L'Italo-Americano

L'Italo-Americano THURSDAY, SEPTEMBER 7, 2017 www.italoamericano.org 8 ELIZABETH SALTHOUSE T oday most self-respecting homeowners install alarms and locks to protect their homes, but step back to the 16 th century and the preference was for mascherone, grotesque masks installed to ward off evil. Rome's Palazzo Zuccari is a prime example of this trend, with outlandish faces staring menac- ingly from every aspect of the house. The Bridge of Sighs in Venice is another location fierce- ly protected by distorted faces. In fact, once you notice the first ugly relief, you'll start spotting them everywhere turning a gen- tle city passeggiata into an out- landish headhunt. So when did the tradition begin? Sculpture has been used in buildings on virtually every con- tinent on earth since the begin- ning of history. Ancient Egyptians used architectural carvings to depict gods and pharaohs in classic images on everything: from colossal statues to temples, from royal palace complexes to the monumental wonders of the world that are the pyramids, all were built with sculpture, statuary and carved decoration. They depicted every- day life, reinforced regal and divine legends and documented wars. Carvings were a way of telling stories to the population, without the need for the viewer to be able to read the complex hieroglyphic language. Meanwhile in the nearby "fertile crescent" of modern day Iraq, Syria, Jordan and Israel, where civilization is believed to have first emerged, King Ashurnasirpal II of Assyria had also discovered the delights of structural sculpture. On succeed- ing his father, the young king embarked on a vast programme of expansion setting about the construction of a new capital Kalhu (or Nimrud) in 879 BC. The city just happened to be near a major deposit of alabaster, a stone easy to quarry and carve, and so the flourishing Assyrian tradition of painted murals evolved into carved reliefs all over the capital. Across the Mediterranean the Greeks, Etruscans and later the ancient Romans were taking sculpture on buildings to a new level. The Acropolis in Athens is a prime example, with Greeks setting the standard as their stun- ning statues reclined across the pediment. The Etruscans in Italy were also influenced by their neighbors, particularly in their use of structural sculpture on burial tombs. Life sized terracot- ta effigies topped Etruscan sar- cophagus lids. Meanwhile the Romans used sculpture in the baths, villas and public buildings to depict gods and the ruling class. But whilst everyone from Columbia to Egypt to Rome used stone carvings and sculp- ture, they did so to adorn their buildings, burials and temples or to create ornamental story telling. So when did beautiful classic sculptures turn scary? If you walk around the lagoon city of Venice you'll spot lots of masks, of the theatrical carnival type, on every street corner. But raise your gaze to the stone lintels of palaces, arch- ways, bridges and, especially, bell towers and you'll spot something different: stone carved masks, known as mascherone. Their expressions range from sinister stares to scowls, grimaces to glowers and, according to local legend they have one specific task, keeping the devil out of daily life. The devil, it seems, was an ever-present danger in early Christian Venice. And by the 1500s he was such a threat that locals took to putting images of his grotesque, beastly face on their buildings in a two-pronged attack: first to remind the faithful to be vigilant against his tempta- tions, and secondly to protect homes and courtyards. Today many of these stone faces still exist, staring out at the tourists flocking to the city. Some gurning grotesquely, some sprouting demonic animal ears, some mouth open, teeth bared ready to devour the weak. Look out for them over front doors, on arch keystones, above sottoporte- gi entrances or windows. Ca' Pesaro, Palazzo Corner de la Cà Grande, the bell tower of the church of San Bartolomeo and even the Bridge of Sighs are prime examples. Or check out the church of Santa Maria Formosa, in the eastern sestiere district of Castello: local legend tells that when the campanile was origi- nally built in 1678, the bell rang out continuously and couldn't be stopped. Venetians are a super- stitious lot and immediately knew the culprit and the solution. Consequently, a bulbous mascherone head was added to the base of the tower, to deter Lucifer from entering it and annoying the parishioners. John Ruskin, leading art critic of the Victorian era, would later describe the face as "leering in bestial degradation, too foul to be either pictured or described, or to be beheld for more than an instant." But despite Ruskin's obvious disdain, the carving seems to have worked, as the bells quieted. Even though the face is pock-marked where Lucifer allegedly tried to break it off, it continues to deflect evil spirits to this day. The grotesque became increasingly fashionable during the 15 th and 16 th centuries with decorative, but ugly faces includ- ed in frescos, heraldic symbols and grottoes across Italy and Europe. Generally, these revived the ancient Hellenistic and Roman traditions of decorative grimaces like those you can see at the Golden House of Nero: although still creepy to look at, they weren't considered protec- tive. The mascherone, on the other hand, had definite powers to shield and defend structures and Rome's Palazzo Zuccari, near the top of the Spanish Steps, is another classic example. Built in the late 16 th century at the junc- tion of via Gregoriana and via Sistina by mannerist brothers Taddeo and Federico Zuccari, the palace has three entrances, but there is one particularly well known due to its façade. The architect took inspiration from the Bomarzo gardens near Viterbo to create the fantastically grotesque faces that surround the doors and windows facing Via Gregoriana. Indeed, they're clas- sic Baroque decorations, but were also aimed to ward off hell and to threaten any hellish visi- tors who would, it was hoped, hesitate to cross the threshold at the sight of the epic mascherone. For anyone lucky enough to enter the palace, these gaping grotesque forms create a striking contrast with the charm of the gardens to the rear of the palaz- zo. The Zuccari brothers were clearly a cautious pair doubling down on the home protection from both the earthly and the spiritual invaders. The use of mascherone con- tinued well into the 18 th century, but gradually fell away as tastes changed and superstitions waned. But next time you take a stroll raise your gaze to lintels and keystones, there may just be a mascherone there to protect you. Mascherone, home protection the old-fashioned way LA VITA ITALIANA TRADITIONS HISTORY CULTURE Mascherone means "large mask," but can also be read as "fearful mask:" both meanings are fairly correct for these fascinating sculptures Mascheroni can be seen in many cities, from Venice to Florence and Rome They were used to ward off evil from the buildings they stood on

• Cover