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Room 2a: The Masquerade
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This room is divided into two parts. At one end is a display about John Jones, the army clothier who bequeathed his collection of 18th-century French fine and decorative arts to the Museum in 1882. Jones’s bequest still forms the core of the displays in the Europe galleries. Next to his bust you’ll find a case full of objects from his house at 95 Piccadilly.
The other end of this room is called The Masquerade. Here you can find out about the improvised theatre known as Commedia dell’arte, and the art and fashions of Venice in the mid 18th century. At this time Venice was one of the key destinations on the Grand Tour, especially during the annual Carnival period, when Venetians and visitors disguised themselves with masks, cloaks and elaborate costumes. In The Masquerade interactive film you can experience the carnival for yourself: follow the story from a ball, through a gambling hall or ridotto, and out into a piazza. Try mimicking Harlequin’s actions to move forward through the story.
Finally, this area includes an oval mirrored room from northern Italy. Although we don’t know its original function, this would have been an atmospheric and intimate space, especially in flickering candlelight. Have a listen to the extract from Casanova’s diaries while you’re there – it recalls an assignation in a mirrored room.
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Room 2a: The Masquerade
Mirrored room
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Giacomo Girolamo Casanova is remembered as an 18th-century Venetian libertine. His various careers – in law, the military, as a trustee of the first state lottery in Paris – were dogged by the scandal of his favourite pastimes: gambling and amorous pursuits. In this extract from his memoirs, Casanova recalls an assignation with a masked beauty during the Venice carnival of 1753.
‘I didn’t have to search very long before I found a casino that suited my purpose exactly. The drawing-room was decorated with magnificent mirrors, rock crystal chandeliers, and a splendid pier-glass placed on a white marble chimneypiece. The walls were covered with small squares of Chinese porcelain, representing naked amorous couples in all sorts of positions, well-calculated to excite the imagination; comfortable sofas were placed on every side. Next, was an octagonal room, the walls, the ceiling, and the floor of which were entirely covered with splendid Venetian mirror glass, arranged so as to reflect on all sides every position of the amorous couple enjoying the pleasures of love.
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I ordered a most delicate and sumptuous supper for two, and the most exquisite wines, without concern for the expense. I then took the key and warned the master that I did not want to be seen by anyone when I came in or went out.
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Just as the hour struck I saw a two-oared gondola reach the shore and a masked figure get out. My heart was beating quickly, but seeing that it was a man I avoided him, and regretted not having brought my pistols. The masked figure, however, came up to me with outstretched hands; I then recognized my angel, who laughed at my surprise and took my arm. Without speaking we went towards St. Mark's Square, and arrived at my casino.We went upstairs and I threw off my mask and my disguise; but M—— M——took great delight in walking about the rooms and in examining every nook. She was surprised by the spectacle of her image, lit by numerous candles and multiplied by the mirrors, which reflected her charming person in a thousand different ways: a coat of pink velvet, embroidered with gold spangles, a matching waistcoat; black satin breeches, diamond buckles, a valuable solitaire on her little finger. So that I could see her better she came and stood before me. I looked in her pockets, and found a gold snuff-box, a splendid opera-glass, handkerchiefs of the finest cambric, soaked with the most precious essences. Eventually I found a pistol: an English weapon of fine steel, and of the most beautiful finish.’
Extract from ‘Histoire de ma vie’ (‘Story of my Life’) by Giacomo Casanova