Libertine Venice

Today, we imagine the cicisbeo as a charming and slight figure: a ladies' man who walks around gallantly, always ready to court women.

But in the past that was not all. He is also a habitué of exclusive circles and aristocratic salons, where he moves casually between refined chatter and power games.

In the 18th century, however, his role became well-defined and official. The term in fact indicated the ‘cavalier servente’, i.e. a man who, with the husband's approval, had the task of accompanying and assisting a lady in all her daily activities.

A real role recognised by the society of the time, as the Dictionary of the Italian Language also confirms:

‘The cavalier servant, who, in accordance with a custom that developed in the 18th century, was responsible for keeping the lady company, with the husband's consent, to follow her and help her in all her acts’.

Parini in ‘Il Giorno’ and Goldoni in the comedies describe the cicisbei well: always beside the ladies, they followed them everywhere, even during the ‘toilette’, they accompanied them to the theatre, to parties, to salons. Confidants, companions and protective knights.

There were no limits, a lady could have more than one charioteer and, at the same time, a charioteer could devote himself to more than one noblewoman.

This figure fit perfectly into the society of the time, dominated by the cult of ‘sociability’ and ‘conversation’, where appearances and elegant entertainment were paramount.

Between the 18th and 19th centuries, the social life of the Italian aristocracy changed profoundly, and women played an increasingly central role in this transformation.

The Querini Stampalia also followed the fashion: Caterina Contarini had an official cicisbeo, Girolamo Lorenzo Giustinian, a nobleman of 1741. Their bond went beyond mere formal companionship, intertwining with family life and everyday life.