“A true bacchanalia of absolute power”: the masquerades of Nicholas I

The article explores masquerades as a social and cultural phenomenon during the reign of Nicholas I of Russia. The author examines masquerades not only as entertainment events but also as complex rituals that combine power scenarios, gender roles, social hierarchies, and individual characters. The focus is on three types of masquerades: courtly, aristocratic, and public. Courtly masquerades (New Year’s and July celebrations) served as a tool for demonstrating the unity of the tsar with the people and strengthening the dynastic myth. Aristocratic masquerades, on the other hand, emphasized theatricality and freedom of self-expression. Public masquerades, held in the Noble Assembly and Engelhardt House, became spaces for social experimentation, where masks allowed for the temporary lifting of restrictions imposed by class and gender norms.

The author analyses masquerades through the lens of René Girard’s theory of the sacrificial crisis, highlighting that even in secular celebrations, the potential for the tragedy originally embedded in the festival remains. Special attention is paid to the role of Nicholas I, who, as the central figure of the masquerades, used them to reinforce his image as a “superhero” — a strong, masculine ruler endowed with superhuman abilities. His unmasked face and recognizable costume symbolized power and control, while the masks of other participants allowed them to temporarily transcend social constraints. The article also touches on issues of gender identity and sexuality at masquerades, where women in masks could afford greater freedom in behaviour and communication. The festivities of Nicholas I’s era, being less “anarchic” compared to the masquerades of the 18th and early 19th centuries, represented a more planned power-social ritual, which, however, carried within itself a seed of destruction.