Stenterello, Florence’s Carnival mask and voice of the people

Carnival, the festive period that precedes Lent in the Christian calendar, is traditionally marked by parades, costumes and theatrical performances. In Italy, cities such as Viareggio and Venice are internationally known for their celebrations, but Florence has its own distinctive figure: Stenterello, the only true mask of Florentine Carnival and theatre.

A Florentine character born in the 18th century

Stenterello was created in the late 18th century by Luigi Del Buono (1751–1832), a Florentine actor and playwright. Del Buono, who had trained and worked as a watchmaker near Piazza del Duomo before devoting himself fully to theatre, gradually shaped a comic persona that fused traits from several characters he had played on stage.

The name “Stenterello” was a common Tuscan nickname for someone who looked frail or undernourished: literally, someone who seemed to have “grown with difficulty”. Del Buono himself was described as thin, small and pale, and he drew inspiration from everyday figures in Florence, including a beggar in Via della Scala and a sharp-witted barber’s assistant.

By the early 19th century, Stenterello had become one of the last surviving masks of the traditional commedia dell’arte, Italy’s improvised popular theatre tradition.

Comic, fearful, but on the side of the weak

Stenterello is typically portrayed with a prominent nose and lively, arched eyebrows. He is talkative, impulsive and often cowardly, yet also clever and instinctively supportive of the underdog. Much of the humour lies in this contrast: he trembles with fear but still finds a way to speak out.

His language is central to the character. Stenterello speaks in Florentine vernacular, using wordplay and rapid-fire puns. Unlike some other popular masks, his humour was traditionally sharp but not vulgar, making his performances accessible to families.

Over time, however, some interpretations drifted towards coarser comedy, which contributed to the gradual decline of the mask in the late 19th century. Writers and intellectuals of the time defended the original spirit of the character as witty rather than crude.

A mask with political overtones

As Florence and Tuscany experienced political upheavals — from Napoleonic occupation to the Italian Risorgimento — Stenterello’s jokes began to reflect current events. Through satire and double meanings, he mocked foreign occupiers and local rulers who stood in the way of independence.

In this sense, the mask evolved beyond simple entertainment. It became a vehicle for social commentary, expressing popular frustrations in a form that could bypass censorship through humour.

The costume

Stenterello’s outfit reflects the 18th-century origins of the character. He traditionally wears a black tricorne hat, a light blue or blue tailcoat, a bright waistcoat — often yellow — and short dark trousers. One stocking is usually red, the other patterned or striped, paired with low buckle shoes and a white wig with a small upward ponytail.

Some historic depictions show a bottle painted on his under-vest, hinting at a fondness for wine, along with the word “posapiano”, a Florentine expression suggesting someone who moves cautiously despite a bold exterior.

Carnival in Florence today

While Florence no longer has a large-scale Carnival tradition comparable to Viareggio’s floats, the figure of Stenterello remains part of the city’s cultural memory. He occasionally reappears in theatre productions, historical events and school activities, especially in the weeks leading up to the end of Carnival.

For residents and visitors alike, Stenterello offers a reminder that Florence’s identity is not only shaped by Renaissance art and grand monuments, but also by popular theatre, dialect and humour, and by a character who, despite his fears, never stopped talking back.

As Carnival ends and Lent approaches, Stenterello’s voice — ironic, fragile and stubbornly independent — still echoes as one of the most recognisable symbols of Florentine tradition.

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