‘parlare a vanvera’
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‘parlare a vanvera’, Italian – English talking nonsense. The history of the vanvera, an invention designed to conceal farts...
Parlare a Vanvera: in Italian-English translation, ‘to ramble’; in history, a device for masking flatulence.
For high society, where even flatulence had to be elegantly concealed, 19th-century Venice invented a device that was as ingenious as it was bizarre: the vanvera. It bears witness to the social conventions and inventiveness of the time. The vanvera, an Italian word that translates as ‘nonsense’ or ‘empty talk’, was anything but a curious artefact.
What is the vanvera?
Definition and purpose
The vanvera was a device used in 19th-century Italy to conceal the sounds and smells of flatulence. The released gases were discreetly diverted and at the same time the unpleasant odours were masked with pleasant ones. One could say that the vanvera was an early example of an attempt to civilise natural bodily functions and adapt them to strict social norms. Various dictionary entries provide an insight into the use of the ‘vanvera’.
Function of the Vanvera
The Vanvera was not just a single aid, but a complex system for the social domestication of the body. Its design and use testify to the enormous creativity – and equally great inhibitions – of the 19th century. It combined three tasks that meshed seamlessly, creating a kind of invisible barrier between nature and culture.
Noise reduction
The primary function of the Vanvera was to mitigate acoustic embarrassment. To this end, it featured mechanical retention chambers that functioned as primitive silencers. The sound was broken up in small, leather- or metal-lined containers, thereby losing its sharpness. Instead of an abrupt, sharp noise, there was at most a soft, muffled rumbling that was more easily lost in the background noise of a salon or bedroom. For 19th-century bourgeois society, in which even the rustling of fabrics and the crackling of the fireplace were part of acoustic etiquette, this function was crucial.
Odour removal
The second element was the discreet removal of odours. Fine hoses or tubes, either running along the body or integrated into the furniture, carried the air away from the source. In the portable models, this was achieved using flexible leather or rubber hoses that were incorporated into the heavy layers of clothing that were fashionable at the time. In the stationary Vanvera da Alcova, long copper pipes ran through the walls and led to toilets, storage rooms or directly outside. The idea was not only to remove the odour, but also to make the act itself invisible: a mechanical silence that covered every trace.
Odour neutralisation
The third and perhaps most remarkable function was the sublimation of the offensive into something cultivated. Aromatic substances could be placed in specially designed chambers: lavender flowers, rosemary sprigs, dried mint leaves or small scented sponges that had been previously soaked in essences. The flow of air ensured that the unpleasant odour was transformed into a fragrant note – a technical marvel that domesticated nature, as it were. Instead of social embarrassment, a subtle hint of Mediterranean herbs remained, which only served to underline the claim to bourgeois civility.
Interplay of functions
These three functions – concealing, diverting, neutralising – together formed a closed system. It was not enough to simply avoid the noise if the smell remained. Nor was exhaust air without acoustic control of any help. It was theinterplay of all three levels that made the vanvera what it was: a grotesque but technically sophisticated instrument of social self-control. It was less a medical device than a social apparatus that reconciled the body and etiquette – or at least created the appearance of doing so.
The vanvera worked by directing the gases into a separate chamber or outside. At the same time, aromatic herbs were used to mask the odours, as can be found in many Italian examples. There were two main versions: the Vanvera da Passeggio, which was worn under clothing and allowed the discreet release of gases through a rope, and the Vanvera da Alcova, which was designed for use in the bedroom and diverted odours through long tubes. Further descriptions can be found in the Italian-German dictionary.
The Vanvera was thus much more than a mechanical aid – it was an instrument of bourgeois civility. Its task was to render the all-too-human invisible, and it did so using a three-pronged strategy: muffling, diverting and neutralising.
First, it was necessary to curb the noise. The retention chambers, which were designed like primitive silencers, transformed the sharp sound into a dull, almost inaudible rumbling. This allowed the social flow of a conversation or a theatre intermission to continue undisturbed. Then the tubes took over, serving as secret escape routes for the air: they carried the unwanted away, out of the salon, into the garden, the next room or directly onto the street. Finally, the herb chamber came into play, transforming the rest into something refined – a subtle hint of rosemary, lavender or mint. The unpleasant became a fragrance culture.
The vanvera functioned like a small civilisation machine: it not only erased traces, it transformed the hidden into something valuable – shame became elegance, nature became a cultural spectacle.
Versions
Like many innovations of the modern age, the vanvera also came in different versions, graded according to occasion and social status.
Versions of the Vanvera
Vanvera da Alcova
The Vanvera da Alcova, or ‘Vanvera for the bedchamber’, was designed for use in the bedroom and is often mentioned in Italian-German translations. This version was usually larger and included long tubes that directed the gases into another room or outside. This was intended to prevent unpleasant odours in the bedroom, which is also discussed in the German translation of historical practices. The Vanvera da Alcova reflected the desire for privacy and comfort within one's own four walls.
Vanvera da Passeggio
The Vanvera da Passeggio, literally ‘Vanvera for on the go’, was a portable version that was worn under clothing. It allowed the user to discreetly release the gases by pulling on a small rope, described as ‘vanvera’ in the Italian-German translation. This rope activated a mechanism that directed the gases into a chamber where they were filtered and masked with aromas. The Vanvera da Passeggio was thus a discreet aid for social interaction. You can find out more about it at
. The Vanvera da Passeggio was the portable version. It was concealed under the voluminous dresses of ladies or in the long walking sticks of gentlemen. The system could be activated via a discreet valve or a fine pull cord. Anyone moving through a ballroom could thus discreetly take care of their needs – while maintaining their position. It was a prime example of the fusion of technology and fashion, of the attempt to adapt even the most intimate functions to social life.
Alongside it existed the Vanvera da Alcova, its stationary sister, installed in the bedrooms of the bourgeoisie. Long copper pipes ran through walls and floors to discreetly divert the unwanted to the outside. Some models were decorated to look like ornate pieces of furniture, while others were more reminiscent of secret apparatus. It represented an intimate world in which even in the bedroom, natural bodily functions were not tolerated.
Out and about, invisible technology; at home, elaborately installed machinery. But both had the same goal – to adapt the body to the invisible norms of etiquette.
Construction
The external appearance of the Vanvera was just as important as its technical function. After all, a device that only eliminated odours but was recognisable as ‘medical equipment’ would have missed its purpose. The Vanvera had to be invisible yet elegant.
This led to the development of sophisticated multi-chamber systems that could be discreetly integrated into clothing or furniture. Leather served as a flexible material for hoses, while tin or copper ensured durability and hygiene. Some models were simple, others decorated with ornaments, so that they almost looked like accessories – small capsules with fine engravings that could easily be mistaken for jewellery.
This combination of function and aesthetics highlights the irony: the Vanvera was designed to conceal something that was not to be shown, and did so in a form that could itself become a status symbol. It was therefore not only a technical solution, but also an aesthetic statement – the silent message that one had such control over one's own body that not even the accidental, the uncontrolled, was allowed to come to light.
Technical details and materials
The Vanvera was made from various materials, including wood, metal and fabric. The retention chambers were often equipped with fabric or cotton wool filters to filter the gases. The aromatic herbs were placed in special chambers that allowed the scents to be released slowly. The technical details and materials used varied depending on the manufacturer and design of the Vanvera.
Development of the Vanvera
The history of the Vanvera is not just a technical anecdote, but a reflection of how societies deal with shame, etiquette and physicality. Its roots go back to ancient times, but it was not until the 19th century that it reached its grotesque perfection.
Ancient precursors and their use
The history of the Vanvera may date back to ancient times, when similar mechanisms were used at Roman and Egyptian festivals. Although there are no known direct predecessors of the Vanvera in the 19th century, historical records indicate the use of devices designed to mask or neutralise unpleasant odours, similar to the Italian-German translation of ‘vanvera’.
. These early attempts to control odours could be considered primitive precursors to the later vanvera. The only hints of this can be found in ancient Egypt and imperial Rome, where precursors were used at festivals and rituals to mask unpleasant odours with music, singing or fragrances.
Flutes and cymbals were played, incense was burned, water organs were played – all to fill the room acoustically and olfactorily and so that embarrassing noises in the background disappeared. These practices were less technical solutions than symbolic acts, expressions of the ancient insight that human nature must be restrained in social settings.
Innovation and design in the 19th century
The vanvera as we know it had its heyday in 19th-century Italy. During this period, its design underwent refinement and specialisation. The vanvera incorporated retention chambers and areas for placing aromatic herbs, which was an innovative combination of odour control and fragrance masking. The development of the Vanvera da Passeggio and Vanvera da Alcova illustrates how the device was adapted to different social contexts.
In the 19th century, however, the situation changed fundamentally. With the rise of the bourgeoisie and the strict etiquette of salons, a market emerged for all kinds of discretionary aids. What had been a playful cover-up in ancient times was now technicallyperfected. The Vanvera entered the stage – a device that solved three problems at once: it muffled the noise, discreetly diverted intestinal wind through tubes, and transformed offensive odours into a ‘civilised scent’ with the help of lavender or rosemary.
Comparison with similar devices
Although the Vanvera was unique in its specific function, there were other devices in the 19th century that served similar purposes, such as fragrance lamps and incense burners. Compared to these devices, however, the Vanvera stood out for its focus on discreetly eliminating flatulence noises and odours. While other devices aimed to create a pleasant atmosphere, the Vanvera focused on addressing a specific and potentially embarrassing problem. This may provide further insight.
Cultural significance in the 19th century
The idea reflected the prudish morals of the 19th century, when even natural bodily functions were considered embarrassing. The existence of such a device illustrates how important it was to maintain the appearance of decency and control, which is also reflected in the German translation of cultural norms. Interestingly, the phrase ‘parlare a vanvera’, which means ‘to talk nonsense’, is said to be derived from this device, as it symbolises a natural need that was absurdly concealed.
This development teaches us several lessons. Firstly, that social taboos change over the course of history. Secondly, that technical ingenuity also addresses mundane problems. Thirdly, that the need for social control draws even intimate bodily functions into the realm of invention.
The inventors of the Vanvera faced several technical challenges: the materials had to be watertight, the designs as invisible as possible, and yet they had to meet the demands of elegance. Cheap replicas that did not work quickly became a laughing stock, while elaborately crafted models almost looked like luxury accessories. Some households invested considerable sums in a Vanvera da Alcova, just to ensure that even in the bedroom, every trace of the ‘natural’ disappeared.
However, there were also mistakes and errors. The greatest illusion was the assumption that human nature could be completely controlled. In the salons, anecdotes were told about guests whose Vanvera failed, and therein lay the double irony: the device was supposed to prevent embarrassment, but often became the object of ridicule itself.
The examples are rich in how seriously the subject was taken: flute music in the Roman triclinium, Venetian ballrooms where ladies hid their portable Vanvera under their heavy skirts, or the bourgeois bedroom where copper pipes led outside and released the bad air into the garden.
But beyond the anecdotes, the question arises: what does the vanvera tell us about the relationship between culture and the body? Was it a triumph of technical civilisation or proof of the absurdity of excessive etiquette? Would a less strict society have produced such a device at all?
Perhaps it is most appropriate to conclude with the words of a fictional maxim of etiquette: ‘Civilisation is the art of making the natural invisible.’ The Vanvera was exactly that – a device for subjugating the all-too-human to a bourgeois order.
What remains is an idiom in the dictionary: ‘parlare a vanvera’ (to ramble) in the English translation.
Origin of the idiom
The idiom ‘parlare a vanvera’, which means ‘to chatter’, ‘to talk nonsense’ or ‘to talk at length’, is deeply rooted in the Italian language. Some linguists suspect that the origin of this idiom can actually be traced back to the device of the same name. It is believed that the absurd nature of the vanvera, a device used to conceal a natural bodily function, was metaphorically transferred to empty or meaningless talk. Further interpretations of ‘vanvera’ can be found in the dictionary: for example, ‘fare a vanvera’ means ‘to be sloppy’ or ‘to do something without sense or reason’.
Other scholars point out, for example, that the root of ‘vanvera’ is similar to that of ‘vano’ - “vain”, believing that the word comes from ‘il gioco della bambàra’, an expression that is probably of Spanish origin and means ‘a waste of time’.
‘Talking like the vanvera - much ado about nothing.’
The connection between vanvera and rambling or sloppiness lies in the metaphorical comparison of intestinal wind with empty talk.
But just as vanvera masks unpleasant odours, empty talk can also serve to distract from the real issue or hide a lack of knowledge. ‘Parlare a vanvera’ therefore means not only to talk nonsense, but also to hide or gloss over something, which in English can be interpreted as deception. The
Cultural influences
Long after the demise of the eponymous device, the phrase ‘vanvera’ is still part of the Italian language today, and its meaning cannot be easily translated into English. It is often used to describe someone who talks without sense or reason or gets lost in empty phrases. The popularity of this expression testifies to the continuing relevance of as a cultural symbol, even though the device itself has long since been forgotten.
Translations and meaning today
Even today, long after the disappearance of the bizarre device, the meaning of ‘vanvera’ lives on in the Italian language. In a modern context, the term refers to the importance of honesty and authenticity in communication, which is also reflected in the English translation of ‘vanvera’: ‘without thinking and without paying attention to what one says or does’. It is a warning not to speak ‘a vanvera’.
Vanvera in literature and pop culture
Although vanvera is understandably not a favourite topic in modern literature or pop culture, the phrase ‘vanvera’ does occasionally appear – then as a humorous commentary on empty phrases or insincere rhetoric, as the vocabulary trainer app also shows. The use of the phrase in literature and pop culture helps to keep the memory of vanvera and its cultural significance alive. Discussions about vanvera
In addition to websites with information about its history, there are even forums on the internet where people exchange ideas about vanvera. These discussions range from historical considerations to humorous anecdotes about the phrase ‘vanvera’. The interest in the phrase and its linguistic connection shows that this curious artefact still fascinates people today and inspires reflection.
Final remark:
Well, fancy another good dose of digitally generated ‘mental flatulence’? This post is nothing but fiction and parody. There never was a ‘Vanvera’. Its invention and continued existence on the internet is a prime example of AI slop at its finest –– digital ‘parlare a vanvera’ in its purest form.
AI slop affects your brain like junk food
You experienced it above: a text that was easy to read, smooth and fluid –– and completely devoid of content. That's exactly how ‘AI slop’ works. This is a term for inferior, mass-produced, worthless content (text, images, videos) created with the help of generative artificial intelligence. What characterises it is effortless fabrication, inaccuracy and a lack of any kind of added value. It is increasingly littering the internet.
For the brain, it's like fast food:
· Quick stimuli: short sentences, familiar phrases, catchy repetitions.
· Short-lived satisfaction: a feeling of being ‘informed’ that fades immediately and generates no knowledge whatsoever.
· Zero nutritional value: no facts, no depth, no orientation, no arguments that really stimulate memory and thinking.
Why this is problematic
· Overstimulation without structure: the brain processes content in seconds but stores nothing because there is no anchor.
· Apparent clarity: those who read a lot of AI slop believe they are informed – but they are not.
· Long-term effect: Repeated junk food inputs form habits. They make the mind receptive to quick patterns but impatient for complex connections.
From snack to avalanche
A single idiotic text like this would be insignificant. But millions of them, day after day, form a flood. This replaces careful research with endless repetition, and it replaces real memory with artificially generated images.
But don't worry: next week there will be a fitting post about the whole bitter truth of the AI-driven content avalanche surrounding Vanvera and other invented ‘knowledge objects’ that are turning the internet into an endless stream of informative stories. It will put the parody aside and look directly at the problem: the machine-driven wave of content that threatens the very idea of truth itself. It will show how this wave of content not only causes laziness in thinking, but also undermines the foundation of truth and collective memory.