiera by Tanja Schulz-Hess

Carnival masks[edit]

Masks have always been an important feature of the Venetian carnival. Traditionally people were allowed to wear them between the festival of Santo Stefano (St. Stephen's Day, December 26) and the end of the carnival season at midnight of Shrove Tuesday. As masks were also allowed on Ascension and from October 5 to Christmas, people could spend a large portion of the year in disguise. Maskmakers (mascherari) enjoyed a special position in society, with their own laws and their own guild.

Venetian masks can be made of leather, porcelain or using the original glass technique. The original masks were rather simple in design, decoration, and often had a symbolic and practical function. Nowadays, most Italian masks are made with the application of gesso and gold leaf and are hand-painted using natural feathers and gems to decorate.^{[citation needed]} However, this makes them rather expensive when compared to the widespread, low-quality masks produced mainly by American factories. This competition accelerates the decline of this historical craftsmanship peculiar to the city of Venice.

History of the masks[edit]

There is little evidence explaining the motive for the earliest mask wearing in Venice. One scholar argues that covering the face in public was a uniquely Venetian response to one of the most rigid class hierarchies in European history.^[8] During Carnival, the sumptuary laws were suspended, and people could dress as they liked, instead of according to the rules that were set down in law for their profession and social class.^[9]

The first documented sources mentioning the use of masks in Venice can be found as far back as the 13th century.^[10] The Great Council made it a crime for masked people to throw scented eggs.^[11] These ovi odoriferi were eggshells that were usually filled with rose water perfume, and tossed by young men at their friends or at young women they admired.^[9] However, in some cases, the eggs were filled with ink or other damaging substances.^[9] Gambling in public was normally illegal, except during Carnival.^[9] The document decrees that masked persons were forbidden to gamble.^[12]

Another law in 1339 forbade Venetians from wearing vulgar disguises and visiting convents while masked. The law also prohibited painting one's face, or wearing false beards or wigs.^[10]

Near the end of the Republic, the wearing of the masks in daily life was severely restricted. By the 18th century, it was limited only to about three months from December 26. The masks were traditionally worn with decorative beads matching in colour.

Types of masks[edit]

Several distinct styles of mask are worn in the Venice Carnival, some with identifying names.^[13] People with different occupations wore different masks.^[14]

Bauta[edit]

The bauta (sometimes referred as baùtta) is a mask, today often heavily gilded though originally simple stark white, which is designed to comfortably cover the entire face; this traditional grotesque piece of art was characterized by the inclusion of an over-prominent nose, a thick supraorbital ridge, a projecting 'chin line', and no mouth. The mask's beak-like chin is designed to enable the wearer to talk, eat, and drink without having to remove it; thereby, preserving the wearer's anonymity. The bauta was often accompanied by a red or black cape and a tricorn.

In the 18th century, together with a black cape called a 'tabarro', the bauta had become a standardized society mask and disguise regulated by the Venetian government.^[15] It was obligatory to wear it at certain political decision-making events when all citizens were required to act anonymously as peers. Only citizens (i.e., men) had the right to use the bauta. Its role was similar to the anonymizing processes invented to guarantee general, direct, free, equal and secret ballots in modern democracies. Also, the bearing of weapons along with the mask was specifically prohibited by law and enforceable by the Venetian police.

Given this history and its grotesque design elements, the bauta was usually worn by men, but many paintings done in the 18th century also depict women wearing this mask and tricorn hat. The Ridotto and The Apple Seller by Pietro Longhi are two examples of this from the 1750s.

Colombina[edit]

The Colombina (also known as Columbine and as a Colombino) is a half-mask, only covering the wearer's eyes, nose, and upper cheeks. It is often highly decorated with gold, silver, crystals, and feathers. It is held up to the face by a baton or is tied with ribbon as with most other Venetian masks. The Colombina mask is named after a stock character in the Commedia dell'arte: Colombina was a maidservant and soubrette who was an adored part of the Italian theatre for generations. It is said it was designed for an actress because she did not wish to have her beautiful face covered completely. In fact, the Colombina is entirely a modern creation. There are no historic paintings depicting its use on the stage or in social life.

While both men and women now wear this mask, it began as a woman's analog to the bauta.

Medico Della Peste (The Plague Doctor)[edit]

The Medico della peste, with its long beak, is one of the most bizarre and recognizable of the Venetian masks, though it did not start out as carnival mask at all but as a method of preventing the spread of disease. The striking design originates from 17th-century French physician Charles de Lorme who adopted the mask together with other sanitary precautions while treating plague victims.^[16] The mask is often white, consisting of a hollow beak and round eyeholes covered with crystal discs, creating a bespectacled effect. Its use as a carnival mask is entirely a modern convention, and today these masks are often much more decorative. Although the mask and costume is worn almost exclusively by males, the enhancement in decoration also suggests that women are now more likely to wear the mask and costume than in previous years at the Carnival.

The plague doctors who followed De Lorme's example wore the usual black hat and long black cloak as well as the mask, white gloves and a staff (so as to be able to move patients without having to come into physical contact with them). They hoped these precautions would prevent them contracting the disease. The mask was originally beaked with a purpose in congruence with the miasmatic theory of disease practiced at that time: the hollow beak allowed for the containment of flowers and other sweet-smelling substances designed to keep away the foul odors that were thought to spread infection. Those who wear the plague doctor mask often also wear the associated clothing of the plague doctor. The popularity of the Medico della peste among carnival celebrants can be seen as a memento mori.

Moretta/Servetta muta[edit]

The moretta (meaning dark one) or servetta muta (meaning mute servant woman) was a small strapless black velvet oval mask with wide eyeholes and no lips or mouth worn by patrician women. 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 by the wearer biting on a button or bit (the women wearing this mask were unable to speak, hence muta) and was often finished off with a veil. The Rhinoceros by Pietro Longhi, sometimes called Clara the rhinoceros, depicts this mask in use in 1751. It fell into disuse about 1760.

Volto (Larva)[edit]

The volto (Italian for face) or larva (meaning ghost in Latin) is the iconic modern Venetian mask: it is often made of stark white porcelain or thick plastic, though also frequently gilded and decorated, and is commonly worn with a tricorn and cloak. The 'volto' is also quite heavier than a typical mask and has a much tighter fit; many people who experience claustrophobia do not wear the 'volto' at the Carnival. If worn by a woman, who are the most common wearers of the volto at the modern festival, it is typically worn with a headdress, scarf, veil, another mask, or a combination of all four. It is secured in the back with a ribbon. Unlike the moretta muta, the volto covers the entire face of the wearer including the whole of the chin. Unlike a typical mask, it also extends farther back to just before the ears and upwards to the top of the forehead; also unlike the moretta muta, it depicts the nose and lips in simple facial expressions. Unlike the bauta, the volto cannot be worn while eating and drinking because the coverage of the chin and cheeks is too complete and tight (although the jaw on some original commedia masks was hinged, this is not a commedia mask and so is never hinged—the lips are always sealed).

Pantalone[edit]

Another classic character from the Italian stage, Pantalone, possibly stemming from the Italian 'pianta il leone' referencing the conquests of Venice and the origin of this character, is usually represented as a sad old man with an oversized nose like the beak of a crow with high brows and slanted eyes (meant to signify intelligence on the stage). Like other commedia masks, Pantalone is also a half mask. This mask is almost exclusively worn by men, although its popularity at the modern festival has declined .^[17]

Arlecchino[edit]

Arlecchino, meaning harlequin in Italian, is a zanni character of the commedia. He is meant to be a kind of 'noble savage', devoid of reason and full of emotion, a peasant, a servant, even a slave. His originally wooden and later leather half-mask painted black depicts him as having a short, blunt, ape-like nose, a set of wide, round, arching eyebrows, a rounded beard, and always a 'bump' upon his forehead meant to signify a devil's horn. He is a theatrical counterpoint to and often servant of Pantalone, and the two characters often appeared together on the stage.^[17]

Zanni[edit]

The Zanni class of characters is another classic of the stage. Theirs is a half mask in leather, presenting themselves with low forehead, bulging eyebrows and a long nose with a reverse curve towards the end. It is said that the longer the nose, the more stupid the character. The low forehead is also seen as a sign of stupidity.^[17] The zanni are often the supporting characters in a commedia performance, often fulfilling similar societal roles as Arlecchino, though with smaller parts

Mask-makers[edit]

The mascherari (or mask-makers) had their own statute dated 10 April 1436. They belonged to the fringe of painters and were helped in their task by sign-painters who drew faces onto plaster in a range of different shapes and paying extreme.

In popular culture[edit]

Venetian masks feature prominently in the films Eyes Wide Shut and Marco Bellocchio's The Witches' Sabbath. Stores that supplied the masks include both Ca' Macana^[18] and Il Canovaccio^[19] in Venice. Download time tech f10 software applications.

Carnevale is depicted in the 2009 video gameAssassin's Creed II.^[20] The main character, Ezio Auditore, is assisted by the artist Leonardo da Vinci in hunting down and assassinating the corrupt Doge of VeniceMarco Barbarigo during Carnevale; a golden mask, which Ezio must obtain to enter a private party held by the Doge, plays a significant role in this part of the game.^[21] Carnevale is also depicted in the 2005 video gameSly 3: Honor Among Thieves. The first episode of the game is set during the 2001 Carnevale, and large enemies wear masks.

In the children's book series Magic Tree House by Mary Pope Osborne, Carnevale is prominently featured as the eponymous festival in Carnival at Candlelight, the series' thirty-third entry. In this adventure, Jack and Annie travel back in time on a mission to prevent Venice from being destroyed by a flood.

See also[edit]

Images[edit]

References[edit]

1. ^Danilo Reato, Storia del carnevale di Venezia, Venezia, Assessorato alla Cultura della Provincia di Venezia, 1988.
2. ^Gilles Bertrand, Histoire du carnaval de Venise, XIe-XXIe siècle, Paris, Pygmalion, 2013, p. 37-94.
3. ^Stefania Bertelli, Il Carnevale di Venezia nel Settecento, Roma, Jouvence, 1992.
4. ^James H. Johnson, Venice incognito: masks in the Serene Republic, Berkeley: University of California Press, 2011; Gilles Bertrand, Histoire du carnaval de Venise, XIe-XXIe siècle, Paris, Pygmalion, p. 95-235.
5. ^Gilles Bertrand, Histoire du carnaval de Venise, XIe-XXIe siècle, Paris, Pygmalion, 2013, p. 237-310.
6. ^Alessandro Bressanello, Il carnevale in età moderna: 30 anni di carnevale a Venezia 1980-2010, Studio LT2, 2010; Fulvio Roiter, Carnaval de Venise, Lausanne, Payot, 1981.
7. ^Adams, William Lee (4 March 2014). 'What's with those mysterious masks? The dark drama of Venice Carnival'. CNN.
8. ^Johnson, James H. (2011). Venice incognito: masks in the serene republic. p. 54. ISBN9780520267718.
9. ^ ^abcdBurke, Peter (2005-11-17). The Historical Anthropology of Early Modern Italy: Essays on Perception and Communication. Cambridge University Press. p. 186. ISBN9780521023672.
10. ^ ^abJanet Sethre, The souls of Venice, 2003. Page 132.
11. ^Johnson, James H. (2011). Venice incognito: masks in the serene republic. p. 54. ISBN9780520267718.
12. ^Ackroyd, Peter (2010-11-02). Venice: Pure City. ISBN9780385531535.
13. ^Danilo Reato, Les masques de Venise, Paris, Hersher, 1991 (first published in italian, 1988)
14. ^'Venetian Masquerade Ball - Hawthorne Hotel'. Hawthorne Hotel. Retrieved 2017-08-18.
15. ^Ignatio Toscani: Die venezianische Gesellschaftsmaske. Ein Versuch zur Deutung ihrer Ausformung, ihrer Entstehungsgründe und ihrer Funktion. Diss. Saarbrücken 1970.
16. ^Christine M. Boeckl, Images of plague and pestilence: iconography and iconology (Truman State University Press, 2000), p. 27.
17. ^ ^abcWiles, David (2004). The Masks of Menander: Sign and Meaning in Greek and Roman Performance. Cambridge University. p. 126. ISBN9780521543521. Retrieved 27 April 2013.
18. ^See Pauline Frommer's Italy by Keith Bain, Reid Bramblett, Pippa de Bruyn, William Fink, Barbie Latza Nadeau p. 333
19. ^Frommer's Northern Italy: Including Venice, Milan & the Lakes by John Moretti p. 168
20. ^McWhertor, Michael (24 February 2009). 'Rumor: Assassin's Creed II Moves To Venice'. Kotaku. Gizmodo Media Group. Retrieved 10 August 2018.
21. ^'Sequence 09: Carnevale'. IGN. Ziff Davis, LLC. 14 November 2011. Retrieved 10 August 2018.

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