The History of the Basler Künstlerlarve: The Basel Artist Mask

Bastian Peter
2. Feb. 2022
12 Min. Lesezeit

Aktualisiert: 10. Apr.

From the earliest mask forms of the late 16th century to the pivotal year 1925, this is the story of how the Basler Künstlerlarve—the artistic Basel mask we know today—came into being.

Historic and newer Basel artist masks from the collection of Larven Atelier Charivari show just how rich and varied this tradition has become.

Basler Künstlerlarven aus der Sammlung vom Larven Atelier Charivari in Basel. — Old artist masks - from the collection by Larve Atelier Charivari in Basel.

The Origins of the Basler Künstlerlarve

Long before the modern Basler Künstlerlarve existed, masks had already been part of carnival culture for centuries. From the first known depictions at the end of the 16th century to the present day, much has changed. Yet the essential idea of masking remained the same.

Individual carnival figures each had their own symbolic meaning and were represented differently over time. This history can be traced from the legendary Heerkönig of the 11th century all the way to the modern Harlequin—originally one and the same figure. The path of this figure led from Normandy to the Commedia dell’Arte in Venice, and finally to Basel.

The first documented mention of a Harlequin or Hanswurst at Basel street carnival dates to 1783. He was described as wearing a white vest, a tall hat, and a wax mask. In the Middle Ages, masks made of wood and metal were also worn. Evidence from the 16th century already shows that masks were being sold and traded. As Paul Rudolf Kölner wrote in 1913: in the final decades of the 18th century, cloth masks appeared, followed later by paper-mâché masks (kaschiert).

Ursprüngliche Basler Künstlerlarven aus der Sammlung vom Larven Atelier Charivari in Basel. — Artists maks, older than 100 years. From the collection of Larve Atelier Charivari in Basel.

Kölner explains in his book Die Basler Fasnacht (1913) that masks in Basel may have been used occasionally as early as the Middle Ages, for example in wood or metal, but reliable evidence is scarce. Only toward the end of the 18th century did other types of masks gradually become established: first cloth masks, then wax masks, and finally paper-mâché masks.

For a long time, however, wearing such masks was strictly forbidden. Even into the 1830s, the authorities prosecuted and punished people for masking themselves. In a church council document from 1806, this kind of disguise was condemned as a serious offense. What was criticized in particular was that people transformed themselves into animals or distorted the human face given by God through what the sources described as “inhuman and hideous caricatures,” as quoted by Kölner.

If we set aside the gender-specific everyday clothing of the time, the actual carnival costumes of ordinary people up to the 17th century mainly centered around three figures: the Harlequin, the Devil, and the Peasant.

Ein Foto des Gemäldes "Morgenstreich", 1843 von Hieronimus Hess, Auftakt der Basler Fasnacht. — Hieronymus Hess, 1843, Morgenstreich in Basel, Basler Fasnacht

Early Basel Carnival Figures and the Rise of the Mask

According to Paul Rudolf Kölner, there is no older proof for the Harlequin as a street mask in Basel. Only toward the end of the 18th century does the figure appear occasionally in the sources.

In 1783, a man named Gabriel Berger was fined one Neutaler because he had caused mischief at night in the society house “zum Dolder” while dressed as a Hanswurst. At first, he claimed he had worn only a white vest and a paper cap. The investigation, however, showed that he had actually worn a wax mask and a tall cap with a doll attached to the front, and had appeared on the dance floor in that costume.

Another case is recorded for 1790, when a citizen had to answer for taking part in the Spalemer procession dressed as “Arlequin”—wearing a coat, vest, decorated hat, and a striking hairstyle with a mirror. Kölner notes that these appearances were probably more clown-like disguises than the classical Harlequin. The traditional Harlequin with a pointed, sugarloaf-shaped cap and a bell-trimmed patchwork costume never truly became native to Basel.

The situation is very different, however, for the Devil and the Peasant. These figures can be traced much further back. As early as 1432, the authorities banned the wearing of so-called “devil hats.” And in 1526, an official decree prohibited walking around “in Meyers or similar fashion,” meaning in peasant clothing.

Kölner assumes that the Devil and the Peasant often appeared as a pair. With rough jokes, obscene gestures, and provocative behavior, they both entertained and harassed the public. That effect was likely one reason why these mask forms survived in popular tradition for centuries.

Even in 1783, Reformation records mention two young men, one dressed as a “Hessian peasant” in a white shirt and the other as a Devil in an inside-out fur coat. In the figure of the “Deifeli,” still commonly seen in Kölner’s own day, he recognized the last surviving remnant of a carnival mask tradition that was around 500 years old.

A glimpse into how wealthier circles dressed for private masquerades or dance events is preserved in a mask image from 1595 found in the album of Basel mayor Jakob Göß. It shows an elegant couple accompanied by a Bajazzo carrying a torch and a lute player in similarly foolish dress. The three male figures wear coffee-brown masks with long beards, while the woman wears a matching half mask. The image is now kept in the Historical Museum.

Photo of two historical shapes of two prominent figures of the Carnival of Basel: the "Ueli" and "Dummpeter". Photo taken in Atelier Charivari, Basel, Switzerland. — Historical shapes - over 100 years old - "Ueli" and "Dummpeter" - Classic figures of carnival of Basel. These are antic shapes with a long history that we still own and use today.

The Birth of the Basler Künstlerlarve

The true birth of the Basler Künstlerlarve can be traced back to the early 20th century. In 1921, the Fasnachtsgesellschaft Olympia parodied the Kunstkredit (a government-funded arts organization), and the resulting mask was designed by a theater designer named Paul Rudin. Unable to find a suitable mask from any of the usual suppliers, the Olymper decided to make the mask themselves. Rudin created the mask using paper and canvas, and after many attempts, the first kaschierte (paper-mache) masks were born. The following year, the mask manufacturer Emil Metraux and Co. began producing kaschierte masks of their own, and the Basler Künstlerschaft (Basel artists' association) soon took notice. In 1925, the Basler Kunstkredit (Basel arts council) held a competition for mask designs, with Emil Metraux and Bucherer providing the manufacturing. The winning designs were made into wax masks, and the resulting publicity sparked a surge of interest in the art of mask-making. This was the start of the Basler Künstlerlarve as we know it today.

Photo of four antic and historical artist masks from Basel, Switzerland — Historical basel maks / Historische Basler Künstlerlarven

Masks, Bans, and Public Morality in Basel

During the 18th century, masking became increasingly popular. So popular, in fact, that the Basel council in 1715 banned disguising under threat of severe corporal and even capital punishment, calling it an extremely dangerous matter. In 1727, this ban was explicitly extended to both the young and the old.

Among ordinary people, dressing up in the regional costumes of neighboring areas was especially popular. These costumes were easy to obtain because many people already owned their local traditional dress. As a result, records frequently mention figures such as “Wälder peasants,” Markgräfler women, “Bernermeidle,” or women from Baselland. After carnival, many of them had to appear before church authorities and were punished with anything from small fines to penalties of up to twenty pounds, depending on how repentant they appeared.

From today’s perspective, these measures may seem excessively strict. But Kölner explains them within the political culture of the time: the authorities intervened deeply in private life, even if they believed they were doing so in a paternal spirit. Not only during carnival, but all year round, clothing and behavior were closely monitored.

The fact that even toward the end of the 18th century, citizens’ wives could still be punished for overly luxurious dress in church, maids for decorated bonnets, or citizens for silver-plated horse harnesses, helps explain why carnival masking was also so tightly controlled. The ideals of the French Revolution, especially the idea of personal freedom, had not yet reached Europe in everyday matters like these.

Only in the 19th century, as Paul Rudolf Kölner wrote retrospectively in 1913, did figures such as the Altfranken, Dummpeter, and the Bajasse permanently shape the image of Basel Fasnacht and become its defining emblems.

Another mask form, however, disappeared completely: the so-called Sechelgaigelen. According to a government order from 1727, the guards were specifically instructed to watch for them. Anyone found dressed in this way was to be removed from the street immediately and jailed.

These Sechelgaigelen are explicitly mentioned in several decrees between 1727 and 1758. According to the Schweizerisches Idiotikon, the term referred to a figure dressed as a woman and carrying a distaff.

The folklorist E. Hoffmann-Krayer suggested that this figure represented an old, witch-like woman—a form known in many parts of Europe as a personification of the departing winter and symbolically burned, drowned, or destroyed. Linguistically, he saw a connection to mythical female figures such as Berchta or Holda, the Frau Holle of fairy tales.

For Basel, however, Kölner ruled out the idea that this was merely a doll. It must, he argued, have been a disguised person. Since the term in older language could also describe a malicious, sharp-tongued woman, he believed the Sechelgaigelen may have been the original type of the “intriguing mask”—a figure who mocked passers-by with scorn, grimaces, and an altered voice, exposing their supposed sins. In that sense, it resembles the still-popular Basel carnival character of the “Alti Dante.”

References to this tradition of intrigue and mockery go back as far as the Reformation era. A decree concerning the Herrenfastnacht of 1526 explicitly forbids insulting and mocking words that had until then been publicly spoken and sung by young and old alike.

According to Kölner, this love of satire, mockery, and public exposure remained part of the Basel character into his own time and found its strongest expression during carnival. He also saw something positive in it: once a year, under the protection of the mask and folly, truths could be spoken that would otherwise be unbearable. Under the fool’s banner, he believed, truth was easiest to endure.

Ein Foto uralter Basler Künstlerlarven aus Wachs — Historical Basel artist larvae from wax

Mask, Half Mask, and Basel Terminology

Advertisements from around 1830 also prove that masks were part of carnival disguise and were actively worn. Newspapers promoted masks, wigs, moustaches, and beards, and visitors to masked balls could rent costumes and masks at the cloakroom.

At Basel street carnival, however, half masks have always been frowned upon—much like face paint. This is an important distinction in the history of the Basel mask.

To put it simply: the Basler Künstlerlarve is the carefully designed, face-worn Basel artist mask used by active participants in Basel Fasnacht. The term refers exclusively to the mask itself, while the word Maske in Basel usage can also describe the entire costumed appearance.

Half masks—sometimes also called partial masks—have always been unwelcome at Basel Fasnacht because they cover only parts of the face, such as a nose with a moustache or a small eye mask. That runs counter to the core principle of complete disguise and anonymity.

Confusion often arises because half masks are wrongly equated with elastic-band masks. These, however, are fully valid Basel masks that are simply worn differently—using an elastic band instead of a helmet-style support—and may be cut functionally depending on their use, for example by pipers or Schnitzelbank performers.

This distinction is essential when discussing the Basler Künstlerlarve and the traditional Basel artist mask.

Ein Foto für den damaligen Flyer für eine Ausstellung bei GALERIE • BRIGITTA LEUPIN die sich um die Kunst der Basler Fasnacht drehte. Dies waren einige der Künstlerlarven vom Larven Atelier Charivari, die dort ausgestellt wurden. — Modern basel maks from the Larven Atelier Charivari. Those were exhibited at GALERIE • BRIGITTA LEUPIN.

The Classical Basel Carnival Figures and the “Alte Ueli”

By the end of the 19th century, many of the classical carnival figures had almost completely disappeared. Pierrots, Harlequins, Ueli, Bajasse, Dummpeter, and the Altfranken, all of which are now considered indispensable, were not seen again on the streets until after World War II. The Waggis and the Alti Dante, however, remained popular throughout the entire 20th century.

Masked balls followed their own fashion trends. There, people mainly wore Bajazzos, Dominos, and Pierrots. Most masks were imported from France, Italy, and Germany. Suppliers were happy to adapt their products to Basel tastes and also produced Waggis masks on request. Yet carnival participants were often dissatisfied with the paintwork and usually had to repaint the masks themselves to match their costumes.

Smaller quantities of masks were also produced locally in Basel. One of the oldest known models is the Ueli, shown in an illustration from before 1900. It is the same model still used every year during the Vogel Gryff festival by the Uelis.

The second historic figure is the Dummpeter—the only purely Basel carnival figure whose deeper origin still remains to be fully clarified. Today, the figure is portrayed differently than it was in the 19th century. In 1864, descriptions note how loud and cheeky an encounter with a Dummpeter could be. His appearance most closely resembled that of a Waggis provoking and stirring up the crowd.

Even older may be the masks shown in further historical images that were also worn at Basel Fasnacht. They were made of jute and plaster, which made them both very heavy and very fragile.

Moderne Basler Künstlerlarve: eine Waggis-Larve, tragbar mit Gummiband, von Bastian Peter aus dem Larven Atelier Charivari. — Modern artist mask, a Waggis, by Larven Atelier Charivari in Basel.

The Birth of the Basler Künstlerlarve

The decisive turning point came in 1921.

That year, the carnival society Olympia created a satire on the Kunstkredit. The subject was designed by stage designer Paul Rudin. The committee responsible for the costume theme could not find a suitable model for the cubist-style mask from any mask dealer. After a long search, the members of Olympia decided to make their own masks.

Paul Rudin modeled the mask and covered it with paper and stage canvas. After a number of attempts, the first self-made paper-mâché Basel masks were created.

Emil Metraux was enthusiastic about this procession. Already the following year, the owner of Emil Metraux & Cie., with the assistance of Paul Rudin, began producing higher-quality paper-mâché masks. Basel’s artistic community quickly took an interest in the technique. What is remarkable is that only at this point did Basel carnival participants truly begin to engage with the paper-mâché mask, even though such masks had long been imported from abroad.

The true birth of the Basler Künstlerlarve therefore took place in the Metraux atelier, in cooperation with the Basel Kunstkredit.

In 1925, the Kunstkredit organized a competition for mask designs, executed by the firms Metraux and Bucherer. The prize money was paid by the company, which in return received the rights to the designs. In that same year, the production of wax masks also began.

Alte Formen, älter als 100 Jahre, zusammen mit modernen Basler Künstlerlarven an der Wand im Larven Atelier Charivari in Basel. — Old ones and modern ones: Basel maks in Larven Atelier Charivari.

As a result of this competition—which generated major public interest and was well received by the newspapers—the Metraux atelier dramatically expanded its range of models.

Alongside the competition winners Paul Wilde, Hans Häfliger, and Max Varin, masks by Otto Plattner, Haiggi Müller, Ferdinand Schott, Alfred Seiler, Martha Pfannenschmied, Adolf Weisskopf, Hedwig Frei, Albert Neuenschwander, Robert Stöcklin, Fritz Grogg, Karl Hindenlang, and Benedikt Remund were also added to the assortment.

A review of the competition in the Basler Nachrichten stated that the most artistically valuable masks were those of Paul Wilde, although the writer was dissatisfied with the third prize. In his opinion, that model was too constructed: a proper mask, he argued, had to be believable and capable of creating illusion.

How the Basel Artist Mask Became Established

From that moment on, public interest in the faces and design of the Basel mask had been awakened, and discussion began in earnest.

In the years that followed, the paired masks “Koxli” by Max Varin became a real sales success. The beginning of the Basler Künstlerlarve also marked the beginning of the end for imported masks.

Today that may seem hard to imagine, but at the time newspapers regularly presented the newest Basel artist mask models available for purchase at Metraux and Bucherer. Bucherer and Metraux personally translated the artists’ designs into finished masks and in doing so developed into well-known sculptors.

Only ten years after these events, it had become impossible to imagine Basel Fasnacht without its own local mask production. Almost in parallel, in 1927, Adolf Tschudin and Alfons Magne also began producing masks in their own ateliers. Adolf Tschudin worked with support from Paul Rudin and Otto Abt.

Many artists later worked with Larven Tschudin, among them Iréne Zurkinden, Haiggi Müller, Louis Weber, Adolf Weisskopf, Karl Gutknecht, Lotti Krauss, and Max Wilke.

Uralte Basler Künstlerlarven aus der Sammlung vom Atelier Charivari in Basel. — Fragile: very very old artist masks that endured last 100 years and more. From the collection of Larve Atelier Charivari in Basel.

By the time of World War II, the paper-mâché Basel mask had firmly established itself. As street carnival grew larger and larger, it increasingly pushed the wax mask away from the streets and into the ballroom.

The advantages of the paper-mâché mask were obvious. The material allowed almost unlimited possibilities. Masks could be made in every size and variation—exactly the kind of Basel artist masks we know today.

With the outbreak of World War II, the era of the wax mask came to an end.

The Legacy of the Basler Künstlerlarve

The history of the Basler Künstlerlarve is the story of how the Basel mask developed from early carnival disguises into a highly distinctive artistic form.

From medieval prohibitions and early wax masks to the breakthrough years of 1921, 1925, and 1927, the Basel artist mask became one of the most recognizable elements of Basel Fasnacht.

Today, the Basler Künstlerlarve stands not only for craftsmanship and creativity, but also for a living cultural tradition that continues to evolve while remaining deeply rooted in Basel’s carnival heritage.

Thank you very much for reading and for your interest in the Basler Künstlerlarve.

Photos & text: Bastian Peter