Reading: The Renaissance

Christopher Brooks

The Renaissance, meaning “rebirth,” was a period of innovation in culture, art, and learning that took place between the fourteenth and sixteenth centuries, starting in Italy and then spreading to various other parts of Europe. It produced a number of artists, scientists, and thinkers who are still household names today: Michelangelo, Leonardo Da Vinci, Donatello, Botticelli, and others. The Renaissance is justly famous for its achievements in art and learning, and even though some of its thinkers were somewhat conceited and off-base in dismissing the prior thousand years or so as being nothing but the “Dark Ages,” it is still the case that the Renaissance was enormously fruitful in terms of intellectual production and creation.

“The” Renaissance lasted from about 1300 – 1500. It ended in the early sixteenth century in that its northern Italian heartland declined in economic importance and the pace of change and progress in the arts and learning slowed, but in a very real sense the Renaissance never truly ended – its innovations and advances had already spread across much of Europe, and even though Italy itself lost its prominence, the patterns that began in Italy continued elsewhere. That was true not only of art, but of education, architecture, scholarship, and commercial practices.

The timing of the Renaissance coincided with some of the crises of the Middle Ages. The overlap in dates is explained by the fact that most of Europe remained resolutely “medieval” during the Renaissance’s heyday in Italy: the ways of life, forms of technology, and political structure of the Middle Ages did not suddenly change with the flowering of the Renaissance, not least because it took so long for the innovations of the Renaissance to spread beyond Italy. Likewise, in Italy itself, the lives of most people (especially outside of the major cities) were all but identical in 1500 to what they would have been centuries earlier.


Simply put, the background of the Renaissance was the prosperity of northern Italy. Italy did not face a major, ongoing series of wars like the Hundred Years’ War in France. It was hit hard by the plague, but no more so than most of the other regions of Europe. One unexpected “benefit” to Italy was actually the Babylonian Captivity and Great Western Schism: because the popes’ authority was so limited, the Italian cities found it easy to operate with little papal interference, and powerful Italian families often intervened directly in the election of popes when it suited their interests. Likewise, the other powers of Europe either could not or had no interest in troubling Italy: England and France were at war, the Holy Roman Empire was weak and fragmented, and Spain was not united until the late Renaissance period. In short, the crises of the Middle Ages actually benefited Italy, because they were centered elsewhere.

In this relatively stable social and political environment, Italy also enjoyed an advantage over much of the rest of Europe: it was far more urbanized. Because of its location as a crossroads between east and west, Italian cities were larger and there were simply more of them as compared to other kingdoms and regions of Europe, with the concomitant economic prosperity and sophistication associated with urban life. By 1300, northern Italy boasted twenty-three city-states with populations of 20,000 or more, each of which would have constituted an enormous metropolis by medieval standards.

Italian cities, clustered in the north, represented about 10% of Italy’s overall population. While that means that 90% of the population was either rural or lived in small towns, there was still a far greater concentration of urban dwellers in Italy than anywhere else in Europe. Among those cities were also several that boasted populations of over 100,000 by the fifteenth century, including Florence and Milan, which served as centers of banking, trade, and craftsmanship. Italian cities had large numbers of very productive craft guilds and workshops producing luxury goods that were highly desirable all over Europe.


Italy lay at the center of the lucrative trade between Europe and the Middle East, a status determined both by its geography and the role Italians had played in transporting goods and people during the crusading period. Along with the trade itself, it was in Italy that key mercantile practices emerged for the first time in Europe. From the Arab world, Italian merchants learned about and ultimately adopted a number of commercial practices and techniques that helped them (Italians) stay at the forefront of the European economy as a whole. For example, Italian accountants adopted double-entry bookkeeping (accounts payable and accounts receivable) and Italian merchants invented the commenda, a way of spreading out the risk associated with business ventures among several partners – an early form of insurance for expensive and risky commercial projects. Italian banks had agents all over Europe and provided reliable credit and bills of exchange, allowing merchants to travel around the entire Mediterranean region to trade without having to literally cart chests full of coins to pay for new wares.

One other noteworthy innovation first employed in Europe by Italians was the use of Arabic numerals instead of Roman numerals, since the former are so much easier to work with (e.g. imagine trying to do complicated multiplication or division using Roman numerals like “CLXVIII multiplied by XXXVIII,” meaning “168 multiplied by 38” in Arabic numerals…it was simply far easier to introduce errors in calculation using the former). Overall, Italian merchants, borrowing from their Arab and Turkic trading partners, pioneered efforts to rationalize and systematize business itself in order to make it more predictable and reliable.

Benefiting from the fragmentation of the Church during the era of the Babylonian Captivity and the Great Western Schism, Italian bankers also came to charge interest on loans, becoming the first Christians to defy the church’s ban on “usury” in an ongoing, regular fashion. The stigma associated with usury remained, but bankers (including the Medici family that came to completely dominate Florentine politics in the fifteenth century) became so wealthy that social and religious stigma alone was not enough to prevent the spread of the practice. This actually led to more anti-Semitism in Europe, since the one social role played by Jews that Christians had grudgingly tolerated – money-lending – was increasingly usurped by Christians.

Much of the prosperity of northern Italy was based on the trade ties (not just mercantile practices) Italy maintained with the Middle East, which by the fourteenth century meant both the remains of the Byzantine Empire in Constantinople as well as the Ottoman Turkish empire, the rising power in the east. From the Turks, Italians (especially the great mercantile empire controlled by Venice) bought precious cargo like spices, silks, porcelain, and coffee, in return for European woolens, crafts, and bullion. The Italians were also the go-betweens linking Asia and Europe by way of the Middle East: Italy was the European terminus of the Silk Road.

The Italian city-states were sites of manufacturing as well. Raw wool from England and Spain made its way to Italy to be processed into cloth, and Italian workshops produced luxury goods sought after everywhere else in Europe. Italian luxury goods were superior to those produced in the rest of Europe, and soon even Italian weapons were better-made. Italian farms were prosperous and, by the Renaissance period, produced a significant and ongoing surplus, feeding the growing cities.

One result of the prosperity generated by Italian mercantile success was the rise of a culture of conspicuous consumption. Both members of the nobility and rich non-nobles spent lavishly to display their wealth as well as their culture and learning. All of the famous Renaissance thinkers and artists were patronized by the rich, which was how the artists and scholars were able to concentrate on their work. In turn, patrons expected “their” artists to serve as symbols of cultural achievement that reflected well on the patron. The fluorescence of Renaissance art and learning was a consequence of that very specific use of wealth: mercantile and banking riches translated into social and political status through art, architecture, and scholarship.

Political Setting

Even though the western Roman Empire had fallen apart by 476 CE, the great cities of Italy survived in better shape than Roman cities elsewhere in the empire. Likewise, the feudal system had never taken as hold as strongly in Italy – there were lords and vassals, but especially in the cities there was a large and strong independent class of artisans and merchants who balked at subservience before lords, especially lords who did not live in the cities. Thus, by 1200, most Italian cities were politically independent of lords and came to dominate their respective hinterlands, serving as lords to “vassal” towns and villages for miles around.

Instead of kings and vassals, power was in the hands of the popoli grossi, literally meaning the “fat people,” but here meaning simply the rich, noble and non-noble alike. About 5% of the population in the richest cities was among them. The culture of the popoli grossi was rife with flattery, backstabbing, and politicking, since so much depended on personal connections. Since noble titles meant less, more depended on one’s family reputation, and the most important thing to the social elite was honor. Any perceived insult had to be met with retaliation, meaning there was a great deal of bloodshed between powerful families – Shakespeare’s famous play Romeo and Juliet is set in Renaissance Italy, featuring rival elite families locked in a blood feud over honor. There was no such thing as a police force, after all, just the guards of the rich and powerful and, usually, a city guard that answered to the city council. The latter was often controlled by powerful families on those councils, however, so both law enforcement and personal vendettas were generally carried out by private mercenaries.

Another aspect of the identify of the popoli grossi was that, despite their penchant for feuds, they required a peaceful political setting on a large scale in order for their commercial interests to prosper. Thus, they were often hesitant to embark on large-scale war in Italy itself.

Likewise, the focus on education and culture that translated directly into the creation of Renaissance art and scholarship was tied to the identity of the popoli grossi as people of peace: elsewhere in Europe noble identity was still very much associated with war, whereas the popoli grossi of Italy wanted to show off both their mastery of arms and their mastery of thought (along with their good taste).


Portrait of a young Cosimo de Medici, who would become the de facto ruler of Florence in the fifteenth century. He is depicted holding a book and wearing a sword: symbols of his learning and his authority.

The central irony of the prosperity of the Renaissance was that even in northern Italy, the vast majority of the population benefited only indirectly or not at all. While the lot of Italian peasants was not significantly worse than that of peasants elsewhere, poor townsfolk had to endure heavy taxes on basic foodstuffs that made it especially miserable to be poor in one of the richest places in Europe at the time. A significant percentage of the population of cities were “paupers,” the indigent and homeless who tried to scrape by as laborers or sought charity from the Church. Cities were especially vulnerable to epidemics as well, adding to the misery of urban life for the poor.


The starting point with studying the intellectual and artistic achievements of the Renaissance is recognizing what the word means: rebirth. But what was being reborn? The answer is the culture and ideas of classical Europe, namely ancient Greece and Rome. Renaissance thinkers and artists very consciously made the claim that they were reviving long-lost traditions from the classical world in areas as diverse as scholarship, poetry, architecture, and sculpture. The feeling among most Renaissance thinkers and artists was that the ancient Greeks and Romans had achieved truly incredible things, things that had not been, and possibly could never be, surpassed. Much of the Renaissance began as an attempt to mimic or copy Greek and Roman art and scholarship (correspondence in classical Latin, for example), but over the decades the more outstanding Renaissance thinkers struck out on new paths of their own – still inspired by the classics, but seeking to be creators in their own right as well.

Of the various themes of Renaissance thought, perhaps the most important was humanism, an ancient intellectual paradigm that emphasized both the beauty and the centrality of humankind in the universe. Humanists held that humankind was inherently rational, beautiful, and noble, rather than debased, wicked, or weak. They sought to celebrate the beauty of the human body in their art, of the human mind and human achievements in their scholarship, and of human society in the elegance of their architectural design. Humanism was, among other things, an optimistic attitude toward artistic and intellectual possibility that cited the achievements of the ancient world as proof that humankind was the crowning achievement of God’s creation.

Renaissance humanism was the root of some very modern notions of individuality, along with the idea that education ought to arrive at a well-rounded individual. The goal of education in the Renaissance was to realize as much of the human potential as possible with a robust education in diverse disciplines. This was a true, meaningful change over medieval forms of learning in that education’s major purpose was no longer believed to be the clarification of religious questions or better intellectual support for religious orthodoxy; the point of education was to create a more competent and well-rounded person instead.

Along with the idea of a well-rounded individual, Renaissance thinkers championed the idea of civic humanism: one’s moral and ethical standing was tied to devotion to one’s city. This was a Greek and Roman concept that the great Renaissance thinker Petrarch championed in particular. Here, the Medici of Florence are the ultimate example: there was a tremendous effort on the part of the rich and powerful to invest in the city in the form of building projects and art. This was tied to the prestige of the family, of course, but it was also a heartfelt dedication to one’s home, analogous to the present-day concept of patriotism.

Practically speaking, there was a shift in the practical business of education from medieval scholasticism, which focused on law, medicine, and theology, to disciplines related to business and politics. Princes and other elites wanted skilled bureaucrats to staff their merchant empires; they needed literate men with a knowledge of law and mathematics, even if they themselves were not merchants. City governments began educating children (girls and boys alike, at least in certain cities like Florence) directly, along with the role played by private tutors. These schools and tutors emphasized practical education: rhetoric, math, and history. Thus, one of the major effects of the Italian Renaissance was that this new form of education, usually referred to as “humanistic education” spread from Italy to the rest of Europe by the late fifteenth century. By the sixteenth century, a broad cross-section of European elites, including nobles, merchants, and priests, were educated in the humanistic tradition.

A “Renaissance man” (note that there were important women thinkers as well, but the term “Renaissance man” was used exclusively for men) was a man who cultivated classical virtues, which were not quite the same as Christian ones: understanding, benevolence, compassion, fortitude, judgment, eloquence, and honor, among others. Drawing from the work of thinkers like Socrates, Plato, Aristotle, Cicero, and Virgil, Renaissance thinkers came to support the idea of a virtuous life that was not the same thing as a specifically Christian virtuous life. And, importantly, it was possible to become a good person simply through studying the classics – all of the major figures of the Renaissance were Christians, but they insisted that one’s moral status could and should be shaped by emulation of the ancient virtues, combined with Christian piety. While the Renaissance case for the debasement of medieval culture was overstated (medieval intellectual life prospered during the late Middle Ages) there was definitely a distinct kind of intellectual courage and optimism that came out of the return to classical models over medieval ones during the Renaissance.

One important caveat must be included in discussing humanistic education, however. While most male humanists supported education for girls, they insisted that it was to be very different than that offered to boys. Girls were to read specific texts drawn from the Bible, the “Church Fathers” (important theologians in the early history of the Church), and from classical Greek and Roman writers that emphasized morality, modesty, and obedience. An educated girl was trained to be an obedient, companionable wife, not an independent thinker in her own right. That theme would remain in place in the male-dominated realm of education in Europe for centuries to come, although it is clear from the number of independent, intellectually courageous women writers throughout the early modern period that girls’ education did not always succeed in creating compliant, deferential women in the end.

Likewise, humanism contributed to an important, ongoing public debate that lasted for centuries: the querelles des femmes (“debates about women”). Between the fifteenth and seventeenth centuries various intellectuals in universities, churches, and aristocratic courts and salons wrote numerous essays and books contesting whether or not women were naturally immoral, weak, and foolish, or if instead education and environment could lead to intelligence and morality comparable with those of men. While men had dominated these debates early on, women educated in the humanist tradition joined in the querelles in earnest during the Renaissance, arguing both that education was key to elevating women’s competence and that women shared precisely the same spiritual and moral nature as did men. Unfortunately, while a significant minority of male thinkers came to agree, most remained adamant that women were biologically and spiritually inferior, destined for their traditional roles and ill-served by advanced education.

Christine de Pizan (1364 – 1430)

Christine de Pizan was the most famous and important woman thinker and writer of the Renaissance era. Her father, the court astrologer of the French king Charles V, was exceptional in that he felt it important that his daughter receive the same quality of education afforded to elite men at the time. She went on to become a famous poet and writer in her own right, being patronized (i.e. receiving commissions for her writing) by a wide variety of French and Italian nobles. Her best-known work was The Book of the City of Ladies, in which she attacked the then-universal idea that women were naturally unintelligent, sinful, and irrational; it was a key text in the querelles des femmes noted above. Instead, she argued, history provided a vast catalog of women who had been moral, pious, intelligent, and competent, and that it was men’s pride and the refusal of men to allow women to be properly educated that held women back. In many ways, the City of Ladies was the first truly feminist work in European history, and it is striking that she was supported by, and listened to by, elite men due to her obvious intellectual gifts despite their own deep-seated sexism.


In the illustration above, Christine de Pizan presents a copy of The City of Ladies to a French noblewoman, Margaret of Burgundy. The illustration itself is in the pre-Renaissance “Gothic” style, without linear perspective, despite its approximate date of 1475. This is one example of the relatively slow spread of Renaissance-inspired artistic innovations.

Art and Artists

Perhaps the most iconic aspect of the Renaissance as a whole is its tremendous artistic achievements – figures like Leonardo da Vinci and Michelangelo Buonarroti are household names in a way that Petrarch is not, despite the fact that Petrarch should be credited for creating the very concept of the Renaissance. The fame of Renaissance art is thanks to the incredible creativity of the great Renaissance artists themselves, who both imitated classical models of art and ultimately forged entirely new artistic paths of their own.

Medieval art (called “Gothic” after one of the Germanic tribes that had conquered the Roman Empire) had been unconcerned with realistic depictions of objects or people. Medieval paintings often presented things from several angles at once to the viewer and had no sense of three-dimensional perspective. Likewise, Gothic architecture tended to be bulky and overwhelming rather than refined and delicate; the great examples of Gothic architecture are undoubtedly the cathedrals built during the Middle Ages, often beautiful and inspiring but a far cry from the symmetrical, airy structures of ancient Greece and Rome.


Another example of Gothic art. The artist, Lorenzo Monaco, painted during the Renaissance period, but the work was created before linear perspective had replaced the “two-dimensional” style of Gothic painting.

In contrast, Renaissance artists studied and copied ancient frescoes and statues in an attempt to learn how to realistically depict people and objects.

This chapter has been derived with modifications from Chapter 3: The Renaissance  in Western Civilization: A Concise History.


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Reading: The Renaissance by Christopher Brooks is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License, except where otherwise noted.

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