A
RENAISSANCE
COURTESY-BOOK

GALATEO
OF MANNERS & BEHAVIOURS

BY
GIOVANNI DELLA CASA

With an Introduction by
J. E. SPINGARN

GRANT RICHARDS LTD.

LONDON

Copyright, 1914, by D. B. Updike

A TABLE OF CONTENTS

INTRODUCTION

INTRODUCTION

One day, in Rome, about the middle of the sixteenth century, the Bishop of Sessa suggested to the Archbishop of Benevento that he write a treatise on good manners. Many books had touched the subject on one or more of its sides, but no single book had attempted to formulate the whole code of refined conduct for their time and indeed for all time. And who could deal with the subject more exquisitely than the Archbishop of Benevento? As a scion of two distinguished Florentine families (his mother was a Tornabuoni), as an eminent prelate and diplomatist, an accomplished poet and orator, a master of Tuscan prose, a frequenter of all the fashionable circles of his day, the author of licentious capitoli, and more especially as one whose morals were distinctly not above reproach, he seemed eminently fitted for the office of arbiter elegantiarum.

So it was that some years later, in disfavour with the new Pope, and in the retirement of his town house in Venice and his villa in the Marca Trivigiana, with a gallant company of gentlemen and ladies to share his enforced but charming leisure, the Archbishop composed the little book that had been suggested by the Bishop of Sessa, and that, as a compliment to its "only begetter," bears as a title his poetic or academic name.

There have been modern scholars who have wondered that so eminent a prelate, and so austere and passionate a lyric poet (for the licentious capitoli were best forgotten), "should have thought it worthy of his pains to formulate so many rules of simple decency," descending even to such trifles as the use of the napkin, the avoidance of immodest topics, and the details of personal apparel. It might, however, be pointed out that it is just because such distinguished men as our Archbishop formulated these details for us in the Renaissance that they have become part and parcel of our social code; that to quarrel with the Archbishop on this score were not unlike quarrelling with Euclid because he formulated laws of geometry which mathematicians nowadays leave to schoolboys; and that the serious preoccupation with manners, characteristic of the Middle Ages and the Renaissance, made it possible for modern European society to form an organic social whole, with a model of the finished gentleman, more or less the same in all countries and all periods.

But the fact is that it is the didactic form and tone, and not the content, of the Archbishop's treatise with which our modern taste has its quarrel. If books on etiquette are no longer in fashion, it is not because preoccupation with the details of social conduct has ceased, but because we no longer express it in the form of rules or codes. Our plays, our novels, our essays, are mosaics of reflections on the very things that interested the courts and coteries of the Renaissance. When a modern writer wishes to enforce the idea that such apparent trifles are of real concern, he no longer says: "It is important that every young man should pay careful heed to the little tricks of manners," but he puts into the mouth of one of his characters, as Mr. Galsworthy does, such a speech as this: "For people brought up as we are, to have different manners is worse than to have different souls.... How are you going to stand it; with a woman who——? It's the little things." The Archbishop of Benevento, if permitted to read passages like this in modern plays and essays, would recognize his own ideas in all of them; he could point to dialogues and discourses of his own time in which dogmatic precepts were in like manner disguised as witty and elegant conversation; but because he was the product of an age of formal treatises, exquisitely written, he would have insisted on his right to state precepts as precepts, and to sum them up in such a rounded code as he has given us in the "Galateo."

The "Galateo," then, is a summary of the refined manners of the later Renaissance. For centuries such books had been written, but out of them, and from the practices of his own age, Della Casa attempted to select the essential details, and to develop, for the first time, a norm of social conduct,—in a book, above all, that should be a work of art, and should conform to all the graces and elegancies of Tuscan speech. The details are subordinated to a philosophy of manners, which is lightly sketched, on the assumption that subtle reasoning would be unintelligible to the youthful auditor to whom the precepts are theoretically addressed, but which has an importance of its own, as characteristic of the attitude of a whole epoch. When Della Casa calls good manners "a virtue, or something closely akin to virtue," he is making a mere concession to the ideals of his day. The moralists of the later Renaissance, or Catholic Reaction, felt it necessary to defend every social practice on the ground of its real or imaginary relation to virtue, as the only thing which can ever justify anything to a moralist. So the sixteenth century theorists of "honour" called honour a form of virtue; those who argued about the nature of true nobility made it to consist of virtue (a theory, indeed, as old as Menander and Juvenal); just as the moralists of the Middle Ages had justified "love" by calling it a virtue, too.

For Della Casa, however, the real foundation of good manners is to be found in the desire to please. This desire is the aim or end of all manners, teaching us alike to follow what pleases others and to avoid what displeases them. This is a far cry from virtue,