Terracotta Mask H 21cm

Italian terracotta mask equipped with holes for hanging.

“You can make something foolproof but not bad luck.”
Arthur Bloch, Murphy’s Law. II, 1980

Eccentric and eclectic terracotta mask with horns, EVIL is an original and unique object that will match a variety of modern and contemporary settings.

APOTROPAIC MASKS: THE MONSTROUS FACES THAT WATCH OVER HOUSES

The custom of decorating home entrances with masks and symbols has its roots in ancient times and is linked to an ancient instinct for protection from evil entities and the evil eye. Ancient traditions and superstitions meet in iconic objects that have survived through the centuries to the present day.

Made of pottery, stone or terracotta, so-called apotropaic masks, from the ancient Greek word “apotropao” or ossi “to ward off,” very often have monstrous appearances, through which they seek to exorcise fear of misfortune and death. They were posted on doorposts, balconies, windows or inside the house to protect the dwelling and probably owe their origin to ancient rituals with somewhat sinister suggestions such as that, of Roman origin, of nailing birds, preferably nocturnal, on doorposts.

This is how Apuleius describes them in the “Metamorphoses”: “they take them and nail them to the gates so that by their heinous death they may do penance for the misfortunes that their inauspicious flight brings to their families.”

Even today, especially in southern Italy, the custom of displaying apotropaic masks is so deeply rooted that in some areas, for example in Calabria, local handicrafts have made it a distinctive point of excellence.

The iconography of these masks is remarkably varied, but very often recalls more or less frightening anthropomorphic figures derived from Magna-Greek symbolism and mythology. Over time, their appearance has undergone some evolution such as, for example, the increasing presence of horns reminiscent of the devil and demonic figures.

THE MATERIAL.

Terracotta consists of a clay mixture that is fired at a temperature of 980-990° C. The typical reddish color is due to the conspicuous presence of iron substances.

Resistant to frost, heat, thermal changes and brackish, over time it becomes almost a unique element with the surrounding natural environment. In fact, it is not uncommon for lichens and moss to settle on the surface, creating different textures and designs, which will make each object a unique, exclusive and personal piece.

Thanks to these unique characteristics, ITALIAN TERRACOTTA marries perfectly with the most modern concepts of design and architecture, combining refinement and durability, modern design and ancient material.

History

The working of terracotta in Tuscany, particularly in the Impruneta area, originates with the Etruscan civilization. Its architectural use peaked in the Middle Ages and the Gothic period. Because of the bold and warm color, it had the function of emphasizing architectural lines in contrast to the natural tones of marble and stone. In the Renaissance the activity of the furnaces flourished when the Medici and other noble families used to adorn the parks of their villas with vases and statues. Although in the great architecture of the time the infamous Carrara marble was favored for great works, terracotta retains its place of honor and the many palaces of the time are proof of this, one above all Brunelleschi’s Dome of the Florence Cathedral.

Since ancient times and still today, terracotta has been widely used for kitchen utensils, especially plates, pans, and pots (glazed), and especially in decorative elements intended for outdoor environments, such as gardens and parks. However, its unmistakable touch is also widely used in refined interior environments with a rustic and retro taste. In more recent times, aided by the rediscovery of all natural materials, there has been a revival of terracotta in the artistic field as well, in decorative and functional objects of innovative design.