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LEATHER MACCUS
color options: BROWN - BORDEAUX
Price: 120,00€
 
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This is a mask made by leather which is completely handmade , according to the artisanal techniques of the ancient " maschereri " , the great mask craftmen.
We create our masks only using the best leather which comes from Tuscany ; the uniquestioned millenary capital in the tanning of the leather.
It's painted using appropriate colours which dye the leather , decorated with hemp fibers applications and It's polished up using natural wax to give it the brightness.
There is inside our certificate of guarantee and exclusivity.
It is realized with a material which makes it extremely comfortable and suitable to be worn thanks to the straps that you can easily adapt.
It's also appropiated as ornament to give a touch of fantasy to your rooms.

100% MADE IN ITALY - OUR PRODUCTION

STORY:
 Maccus represents one of the four fixed masks of the Atellana, an ancient form of popular theater born, a few centuries before Christ, among the Oscan populations settled in Campania. The main theme of the Atellana was constituted by genre skits, lively and realistic, based on the contrast between fixed types, such as the miserly master and the jealous servant, the foolish peasant and the intelligent passerby, the old lover and the young rival, in the such as the characters, were generally characterized, as well as by their own speech and their own psychology, by a mask with well-defined features.
Maccus is undoubtedly the best known mask, perhaps due to his frequent approach to Pulcinella. Like the famous Neapolitan mask, Maccus (whose etymology can be traced back, according to some, to the Greek maccoanche literally means "to be an idiot", according to another, however, to the Italic root mala, maxilla which stands for "man with big jaws"), was he too is a foolish, glutton, always in love, and for this reason often mocked and beaten up. These characteristics, since they return with further typifications in the figures of Pulcinella and the other masks in the comedies of Ruzzante, or in the Commedia dell'Arte and in the carnival farces themselves, have led to the maturing in some scholars, as early as the sixteenth century, the conviction of a a large derivation of the same, and of the characters that animated them, from the ancient Atellana.
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