Italian Galateo: Origin, Rules and Current Validity

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El Italian Galateo It originated during the Renaissance, but it continues to influence how we sit at the table, how we speak to others, and even how we present ourselves in public. Although it may sound old-fashioned or stuffy, behind these rules lies a very current objective: to live together better, avoid unpleasant situations, and project a polished image without being ostentatious.

At the heart of it all is the idea that a true gentleman (and, by extension, anyone) must at all times be proper, pleasant, and well-mannered. And, above all, must not say, do, or even evoke anything that awakens unpleasant, indecent, or repulsive images in the listener. This balance between civility, humor, and practicality is what has made the Galateo a key text in the history of courtesy.

What is Italian galateo and who was Giovanni Della Casa

The term “galateo” In Italian, it has become synonymous with etiquette, good manners, and rules of coexistence, and it comes from a very specific little book: the “Galateo overo de' costumi”. This short treatise on behavior was written around the 1550s and was published posthumously in 1558 in Venice, at the height of the humanist movement.

His actor, Giovanni Della Casa (born in Borgo San Lorenzo in 1503 and died in Rome in 1556), was a prominent writer, author, and Catholic archbishop. In addition to his ecclesiastical career, he distinguished himself as a great Latinist and orator, and is best remembered for this manual of good manners, which enjoyed enormous success from the outset among the educated Italian elite.

Della Casa did not invent the genre: they already existed courtesy books and conduct manuals widely disseminated works, such as Baldassare Castiglione's "The Courtier," or the texts of Alessandro Piccolomini, Luigi Cornaro, or Stefano Guazzo, were also influential. But the lively tone, subtle irony, and attention to the petty miseries of daily life made "Galateo" stand out among them all.

The work is primarily aimed at affluent citizens who want to make a good impressionnot only to perfect courtiers in the palace. In contrast to the lofty and almost unattainable ideal of other treatises, here we find instructions on such prosaic things as not cutting one's nails in public, not picking one's teeth, or not talking about absurd dreams that only interest the person who had them.

Over time, the word galateo came to designate any in Italy protocol or etiquette manualWhile in other countries the treatises inspired by Della Casa took on proper names, without the term becoming so widespread as a neologism.

Historical context and evolution of the rules of civility

To understand the impact of Galateo, it must be placed in a a very long process of refining customs which, according to authors like Norbert Elias, forms part of the “civilization” of Europe. From the fall of the Roman Empire until the late Middle Ages, communal meals were quite chaotic and the boundaries between public and private were very blurred.

For centuries, even at noble tables, it was common sharing plates, glasses and utensils Out of sheer necessity: there were no individual serving dishes like today. People ate with their fingers, drank from the same vessel, and sipped directly from the communal source. In such a context, where everyone's mouth and hands touched the same food, it made even more sense to establish rules to avoid being repulsive or intrusive.

Even back in the time of Charlemagne There were attempts to bring order to table manners and etiquette, as a reaction to practices considered barbaric after the fragmentation of the Roman world. Later, medieval authors such as Pedro Alfonso (12th century) gave advice as specific as, if one had to spit during a meal, doing so discreetly and strategically, without soiling pews or common areas.

In the 13th century, the Seven Parts of Alfonso X the Wise They included very detailed passages on table manners: not talking while chewing, not filling your mouth so much that it seems you are going to choke, avoiding taking the bite with your whole hand so as not to look gluttonous, eating slowly so as not to get sick from indigestion, washing your hands before and after eating, not wiping on your clothes, not singing while eating because it looks like drunken joy, or not rushing to the common bowl as if you wanted all the food for yourself.

This normative spirit continued with Brunetto Latini, Bonvesin da la Riva, Francesc Eiximenis and many others, who in the 14th and 15th centuries continued to refine the guidelines of decorum. The 16th century, however, was especially fertile in this type of treatise, with works such as the aforementioned “De civilitate morum puerilium” by Erasmus of Rotterdam (1530), focused on the training of young people in good manners, especially at the table.

In that breeding ground emerges Della Casa's "Galateo," which becomes a Italian landmark and establishes, with a lot of common sense and a touch of humor, a good part of what we understand by education in society.

Galateo, politics and cultural prestige in Renaissance Europe

Historians emphasize that "Galateo" is not only a charming etiquette manual, but also a product of a delicate political momentBetween 1494 and 1559, the Italian peninsula was the scene of continuous wars and occupations by French, Spanish, and German armies. The Italian ruling classes, humiliated and shaken by foreign interference, devoted themselves to defining cultural ideals that distanced them from these "barbarians" of the north.

In this context, the reflection on the ideal language (Pietro Bembo's Tuscan project), the figure of the perfect cardinal, architectural models, and the ideal general are added to the treatises on the well-educated gentleman with impeccable manners. By defining with such precision how a "proper man" should dress, speak, sit, or joke, the Italian authors were sending an implicit message: "We are the ones who know best how to behave in Europe."

The “Galateo” also relies on a harmonious and simple morality inherited from Aristotle, particularly from the "Nicomachean Ethics" and his theory of the golden mean. Della Casa, like Erasmus, seeks to avoid extremes: neither rudeness nor ridiculous affectation, neither distant coldness nor invasive familiarity; it is about adjusting to the environment with grace and moderation.

In fact, Della Casa himself goes so far as to say that human beings should not limit themselves to doing good things, but execute them gracefullyThat grace would be the kind of brilliance that arises from the appropriate proportion and harmony between all the elements of an action: tone of voice, gestures, words, posture, chosen moment, and so on.

Critics like Giulio Ferroni have seen in "Galateo" a very restrictive ruleAlmost suffocating, based on caution, self-censorship, and a touch of hypocrisy, hostile to originality and gaffes. Other scholars, however, point out that the text reflects a modern way of understanding the individual within a network of relationships in which courtesy, self-control, and intercultural competence are fundamental.

Structure of the “Galateo” and reception throughout the centuries

Although it has been transmitted to us as a compact little book, the “Galateo” It was not born with the division into chapters that we know today. The Latin manuscript preserved in the Vatican (formerly Parraciani Ricci), with autograph corrections by Della Casa, lacks a title and numbered sections; it was later editors, such as Erasmus Gemini in the Venetian edition of 1558, who fixed many passages and variants.

The work was preceded by a short treatise in Latin, “Of offices inter tenuiores et potentiores amicos"(1546), where Della Casa already reflected on the obligations between friends of different social rank. In his time, Latin was still the language of the intellectual elites, and the author was reputed as one of the best prose writers and orators in that language."

Paradoxically, “Galateo” gained a certain reputation as a pedantic and ornate text because of its solemn opening with the archaic word “conciossiacosaché”. However, critics such as Giuseppe Baretti And poets of the stature of Giacomo Leopardi placed him almost on par with Machiavelli as a model of 16th-century Italian prose, describing it as one of the most elegant and "Attic" of its time.

Modern versions preserved that legacy: editions overseen by Emanuela Scarpa o Gennaro Barbarisi in Italy, and English translations such as those by RS Pine-Coffin, Konrad Eisenbichler and Kenneth R. Bartlett, or the much-cited one by MF Rusnak. All of them have contributed to the fact that “Galateo” continues to be studied as a key text in Renaissance culture.

Furthermore, the book has been read in relation to authors such as Dante and BoccaccioDella Casa frequently quotes or imitates these authors, especially when recreating a lively, narrative style reminiscent of the novels in the "Decameron." His comments on language, moreover, connect with the Tuscan ideal proposed by his friend Pietro Bembo during those same years.

Rules of conduct: from appearance to conversation

In the first chapters, Della Casa sets out the central idea: a gentleman must always be courteous, pleasant, and well-manneredIt may seem that modesty in dress or speech weighs less than magnanimity or constancy, but these small virtues are crucial to winning the appreciation of those around us.

One of the basic rules is no to provoke indecent images in the minds of others. This translates into avoiding scatological references, not explicitly alluding to physiological needs, and not highlighting, with gestures or comments, matters that social modesty prefers to conceal. For example, it's not appropriate to make it obvious that you've just come out of the bathroom, nor is it correct to blow your nose and then immediately start examining the handkerchief.

Similarly, the Galatian insists that one must to suppress the urge to spit, yawn, or pick at oneself Showing your teeth in public isn't just about not doing it, but about avoiding any gesture that reminds those around you of bodily functions that are considered private and potentially unpleasant.

Outward appearance matters: clothes must be appropriate to the social rank Following current customs, the aim is to be well-groomed and without excessive extravagance. The goal is to blend naturally into the surroundings, not to become the center of attention due to slovenliness or excessive luxury.

A key chapter is the one dedicated to the conversationDella Casa recommends discussing topics that interest most of those present, addressing everyone respectfully, and avoiding petty or vulgar arguments. It's best not to interrupt or hastily help the other person find the words, as this can be interpreted as impatience or disrespect.

It also advises against lengthening stories about dreams or anecdotes without substanceMost dreams, he says with a touch of malice, are quite idiotic and only entertain the person who had them. Generally, the rule is not to bore or upset anyone with topics that contribute nothing to the group's harmony.

The art of being in society: ceremonies, flattery, and movements

The Galateo dedicates part of its content to the presence at public events and ceremoniesIt discusses how to behave when receiving honors or participating in social rituals that involve formal greetings, courtesies, or gestures of respect. If honors are bestowed upon us, it is not a good idea to flatly reject them, as this could be interpreted as arrogance or disdain toward the one offering them.

At the same time, Della Casa distrusts the excessive flattery and of servility. Good manners demand sincere courtesy, not a string of empty flattery directed at those who wield power or wealth. The line is fine: it's about acknowledging merit without resorting to self-humiliation or falsehood.

Regarding the mode of movement, the author recommends avoiding both precipitation like apathyA gentleman shouldn't run as if he were escaping from something, but neither should he shuffle along. Moderation and a steady stride are part of that "good bearing" that inspires confidence and respect in others.

The final chapters emphasize that all actions must be taken with property and graceIt is not enough to simply follow the letter of the law; one must do so in a way that is agreeable to those around us and consistent with one's own character. Artificial rigidity is as inappropriate as complete negligence.

Galateo at the table: from disgusting to refined

Where “Galateo” becomes most graphic is in his rules on table conductMany of them are crystal clear. Several passages are dedicated to describing behaviors that generate disgust or discomfort, precisely to warn against them. The modern reader may smile, but the underlying logic still makes sense.

For example, criticism is leveled at someone who, when serving wine or food that others are going to eat, put your nose into the vessel To smell or "taste" and then give an opinion. Even if nothing falls on your nose, the mere idea is unpleasant. It's best if everyone only tastes what they themselves are going to drink or eat, without contaminating other people's food.

It is not correct to offer drinks in the same glass in which one has already drunk, except perhaps with very close friends or trusted servants. And it's also frowned upon to pass a pear or apple to someone else after having taken a bite: sharing is fine, but not with something one has already chewed.

Della Casa mocks those who eat “like pigs with their snouts in their food”Without lifting his head or moving his hands, his cheeks puffed out as if he were blowing on a bonfire. For him, that's not eating, but gorging. Good manners mean taking your meal calmly, chewing discreetly, and not turning the act of eating into a grotesque spectacle.

Another habit he condemns is that of those who, at festive gatherings, distinguish themselves by being especially scatologicalStirring up food and drinks, making unpleasant jokes about others' digestion, or boasting about being dirty as if it were a funny joke. Even if the group laughs, they end up being considered rude and filthy, which leaves a very bad impression in refined circles.

Even the servants who serve at the table are not exempt: they must not scratch their heads or any other part of their bodies in front of their masters, especially while they are eating; they must keep their hands visible, without hiding them in their laps or under their clothes, and keep them as clean so that no trace of dirt can be seenTheir behavior is part of the food spectacle and contributes to the feeling of order and cleanliness.

When fruits are roasted or bread is toasted Della Casa advises against cooking over hot coals. blow to remove the ashIt's better to gently shake the bowl or carefully remove any dirt. The same applies when serving broth that's too hot: blowing on your master's soup is impolite, especially if the person doing it isn't close enough to be disliked. Blowing on someone else's food, he says, is inconsiderate.

At the table, it's not advisable either. scratching at willIf spitting is unavoidable, it should be done discreetly and politely, remembering that there are cultures where spitting is rarely practiced, and in any case, one can always hold it in for a while. The idea is to avoid highlighting physiological acts that disrupt the meal.

It's recommended to avoid eating so eagerly that you hiccup or gasp, which is uncomfortable for those around you. Rubbing your teeth with your napkin or finger, rinsing your mouth, and spitting water out visibly are considered impolite. And, of course, you shouldn't leave the table with your food still wet. toothpick in the mouth or behind the ear, as if one were a bird carrying straw to the nest or a barber.

Leaning back at the table, stuffing oneself with food until one's cheeks are distorted, or gesticulating wildly to show how much one enjoyed the dish or wine are customs more typical of tavern owners and garrulous drinkers than of well-mannered people. Praising food is done with measurewithout turning it into a spectacle.

Another subtle issue is that of to invite insistently To someone already seated at the table: phrases like “you haven’t eaten anything this morning” or “eat some of this, otherwise it seems like you don’t like it at all” can make the guest feel self-conscious or pitied. Offering food from our plate directly to another's is only justified when there is a clear difference in rank that makes the gesture an honor; among equals, it can seem like an attempt to place oneself above them.

At the same time, it's not right reject abruptly What someone else offers us as a sign of courtesy, because it would be interpreted as contempt or reprimand. The middle ground, as is almost always the case in courtship, is key.

From the "Spanish Galateo" to other modern manuals

The impact of Galateo soon transcended Italian borders. In Spain, an adaptation was published in 1584, the “Spanish Galateo”Translated by Domingo de Becerra. This text, within the tradition of treatises on courtly etiquette of the time, differs from the original in that it is addressed not only to the courtier of the palace, but to any person who wants to follow rules of good daily conduct.

The work is organized into fifteen chapters of varying length and is presented as a A guide to raising a sibling The author himself mastered the art of being appreciated and loved by people. In addition to fragments translated almost verbatim from Della Casa's text, there are jokes, riddles, and even four complete chapters added by the adapter to make the content even more accessible to a wider audience.

The inclusion of the short novel is striking.History of the great Soldán“,” used as a practical example of how to tell a good story. This story achieved great popularity at the time, and shows the extent to which the Galateo, in its Spanish version, aspired to be more than just a list of rules: it wanted to entertain and teach at the same time.

During the 17th century, the Spanish Galateo of Lucas Gracián Dantisco It had a significant impact, influencing literature on conduct and courtesy. Later, during the Enlightenment, Lord Chesterfield's letters incorporated many of these principles of civility, and there is even a self-help manuscript by George Washington that shows the influence of Galateo.

In the English-speaking world, "Galateo" was translated into English as early as 1575 (Robert Peterson's version), so it could be found in bookstores. Shakespeare's LondonModern critics have pointed out that the humor and theatricality of the text help to understand certain comic resources of Shakespeare himself, always attentive to social forms, irony and the contrast between courtesy and rudeness.

In the United States, the first American edition of "Galateo" appeared in Baltimore in 1811, with a curious appendix about how to cut and serve meatwhich demonstrates the extent to which table etiquette remained a practical matter of the highest order.

From the Renaissance to today: good manners, femininity and everyday life

Over time, the concept of gallantry has been updated and reinterpreted. There were times when it was considered that the rules of good manners served primarily to confine women in an ornamental role, hiding his intelligence and ability behind a facade of delicacy, lineage, and impeccable behavior.

That model was heavily criticized in the 20th century, when many authors pointed out that women weren't obligated to hide their "brains" behind a pretty face or a prestigious surname. In Spanish, it was even explicitly stated that this scheme might have been valid in other eras, when women had to to hide their intelligence behind good manners and customs, but that was no longer acceptable in societies that aspired to equality.

At the same time, they have proliferated modern manuals They recover the term "galateo" to explain how to behave in daily life: from how to present yourself at a work meeting to what to say (and what to keep silent about) in a business meeting, including good manners on social networks or the appropriate way to choose words according to the context.

These contemporary books offer a journey through topics such as history of GalateoThe rules for being a polite diner, basic table manners, secrets to being a gentleman who appeals to women, or guidelines for being a well-respected "lady" in today's society. The tone is usually practical, promising to transform the reader into a sophisticated and well-mannered person, capable of moving with ease in any environment.

It also addresses curious topics, such as extravagant rules in different countries or the surprising rules the British royal family must follow. There are also chapters dedicated to how to be a good citizen, a respectable student, or a proper professional, as well as reflections on communication in the digital age, where good manners extend to emails, messages, and social media posts.

All of this demonstrates that, although the social context has changed completely since the 16th century, the underlying concern remains the same: avoid causing discomfort To others, show respect and project an image consistent with the environment. The specific way of doing so adapts, but the logic of Galateo remains very much alive.

The history of etiquette, from advice on not spitting on the table to manuals that teach how to behave in work meetings or on social media, reveals a historical constant: Societies need codes, more or less explicit, that allow sharing spaces without surprises, balancing individual freedom with the comfort of those around us; understanding this common thread helps to see the Italian galateo not as a dusty relic, but as a key piece of the history of coexistence and personal image.