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Masquerade Balls Italy 15th century mask’s reproductions

It has for a mileniun plus 3.2 the Mask has in many ways have designed the mask as the rite of passage into the unknown. it is The Mask , developed into a form of worship. realm of our universe, god like to worship spirits in the after life. To bring good luck ,be warned of evil we have embraced and created some of the most cherished symbols that define societies throughout the world today .Whether displayed as priceless artifacts in museum’s, replicas of such sold in every tourist or cultural centre . From the chintzy discount stores for Halloween accessories we remain fascinated. So much history. it was a project of months research a 4 part series was the result. The Black Plague, the masquerade, festivals for the dead or the folklore seen as a significant part of a culture, remains the rite passage

The BLAck DEATH was the deadliest epidemic of bubonic plague in history. It wiped out some 25 million Europeans alone in just a few years. Out of desperation, cities hired a new breed of physician, so-called plague doctors, who were either second-rate physicians, young physicians with limited experience, or who had no certified medical training at all.What was important was the plague doctor was willing to venture into The uniform featured an all-leather ensemble with a beak-like mask stuffed with burning herbs and a top hat — which signaled that the person was, in fact, a doctor.

From Mirror of the Intellect: Essays on Traditional Science and Sacred Art, a studies in comparative Religions , The Sacred Mask it was clear , 3 answers to questions as why my principals as permissible were answered. The mask is one of the most widespread ways ancient societies mien of sacred art. It is t be found as much in the most elaborated of civilizations, of India and Japan and among the indigenous or “so called” primitive peoples. A mask represents many spirits watching over them a specific “earthly” possession, like a cow or monkey. They are the exception. Most civilizations past and present attached to the only God. 1, yet each one different Indeed will show, the tenacity for their survival, in the face of all modern thought proves indirectly an attacked their only sacred origin of the past remain unaltered.

For Christianity, as for Judaism and Islam, the ritual use of the mask can only be a form of worship. But in fact the mask is linked not with worship but with polytheism, if one understands by this term not paganism, but a spiritual vision of the world that spontaneously personifies cosmic functions without ignoring the single and infinite nature of Supreme Reality.

The Sacred Mask there is a hierarchy of functions and thus of divine “persons” but their very diversity means that no single one of them can be regarded as the unique. The mask of the Infinite Divinity clothes itself in one mask or another in order to reveal itself more directly to the worshipper can choose one particular mask as a support and way of worship will always end by finding salvation celestial dignity, superior 1

Yet the Sacred Mask does not always suggest an angelic or divine presence It can also be the support of an “asuric” or demonic presence, without necessarily implying any deviation; for this presence, malefic in itself, can only be tamed by a higher influence and captured with a view to expiation, as in certain lamaist rites.



Fernando Pessosa-

A Portuguese poets of modern times referred as the 4 greatest as he had 3 alto egos writing in completly different styles defined the
“Masquerades disclose the reality of souls. As long as no one sees who we are, we can tell the most intimate details of our life. I sometimes muse over this sketch of a story about a man afflicted by one of those personal tragedies born of extreme shyness who one day, while wearing a mask I don’t know where, told another mask all the most personal, most secret, most unthinkable things that could be told about his tragic and serene life.


Gender & Sexuality expression of oneself , the masquerade focused on the disguise of identity, the face was often hidden the body wasn’t
took on a whole new freedom at a masquerade ball. One did not need to follow the usual restraints of everyday life. Masks were significant as aphrodisiacs:
Since a mask provided detachment from identity, it provided a sort of detachment from traditional morality, as well. Prostitutes were common at masquerades, and contributed to the sexually charged atmosphere. Promiscuity among women at masquerades was common [

The eighteenth-century masquerade was inextricably linked to an erotic atmosphere. Issues of gender, sexuality and role-reversal were all tangled up within the confines of the ballroom. The activity at masquerades included the touching and fondling of strangers, and propelled a highly sexual energy among guests. The donning of masks brought an inevitable sexual tension prevalent among masquerade-goers. This tension is the subject of much scrutiny.
Cross-dressing was a common form of disguise at masquerade. This crossing of gender lines in dress was almost always a catalyst for sexual symbolism and questioning. Men were able to dress as women and thus identify themselves in a way that would have otherwise been taboo; women could do the same. Gender roles could be reversed as easily as class roles. Closely linked to this topic, the issue of homosexuality was also one that appeared at masquerades.

undefined Dating back to the 14th and 15th centuries, the Masquerade Ball began as part of Europe’s carnival season. Less high society and more cirque du célébration. The villagers would gather in masks and costumes to take part in elaborate pageants and glamorous processions. It then began spreading across France quickly some of the most notorious balls of the day would be held to celebrate Royal Entries: the grand occasion of welcoming kings and queens into their cities.

“We wear the mask that grins and lies,
It hides our cheeks and shades our eyes,—
This debt we pay to human guile;
With torn and bleeding hearts we smile”
Paul Laurence Dunbar poet

“The irony of life is that those who wear masks often tell us more truths than those with open faces.”
Marie Lu, The Rose Society

“Perfume was first created to mask the stench of foul and offensive odors…
Spices and bold flavorings were created to mask the taste of putrid and rotting meat…
What then was music created for?
Was it to drown out the voices of others, or the voices within ourselves?
I think I know.”
Emilie Autumn, The Asylum for Wayward Victorian Girls


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