MASK INFORMATION
collected by June Bailey
Brief History of Masks1
A mask is a whole or partial cover for the face. The functions of masks throughout the
world are remarkably similar. Masks have two main purposes; to conceal the identity of
the wearer, usually representing another person or creature, or used as a form of
protection on many job sites and in sports. The use of masks dates back to man's earliest
history. The origin of the mask is not known, but evidence of its presence has been found
in primitive times, revealing the important role it has played in our lives. Early masks
were probably made to represent animals because hunting played a large role in primitive
societies. The earliest known allusion to mask use is found in a Southern France cave. It
is believed to have been painted around 20,000BC. The art depicts a human masked in
deer skin and antlers. One such disguise is the domino, which is a plain cloth half mask
and is worn on such occasions as a masquerade ball. Another is the handkerchief which
can be tied over the nose and mouth and used as a makeshift protective mask. Western
outlaws and bandits in the movies found this disguise quite acceptable. Many modern
criminals often wear ski masks to cover the entire head, as well as women's pantyhose as
a mask. Masks in traditional societies are not thought of as art objects. They are
functioning sacred objects imbued with tremendous power and used for ancestor
workshop, healing, funerals and social prestige and control, as well as initiation and
fertility rites. Symbolic masks were devised to be worn during ceremonies of many
ancient peoples. These masks portrayed gods, animals and spirits and were worn
ceremonially for communicating with supernatural forces believed to rule the universe.
The classic drama of ancient Greece brought theatrical masks to the height of
development. They were slightly larger than life size and made of canvas. They were
often fitted at the mouth and made with a small megaphone for amplification of the
actor's voice. One of the most commonly recognized types of masks is the false face. It
represents another person or creature and made usually of papier-mâché, leather or in
modern times plastic.
Middle Age Renaissance2
The oldest document pertaining to the use of masks in Venice dates back to 2nd May
1268. In the document it is written that it was forbidden for masqueraders to practice the
game of the "eggs". In 12963, the Serenissima Republic of Venice decreed that the day
before Lent -- the 40-day period before Easter, observed in the Roman Catholic faith as a
time for reflection and repentance -- would henceforth be a holiday so that its citizens
could get the urge to sin out of their systems. The day came to be known as "Carnivale" - literally "goodbye meat!" (from the Latin carne "meat" and vale "farewell") since
1
http://www.hallowfreaks.com/masks.html
www.carnivalofvenice.com/argomento.asp?cat=2
3www.slowburning.com/store/masks.html
2
1
giving up meat was traditionally one of the penances observed during Lent. In Venice's
hierarchical society, carnivale also served a useful social function by giving the lowestborn classes the illusion that they were on equal footing with the powerful, allowing them
to make fun of the wealthy in public by wearing masks on their faces.
During the mystery plays era of the 12th and 13th Centuries, masks were worn to
dramatize the character to the extreme. Mystery plays were written (often by church
clerics, priests or ministers) to show the public how bad sin was and what they should do
in order to redeem themselves. The messages in these plays were blunt and
straightforward, not unlike the masks used. The masks were grotesque, usually depicting
Satan or one of his monstrous minions. It is said that these masks were marvels to look at,
despite the fact that they were constructed out of papier-mâché. Renaissance Italy – in
15th Century Venice, the revolutionary art form commedia dell arte was invented. This
was an improvisational comedy consisting of characters so ridiculous in moral, that it was
fundamental that the masks be ridiculous. It is said that the masks in commedia dell arte
are both concealing and revealing. During the late Middle Ages and the Renaissance,
entertainment often demanded a more universal involvement, calling for the participation
of townspeople and courtiers as well as professional actors, dancers and singers. People
might spend weeks or months rehearsing to prepare for and present a play, a musical
entertainment or a sporting event.
From the early 14th century onwards, new laws started to be promulgated, with the aim
of stopping the relentless moral decline of the Venetian people of the day. This restrictive
carnival legislation started with a decree on 22nd February 1339 prohibiting
masqueraders from going around the city at night. A decree that helps us understand just
how libertine the Venetians of the day were, is that of the 24th January 1458 which
forbade men from entering convents dressed as women to commit "multas inhonestates"!
In a similar vein, the decree of 3rd February 1603 is interesting in that it attempted to
restore morality in the convents. Masqueraders were banned from entering the nuns'
parlous - it had been the convention to sit in the parlous and talk to the nuns. Frequently,
decrees were promulgated prohibiting masqueraders from carrying arms or any
instrument which could cause harm, or other decrees which forbade masqueraders from
entering churches. This obligation was extended to the townsfolk who were not allowed
to enter churches wearing "indecent attire". 1608 was an important year, the 13th August
to be precise, when a decree from the council of 10 was issued declaring that the wearing
of the mask throughout the year posed a serious threat to the Republic. To avoid the
terrible consequences of this immoral behavior, every citizen, nobleman and foreigner
alike, was obliged to only wear a mask during the days of carnival and at official
banquets. The penalties inflicted for breaking this law were heavy - for a man this meant
two years in jail, 18 months' service to the Republic galley-rowing (with ankles fettered)
and not only that, a 500 lire fine to the Council of 10. As for women, they were whipped
from St Mark's all the way to Rialto, and then held to public ridicule between the two
columns in St Mark's. They were banned from entering the territory of the Venetian
Republic for 4 years and had to pay the 500 lire fine to the Council of 10. 50 years after
the decree of 1608, the Council of 10 published a proclamation on the 15th January
reaffirming the ban on wearing masks and bearing arms.
2
From Tudor Costume and Fashion, Herbert Norris is quoted saying “When they use to
ride abroad they have invisories made of velvet, where-with they covered their faces,
having holes made in them against their eyes, where out they look.” Some masks had
glass inserted in them. Queen Elizabeth often wore a mask while riding in her coach or
on horseback and event while hunting. Ladies wore masks also when walking and when
attending the play. In France ladies wore them to preserve their complexions and when
they rode or walked. In fact a mask was considered so important an item of outdoor
costume that to be seen without one was decidedly en de’shabille’. Gentlemen wore
masks chiefly to conceal their identity during escapades and in the gaming houses.
“Masks of Medyoxes’ were used chiefly in masques. They were divided down the center,
usually into good and bad halves, such as one side the human face and the other a
skeleton or an angle impaled with a devil.
Commedia Dell' Arte Masks
Roman comedies and traditional folk acting troupes spawned a new theater art, called
Commedia dell'Arte. It originated in the Italian marketplaces in the early 1500's. Street
performers would wear masks and use mime, improvisation and acrobatics to perform.
The material was written to ridicule authority figures or other aspects of society, and
performances were often outrageous, so that they were banned in France for 30 years.
Actors of the Commedia dell'Arte wore masks with exaggerated, comical features to
complement their performances. The puppet Punch, from Punch and Judy, was originally
Pulcinella, a character of the Commedia dell'Arte.4
Mystery and Miracle Plays
Early Christian Priests wore masks to dramatize Biblical stories (Mystery Plays) and
stories about the saints (Miracle Plays). In 1207, Pope Innocent III forbade priests to
wear masks, so the townsfolk began to hold the plays outside of the church, in the
churchyard. Sometimes masks were used, sometimes not, but the devil was always in
disguise, although not a standard one as in the Commedia dell'Arte. He could appear as
an ugly man, an animal, or a demon with horns. He usually also had a tail. Town
governments of Europe produced the Mystery or Miracle plays, but in England, the trade
guilds worked together to produce the play. Each guild would build a stage on a wagon.
People would gather in different parts of the town, and the first guild would move from
spot to spot, performing the first act of the play. Another guild would be responsible for
the next act, and would follow the first guild from spot to spot, and so on. (see the leather
ones below)
4
"Mask Making 101 - A History of Masks and Instructions to Create One", by Lady Meliora Leuedai de
Ardescote
3
Carnival Masks
Carnival or Mardi Gras has its origins in the Roman Saturnalian festival. The Christians
adopted the festival as a party before the 40 days of lent, when Roman Catholics
abstained from eating meat. The first day of Carnival varies with national tradition. It
can begin anywhere from November 11th at 11:11a.m. (in Cologne), to January 6th, but
usually begins on December 26th and runs through Ash Wednesday. Carnivals were in
full swing in the Middle Ages in cities such as Venice and Nice. During Carnival, the
wearing of elaborate and beautiful masks became customary, especially at the masked
balls and bonfires of the nobility and the rich. Disguises abolished rules, and everyone
indulged in excesses. Often, excesses led to illegal activities and governments began to
issue edicts (as early as 1268) to regulate masquerading. Some of these were to prohibit
illegal activities, but some were to limit when masks could be worn or limit the "waste"
of fabrics on mask making
Left: Venetian Colombine King Occhi mask with hat, Center: Italian Colombina mask with hat
and Right: Venetian Colombine mask
Mask Makers show great resourcefulness in selecting and combining available
materials; these include woods, metals, shells, fibers, ivory, clay, horn, stone,
feathers, leather, paper and furs. The form of the mask may be human, anima or
abstract, often accompanied by a costume to complete the transformation. Masks change
the identity of the wearer. La Commedia dell' Arte literally means "Artistic Comedy". The
Commedia dell 'Arte had its origins in the second half of the 16th century, in a period
when theatre plays were classic, stylish, cold and rigorous. Maybe as a reaction the exact
opposite: loud, colorful representations blossomed everywhere in Italy. Starting with
street performers donning masks to draw attention to themselves, these players soon
teamed up. Originally there were no scripts and the actors improvised following a very
general plot, it was really just a pretext for a turn, from an individual character. The
comic effect often came from the enormous contrasts between the characters and the
styles: from lovers’ scenes, to acrobatic tumbling to obscene gestures of ‘servants’. Only
the grotesque characters wore masks, while the more refined characters and women did
not. For young Commedia actors, learning the trade, there was the neutral mask. This was
quite expressionless and covered the whole face, meaning that they could use neither
facial expressions nor speech to convey things to the audience, only body language and
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gestures.
Masks are used to disguise, confuse, protect, characterize, and give status. They are
simple or elaborate made from all range of materials from common items to precious
jewels. They appear all over the world on young and old faces. Masks are used in all
aspects of arts related areas -Drama, Film, Dance or as an Exhibit of Art. This report is
particularly interested in Venetian style masks.
Left: Italian Pucinella
mask with painted hat
Right: Venetian
Feathered Colombine
mask
Festival Masks5
Festival mask were made from stiffened linen according to Masks and Masking in
Medieval and Early Tudor England, by Meg Twycross and Sarah Carpenter, papiermâché is not often seen as a mask-making material until the 16th century. Mask materials
that would have been used during the Middle Ages included wood, leather, plaster,
canvas, and linen. Cauls (netting) were also worn over the face as masks.
Wassailing and Mask wearing while doing so6
Henry VII had problems with it, Mumming is also an ancient pagan custom that was an
excuse for people to have a party at Christmas! It means 'making diversion in disguise'.
The tradition was that men and women would swap clothes, put on masks and go visiting
their neighbors, singing, dancing or putting on a play with a silly plot.
Mummings and Disguising: development of these into the Masque7
Probably the oldest and simplest form of what is involved to the masque, called "a
mumming" and the performers are "mummers." The word means that the disguised
performers say nothing that would betray their identity. They dice in silence, using only
dumb show where they wish to signify their meaning. But they are all disguised with
wizards, the old word for mask; they are accompanied by musicians; they dance together
among themselves when their "mumming" business is over and torchbearers conduct
them on their way. Party goers of masqueraders would disguise themselves in masks
after the manner of the ancient Romans in the Saturnalia. Christmas was the grand scene
of mumming, and some mummers were disguised like bears, others like unicorns,
bringing presents. Those who could not procure masks rubbed their faces with soot, or
5
By Sancha de Flores http://www.columbia.edu/~jv287/sancha/linenmasks.html
6
http://www.whychristmas.com/customs/customs_wassailing.html
http://www.bartleby.com/216/1303.html
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painted them. In the Christmas mummeries the chief aim was to surprise by the oddity of
the masks and the singularity and splendor of the dresses. Everything was out of nature
and propriety. They were often attended with an exhibition of gorgeous machinery.
Besides the set and formal mummings, the members, guests, and servants of a household
would put on masks, and, thus disguised, practice rude jests on one another. 8
The Functions and Forms of Masks9
In the Middle Ages, masks were used in the mystery plays of the 12th to the 16th century.
In plays dramatizing portions of the Old and New Testaments, grotesques of all sorts,
such as devils, demons, dragons, and personifications of the seven deadly sins, were
brought to stage life by the use of masks. Constructed of papier-mâché, the masks of the
mystery plays were evidently marvels of ingenuity and craftsmanship, being made to
articulate and to belch fire and smoke from hidden contrivances. But again, no reliable
pictorial record has survived. Masks used in connection with present-day carnivals and
Mardi Gras and those of folk demons and characters still used by central European
peasants.
Lupo was the name of a kind of mask usually in black. Its use was in relation to the
Renaissance woman’s social life, which was more and more active. This mask prevented
the ladies from suntan as they considered that the moon whiteness of their hands and face
was a symbol of aristocratic beauty. This mask had different social purposes such as
hiding the ladies ´face to protect themselves from indiscreet glances in their secret
adventures
Bauta Apparently, the sound "Bau Bau”, which scares children, gave rise to its name
("Bauta"). Everybody used to bear this mask in Venice, even the Duke when wandering
around the city. Bearing masks was obligatory for the nobility - men and women - in
public places to cut down luxury and prevent the upper social classes from being
outraged when they mixed with the bourgeoisie
Bauta - White leather mask
Lupo - Black leather mask
8
http://www.florilegium.org/files/PERFORMANCE-ARTS/masks-mumming-lnks.html
9
http://www.anymask.com/forandfunofm.html
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Bauta Mask
This mask is the historical and traditional representation of Venetian masks. Origins of
the Bauta mask can be traced back to the 13th Century. The mask was designed to protect
and perfectly disguise the identity of the men and women who wore it; which allowed
total freedom of actions. The mask’s form allowed the wearer to eat and drink without
having to remove the mask and reveal their identity. Below are two representations of
this mask is handcrafted in Venice, Italy; the one on the left is from papier-mâché and is
painted in its traditional white. A true Venetian design, this mask is perfect to be worn at
your next Masquerade Ball, Mardi Gras Event or Venetian Carnivale. The mask's
dimensions are approximately 6 ¼” wide, 6” high and 6 ½” deep. The mask on the right
originating from the historical and traditional 13th Century Venetian; the Bauta
incorporates the intriguing qualities of leather. The mask was designed to protect and
perfectly disguise the identity of the men and women who wore it; which allowed total
freedom of actions. The mask’s form allowed the wearer to eat and drink without having
to remove the mask and reveal their identity. Dyed in dark brown this representation of a
leather dimensions were approximately 6 ¼” wide, 6” high and 6 ½” deep.
13th century gold-leafed Venetian Bauta
16th century style Harlequin painted
Bauta
7
Italian and Venetian Masks10
For centuries, masks have been a part of Venetian lore, culture and history. From the
beginnings of the Venetian Republic to Carnival (known as Mardi Gras by the rest of the
world), to theatre and art, Venetian masks have played a mystical, alluring and
enchanting part in Venetian history.
16th Century Pucinella
Inspired by the 16th century theatrical play “La Commedia dell’Arte”; this handmade
Venetian mask incorporates historical theatre and traditional Venetian mask making.
These papier-mâché masks were painted in colors of antiqued gold, deep reds and blacks
that are segmented and bordered by golden decorative markings. Some of the top of the
mask were decorated with music scores and other embellishments, it is believed they
were derived for the earlier Pucinella style masks. 16th century Venetian Pucinella has
more detail than the 11th – 15th Pucinella’s, and some were left white while others had
bright colors but all were quite distinct with over emphasized features like long noses,
some had very long noses and over emphasized eye brows and creases around the eyes
and forehead. The 11th century mask had the shorter nose almost normal the later 15th
century mask were moving towards the ‘Nasoe Pas’ extra long extraverted style nose. I
used modeling clay because it more durable that papier-mâché, that papier-mâché is less
durable and would not hold up to repeated packing away for demos and leather would not
work with this style of mask.
16th “La Commedia dell’Arte Nasoe Pas Musicale” Papier-mâché Mask
Carnival or Mardi Gras has its origins in the Roman Saturnalian festival. The Christians
adopted the festival as a party before the 40 days of lent, when Roman Catholics
abstained from eating meat. The first day of Carnival varies with national tradition. It
can begin anywhere from November 11th at 11:11a.m. to January 6th, but usually begins
on December 26th and runs through Ash Wednesday. Carnivals were in full swing in the
Middle Ages in cities such as Venice and Nice. During Carnival, the wearing of elaborate
and beautiful masks became customary, especially at the masked balls and bonfires of the
nobility and the rich. Disguises abolished rules, and everyone indulged in excesses.
Often, excesses led to illegal activities and governments began to issue edicts (as early as
1268) to regulate masquerading. Some of these were to prohibit illegal activities, but
some were to limit when masks could be worn or limit the "waste" of fabrics on mask
making, thus the rise of Papier-mâché masks
General doc on Paper Making in Italy
In Italy the first great center of the paper-making industry was Fabriano in the marquisate
of Ancona. Mills were established in 1276, and rose to importance with the decline of the
manufacture in Spain. (http://www.manufactura.cz/paper.htm)The first official document
recording the presence of paper manufacturing in Fabriano dates to 1283, and is the deed
of a public notary recording the purchase of a house by a "carthaio" or paper maker, with
another six paper makers called as witnesses. This document clearly points to the
10
http://www.visionsofvenice.com/shop.asp?cat=1&/Venetian+Masks
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existence of a number of paper factories, and implies a well developed commercial
activity. Fabriano was the first manufacturing center to harness water power to drive the
fibrillation (pulping) process, previously a labor intensive manual activity.
(http://www.museodellacarta.com/ing/chiavelli.html) In 1340 a factory was established at
and Treviso ; and other factories were quickly established in the territories of Florence,
Bologna, Parma, Milan, Venice. Papermaking in Italy is dominated by the historic and
powerful feudal family, Fabriano. The Council Statute of 1436 prohibited anyone within
a radius of 50 miles from Fabriano buildings from manufacturing paper or teaching paper
making secrets to those not residing within the Council territory, pending a fine of 50
ducats. A later prohibition has even stiffer penalties. Transgressors were considered
"rebels" and thereby banned from the city with consequent capital confiscation. The
extent of the power of the local tribunal's protection of the Fabriano papermakers is
highlighted in a 1445 document. Council priors, concerned that if maestro Piero di
Stefano, the only artisan who practiced the "modular" art in the Marche province died his
craft would die with him. The Council demanded the old maestro to teach the craft to his
son or any apprentice in his workshop and not to construct or repair screens used outside
the district of Fabriano or he would be penalized with a fine of 100 ducats.
Modular craftsman specialized in making the wooden screens – known as "modularo" .
The screen or module – is made-up of a wooden framework, on which a dense wire mesh
is placed and also a movable wooden frame or deckle. It must be constructed so that it
will support the weight of the paste and the water without deforming the paper.
(http://www.museodellacarta.com/ing/chiavelli.html)
How Is Paper Manufactured?
Spilman's Dartford mill was the subject of 352 lines of poetry written in 1588 by Thomas
Churchyard and dedicated to Sir Walter Raleigh. The acutely long-winded doggerel
includes the first description of paper-making ever to appear in print. The mill seems to
have been a prominent and impressive riverside feature:
This is so fine with workmanship set foorth
So surely built, and planted in the ground
That it doth seeme a house of some estate…
To which brave mill do thousands still repayre
So see what things are wrought, by cunning skill,'
Churchyard's poem gives some indication of the paper making process employed at
Dartford : A Paper-mill
That now neere Dartford standeth well
Where Spilman may himself and household dwell
The Mill itself is sure right rare to see
The framing is so quaint and finely done
Built of wood and hollowed trunks of trees
The Hammers thump and make so loud a noise
As fuller doth that beats his woollen cloth
In open show, then Sundry secret toyes
Make rotten rags to yield a thickened froth
There it is stamped and washed as white as snow
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Then flung on frame and hanged to dry, I trow
Thus paper straight it is to write upon
As it were rubbed and smoothed with slicking stone The Dartford-based mill was granted
extensive monopoly powers that were often the subject of dispute. A patent dated
February 1589 granted Spilman the monopoly of buying or dealing in linen rags, old
fishing nets and leather shreds '… fitt for making all sorts of white paper. Papermaking
required a long and often expensive apprenticeship. Workers were frequently sworn to
secrecy because no craftsman wished to share knowledge with competitors. Thirteenth
century, paper was produced almost entirely from linen and cotton rags pulped in water
(http://lsm.crt.state.la.us/map7.htm).
The pulped fibers were thoroughly mixed in a deep vat, the n the vat-man would dip a
wire mesh tray into the mixture and a sufficient amount lifted out to yield the required
thickness of paper. A wooden frame called a deckle fitted over the tray to form a raised
edge and prevented the watery pulp from escaping. Pulp flowing between the frame and
the deckle produced an irregular feathery edge around the paper hence the term "deckleedged" paper. (http://lsm.crt.state.la.us/map7.htm) Most paper makers had 2 molds and
one deckle (Hunter 1943, 225). As soon as possible the newly formed sheet of paper was
removed from the tray and placed between two pieces of felt. The paper-and-felt
"sandwiches" were then pressed to remove surplus water and the paper hung to dry.
(http://lsm.crt.state.la.us/map7.htm)It was typical in Europe that one a vat man would
form the sheets, and a coucher would lay them down (Hunter 1943, 225). Paper making
in the winter was difficult because the water was hard to clarify, so it was muddy. The
unusable rejects and scraps were sold to mask-makers and others artisans to make
papier-mâché items with. The finest paper was free of inclusions. What plagues the
modern hand-maker of paper plagued the medieval papermaker, keeping the paper free of
inclusions and specks has always been a challenge to the papermaker Hunter 1943, 227).
The hairs of vat man or coucher are often trapped in the paper during the couching
process. Other inclusions such as insects and leaves become trapped in the freshly
molded paper. The Robert C. Williams American Museum of Papermaking located at the
Institute of Paper Science and Technology in Atlanta, Georgia has a 15th century piece of
paper with a mosquito embedded in the paper. (Hunter 1943, 226) ‘Papermarker's tears'
are blemishes caused by water being dripped on the freshly formed moist paper which
causes a thin spot. (Hunter 1943, 225) Blotting paper is first mentioned in the year 1465.
It was a coarse, gray, unsized paper, fragments of which have been found among the
leaves of 15th-century accounts, where it had been left after being used for blotting.
Blotting is mentioned in W. Horman's Vulgaria, 1519 (p. 8o b): Blottyng papyr serveth to
drye weete wryttynge, lest there be made blottis or blurris Brown paper appears in 15701571, and was sold in bundles at 2s. to 2s. 4d. (http://www.manufactura.cz/paper.htm)
These unusable rejects and scraps were also sold to mask-makers and others artisans to
make papier-mâché items with, so nothing was wasted.
10
My 16th century Venetian Leather mask
11
Venetian Leather masks have been crafted by Venetian mask makers (mascherari) for
centuries, leather masks have always been very stylish, dramatic and extremely
comfortable to wear. Venetian leather masks have a sensual tactile quality to them, which
fits in perfectly with the decadence and ambience of the Venetian carnival. Mine is a preColombine style.
1. Get a piece of leather soft enough to cut easily in to the desired shape or get
someone to cut it for you. Mine is “English Leather” given to me my Dame
Rosellen, English has no flaws, because they have not fence for the cattle to get
cuts and scars from. (considered the very best type of leather)
2. Cut out your mask a little larger than desired (will shrink when drying) The
English leather piece I was given was a thick piece so with my RA I got someone
else to cut out the shape I drew on it.
3. Then I boil in water for XXXXXXXXXXXXX to harden the leather
4. Take mask out of water and lay on a preformed model head (I used a Styrofoam
head, they use wood or plaster forms) form, curve, curl, mold leather in to the
desired shape and let dry. Make sure you made holes for ties large enough to
allow shrinkage during the drying process.
5. Smooth out some of the ruff edges by XXXXXXXX
6. Paint and added ties
11 www.masquerademagic.co.uk/page.html
·
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My 1500’s Pucinella Nasone Clay Mask
My mask is a repartition of an early 1500's Italian Commedia dell'Arte ‘Pucinella’ mask
when it started involving in to Venice Nasone Pas mask later on in the 16th century. The
Pucinella had more facial features and a shorter nose by the 16th century Venice Nasone
Pas mask had less facial features and a really long long nose. I chose a transitional
repartition because I like the more defined facial features and the longer nose was what
the person wearing it would had used as a handle for holding on to the mask. The
Pucinella was used in production and when it involved to the Nasone Pas style it was
mainly used by the general populace at fair’s, festivals and parties. Note Nasone means
nose. I chose the white aged look of the Pucinella style masks and the long nose of the
Nasone Pas, the nose was originally used as a handle because of the weight of the clay
masks when they started using papier-mâché they became lighter and could be wore more
easily. I choose modeling clay that could be bake in my oven, for I do not have a kiln
I used a Styrofoam head for my form with a plastic bag coving it so the clay would not
stick to the form, they use wood or a plaster forms. I then took the clay and formed the
mask shape I wanted over the head form (it took about 4 hours). I added the expressive
features, large eye brows, cheeks bones, nostril and nose area and a long nose more in
style with the late 15th century styles, still in the white-washed look with enlarged
features and not quite to the 16th century ‘Pucinella Nasoe Pas’ style that leans towards
paint glitz and a more refined look. I made holes for the ribbon or leather ties, they
probably used leather. Then I let is set overnight before I went back a and reworked the
areas that needed it, smooth it out some more and then put it in the oven at 275o for 15
minutes per ¼”and because of the nose thickness I left it in for 45 minutes. I used
Sculpey oven bake clay, because I did not have access to a pottery kiln. (They would
have fired it for the first time at 1945o (a cone 4) for 8:18 hours and then let it cools for
16:36 hours before removing from the kiln safely. After it was cooled any paint would be
added and it was fired at 1945 o (a cone 4) for another 8:18 hours and then let it cool
16:36 before removing from the kiln safely. After it was cooled then the finishing glaze
was applied and it was fired again at 1888 o (a cone 5 or 6) for 8:18 hours and then let it
cool for 16:36 hours before removing from the kiln safely.)
Step one; I covered a Styrofoam head with plastic rap and then formed my mask, making
eye holes and holes on side for tying let it dry for a day. (they would have use a clay
shape that could be transferred to the ovens with the mask still on it)
Step two; then made a semi round shape out of foil to place the mask on a baking sheet
and baked it at 275o for about 20 minutes, let it cool
Step three; I was not happy with how the back turned out but to make the back as
smooth as I would have liked, I once again carved, smoothed the features on my mask
and added more clay where needed to give the mask more shape and baked it at 275o for
about 20 minutes, let it cool. I repeated step two about 2 or 3 more time, I LOST COUNT
Step four; I carved and shape my mask one last time, painted with tempera paint and
strung leather ties. I spent about 32 hours all together working on this mask
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You can see from the pictures above that the features are enlarges and over extraverted
and through the centuries the nose get longer, they can even use it as a handle.
Early 16th century Italian Commedia dell'Arte
‘Pucinella’
Later Pucinella with extended
nose
Later Pucinella with extended
nose
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My 16th “La Commedia dell’Arte Nasoe Pas Musicale”
Papier-mâché Mask
Step 1: I used strips paper (junk mail) water with glue added they would have used
scraps of paper they got from the local paper makers guild, perhaps paper that just did not
turn out the quality the guild master wanted or old unwanted printed paper or letters.
There is such simplicity to the basic technique, that anyone can complete a project using
only 3 basic ingredients. An adhesive, such as paste, flour or starch or just water any
ingredient in order to create a paste and mix it into your paper.12 I, choose a paper junk
mail, (it is good for something after all ha ha). I could have use a ready made papiermâché mixture that is finely ground like flour and all you do is just add water or glue to,
but I wanted to use a more period method. I cut it in to strips, soaked it in water (a very
short time less than ½ hour or it gets too mushy). The paste should have the consistency
of thick yogurt. Layer it several times and smooth with your hands to make the basic
shapes and contours you want. It can take several days to dry completely, mine took 2
Step 2: I then layered on to a preformed model head (I used a Styrofoam head, they use
wood or plaster forms) form the basic shape of the face I wanted for the mask. Continue
to cover the mask with your junk mail or newspapers strips of various lengths, this is
when you work at refining your mask and making sure the shapes, designs and curves are
all smooth. The mask should have between four and six more layers by the time it is
completed. It can take several days to dry completely, mine took 2. Step 3: I let it dry a
COUPLE OF DAYS removed it from the Styrofoam head and let it dry ANOTHER DAY
OR SO.
Step 4: Then took more wet paper strips and started making the shapes like the brow and
eye brows, the cheeks and eyes and added more shape and extended nose (still not to
long).
Step 5: Then I had to wait about 2 DAYS to get it dry enough of handle. It was still thin
enough to bend and misshape so you have to be very careful, then after it dried a couple
MORE DAYS
Step 6: I went back and I extended the nose to the length I wanted and then waited a
FULL WEEK before Step 7: I started thickening up the depth of the mask, to make it
sturdier and let it dry; for a few MORE days.
Step 8: When it was dry I tried sanding it smooth with different kinds of sand paper,
emery boards, but the strips had gotten to stiff for the sandpaper to work well, so I
decided to put my paper strips in to my blender to get a finer mâché mix, then I took it
out of the blender added enough water to make a paste that I could formed it to a like clay
mixture,
Step 9 thru 11 or 12 or so: then I could use my fingers defining the browns, nose and
other features. I repeated this step about 4 TIMES.
Step 13 thru 17 or 18 or so: When the mask was finally the way I wanted it, I let it dry,
sanded it and then I cheated and put about 4 or 5 layers of glue over the areas that needed
more smoothing, letting it dry a FULL DAY between layers.
NOTE: I had to make sure it time I worked with the mask to reopen the holes I had made
for the ties, it you wait until the end you could do some terrible damage to you mask.
Step 19: Let it day another WEEK and then painted it with tempra paints
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www.kinderart.com/multic/machemask.shtml
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Step 20: added a gloss glaze (they would have used wood shellac.) then I let it dry A
WEEK and put the ribbon ties in it and I WAS FINALLY DONE !!!
16th century Venice
‘La Commedia dellArte Nasoe Pas
Musicale’ style masks
Tempra Paints
Tempra: Latin "temperare", 'to mix in due proportion'. In the course of its history,
Western painting has taken several major forms, involving distinctive media and
techniques one is tempera painting13 This form of painting used before oil painting was
developed. Traditionally, tempra is made with whole eggs or egg yolk, though various
kinds of glue and gums were also used. As tempera paints dry very quickly, changes of
colors can only be shown by adding small lines or dots. 14 (Today many fine modern
types of tempera can be found, you can get the powered and the liquid, I found the liquid
type is more inline with the quality and substance of what was used in our time period.)
Tempra Color sources:
 For green: vergigris (a copper acetate)
 Blue: woad and ultramarine
 Yellow: orpiment (arsenic sulfide)
 Red earth pigment known as rubrica
 Black and browns from oak bark,
roots and different soils and
 Black: Lamp black (soot)
 White chalk
 Gold ground or pounded gold
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14
Dictionary of the Middle Ages Volume 9 - Mystery Religions-Poland, Joseph R. Strayer Editor in Chief
The Art of the Italian Renaissance, Architecture - Sculpture - Painting - Drawing, by Rolf Toman
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Gilding: The quantity and richness of gold decoration is an astonishing feature of many
of the finest medieval manuscripts and religious icons. The full brilliance of the effect
comes from gold leaf laid and burnished on a page or prepared wood. Gold paint is
believed first derived by the 2nd dynasty of Egypt using gold dust and a bonder such as
glair, size (animal gelatin), honey or sugar to bind the paint with the article in which it
was applied. Gold leaf work was also used in the same manner, but was instead they
hammered gold in to the thickness of a cobweb and applied with the binder. The long
preparation and delicate process of laying gold leaf has not been alleviated by any
modern invention. Applying gold leaf, a size (fixative listed above) is applied with pen or
brush and like gesso, is made tacky when breathed upon. After laying the gold leaf, leave
it to dry out for at least 2 hours before burnishing.
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Bibliography
Dictionary of the Middle Ages, Volume 9 - Mystery Religions-Poland, Joseph R.
Strayer Editor in Chief
The Art of the Italian Renaissance, Architecture - Sculpture - Painting - Drawing, by
Rolf Toman
Tudor Costume and Fashion, by Herbert Norris, Dover Publishers, New York, 1997
The Dictionary of Paper, including pulp, paperboard, paper properties and related
papermaking terms. 3rd ed. New York. American Paper and Pulp Association.
1965
The Lost Language of Symbolism, by Harold Bayley, Citadel Press1909 (reprinted
1966).
Papermaking, The History and Technique of and Ancient Craft. By Dard Hunter, Dover
publications, New York 1943 (reprinted 1970)
The Woman With the Alabaster Jar: Mary Magdalen and the Holy Grail , by Margaret
Starbird,Bear & Co Publishers, 1993
The Story of Papermaking, R.R. Bowker Company, by Edwin Stutermeister, New
York. 1954
Websites
http://lsm.crt.state.la.us/map7.htm
www.kinderart.com/multic/machemask.shtml
www.slowburning.com/store/masks.html
http://www.museodellacarta.com/ing/chiavelli.html
www.masquerademagic.co.uk/page.html
http://www.visionsofvenice.com/shop.asp?cat=1&/Venetian+Masks
Sancha de Flores http://www.columbia.edu/~jv287/sancha/linenmasks.html
http://www.whychristmas.com/customs/customs_wassailing.html
http://www.bartleby.com/216/1303.html
http://www.florilegium.org/files/PERFORMANCE-ARTS/masks-mumming-lnks.html
http://www.anymask.com/forandfunofm.html
Mask Making 101 - A History of Masks and Instructions to Create One", by Lady
Meliora Leuedai de Ardescote (I lost the web address????)
http://www.hallowfreaks.com/masks.html
www.carnivalofvenice.com/argomento.asp?cat=2
www.venetianmasksshop.com/index.html
www.angel-mask.com/masklinx.htm
www.visit-venice-italy.com/history_of_the_carnival_in_venice_masks_pleasures.htm
www.visionsofvenice.com
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