The gondolier is a big part of Venetian culture.

You will see them all over Venice : in the summer dressed in the easily recognisable straw boater with jaunty ribbon and the stripy vest; in winter not quite so colourful as, along with most other Italian people, they cover up in fleeces at the first sign of a cool breeze.
The first mention ever of an Italian gondola was in Venice in 1094 and, of course, there have been gondoliers as long as there have been gondolas - so it's one of the oldest professions in the world.

Until August 2010, there had never been a single woman gondolier in Venice.
The licence had always been passed down male family members and the physical strength needed was thought to be too much for any woman.
She is the only woman ever to have completed the rigorous training and was given her licence despite reservations not only from the Gondoliers' Guild, but from her father who commented that he was not sure whether it was a "suitable profession".
But the age of chauvinism is not dead amongst gondoliers. Giorgia is only allowed to drive gondolas as a stand-in for a fellow male gondolier.

Piazza San Marco is the city's main public square and contains its most famous buildings such as St Mark's Basilica and the Doge's Palace. Napoleon called it "the world's most beautiful drawing room". Piazza San Marco is in the heart of Venice.
Piazza San Marco, often known in English as St Mark's Square, is the principal public square of Venice, Italy, where it is generally known just as la Piazza. All other urban spaces in the city are called campi. The Piazzetta is an extension of the Piazza towards San Marco basin in its south east corner.

The Moretta was a small mask covered with black velvet (hence the name 'Moretta' because, in Venetian dialect, 'moro' means dark, black) of French origin and reserved exclusively for women. Initially it was used by the ladies when they went to visit nuns in respectful silence: the Moretta, in fact, did not allow the wearer to speak because it was held close to the face without the use of laces, but by biting a button on the inside, positioned at the level of the mouth ... From this surprising detail comes the second name of this unique female accessory: the Muta.

La Moretta or Muta became very common among Venetian women especially between the 17th and 18th centuries because hiding the face was considered a way to make themselves more attractive and mysterious. At the same time, however, the ladies were rather uninhibited in showing their bodies: the time's fashion in fact featured a very generous but veiled 'Venetian' décolleté, which clearly revealed the shape of the breast. The face was therefore the true treasure of a woman and regarded as a mirror of her inner world, her feelings and intentions.

This frivolous but practical mask was considered one of the fundamental tools in the complicated game of seduction played across Venice: the suitor had to be so skilled to convince the beloved woman to remove the mask! Obviously, it was the lady herself who held the power, deciding how long to remain anonymous and silent before responding to the suitor's advances. Women were aware that by hiding behind the mask, in addition to becoming mischievously seductive, they also became incredibly desirable ... When the lady finally decided to remove the Moretta, in addition to the sight of her face, she also offered the sound of her voice, equally considered an expression of her personality.

Pierrot is a stock character of pantomime and commedia dell'arte whose origins are in the late seventeenth-century Italian troupe of players performing in Paris and known as the Comédie-Italienne; the name is a diminutive of Pierre (Peter), via the suffix -ot.
His character in contemporary popular culture—in poetry, fiction, and the visual arts, as well as works for the stage, screen, and concert hall—is that of the sad clown, pining for love of Columbine, who usually breaks his heart and leaves him for Harlequin.
Performing unmasked, with a whitened face, he wears a loose white blouse with large buttons and wide white pantaloons. Sometimes he appears with a frilled collaret and a hat, usually with a close-fitting crown and wide round brim, more rarely with a conical shape like a dunce's cap. But most frequently, since his reincarnation under Jean-Gaspard Deburau, he wears neither collar nor hat, only a black skullcap.
The defining characteristic of Pierrot is his naïveté: he is seen as a fool, often the butt of pranks, yet nonetheless trusting.

It was a generally buffoonish Pierrot that held the European stage for the first two centuries of his history. And yet early signs of a respectful, even sympathetic attitude toward the character appeared in the plays of Jean-François Regnard and in the paintings of Antoine Watteau, an attitude that would deepen in the nineteenth century, after the Romantics claimed the figure as their own.
For Jules Janin and Théophile Gautier, Pierrot was not a fool but an avatar of the post-Revolutionary People, struggling, sometimes tragically, to secure a place in the bourgeois world

Venice Carnival
The Venice Carnival became extremely popular during the eighteenth century, when aristocrats from all over the world would attend the annual festival. The royal families and nobility of other neighbouring countries would also come and dress up with elaborate masks and costumes.

For centuries, it was one of the only ways the citizens could escape from the control of the Venetian government. When Napoleon invaded Venice, the Carnival was banned for fear of the citizens conspiring against the French troops. The festival was not to come back officially until the Italian government decided to promote the Venetian culture and history in 1979.

The banks of the Grand Canal are lined with more than 170 buildings, most of which date from the 13th to the 18th century, and demonstrate the welfare and art created by the Republic of Venice. The noble Venetian families faced huge expenses to show off their richness in suitable palazzos; this contest reveals the citizens' pride and the deep bond with the lagoon.
Amongst the many are the Palazzi Barbaro, Ca' Rezzonico, Ca' d'Oro, Palazzo Dario, Ca' Foscari, Palazzo Barbarigo and to Palazzo Venier dei Leoni, housing the Peggy Guggenheim Collection. The churches along the canal include the basilica of Santa Maria della Salute. Centuries-old traditions, such as the Historical Regatta, are perpetuated every year along the Canal.

Because most of the city's traffic goes along the Canal rather than across it, only one bridge crossed the canal until the 19th century, the Rialto Bridge. There are currently three more bridges, the Ponte degli Scalzi, the Ponte dell'Accademia, and the controversial Ponte della Costituzione from 2008, designed by Santiago Calatrava, connecting the train station to Piazzale Roma, one of the few places in Venice where buses and cars can enter. As was usual in the past, people can still take a ferry ride across the canal at several points by standing up on the deck of a simple gondola called a traghetto, although this service is less common than even a decade ago.

Most of the palaces emerge from water without pavement. Consequently, one can only tour past the fronts of the buildings on the grand canal by boat.

Traditional costumes of the Venetian carnival hand-made locally by tailors in the area of Venice.
They are faithful reproductions of historical costumes of the time made with high-quality materials Made in Italy.
The costumes can be made to fit all sizes and tailored on customer's request.


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After a long absence, the Carnival returned in 1979.
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The Government decided to bring back the history and culture of Venice. It sought to use the traditional Carnival as the centerpiece of its efforts.
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The redevelopment of the masks began as the pursuit of some Venetian college students for the tourist trade. Since then, approximately 3 million visitors come to Venice every year for the Carnival.
One of the most important events is the contest for la maschera più bella ("the most beautiful mask") which is judged by a panel of international costume and fashion designers.