Vecellio's Renaissance Costume Book: All 500 Woodcut Illustrations from the Famous Sixteenth-Century Compendium of World Costume (Dover Pictorial Archive Series) (Paperback)

The collaborative effort of Halloween costume experts and enthusiasts Bridie Clark and Ashley Dodd, The Halloween Handbook: Dress-Up For Grown-Ups showcases 447 imaginative, easy-to-make, do-it-yourself costume concepts. From traditional favorites such as Wonder Woman or Peter Pan, to more eyebrow-raising unique costumes like the One-Night Stand (the costumegoer appears as an actual stand with lampshade over the head, bra and pantyhouse dangling on the tablecloth) or the Green Card (wearing a large green sandwich board humorously displaying a parody what a real green card looks like). Black-and-white photographs illustrate fun, zany, sometimes edgy ideas with practical suggestions to efficiently and frugally make a Halloween guise to remember. Especially recommended not only for Halloween, but as a source of ideas for costume parties year round or even school and community theater apparel.

Reviews:

While this book is fascinating as a means of seeing how dress was perceived, and as a primary resource (as the woodcuts are not modern), the costumer should keep in mind that these drawings are not always accurate, esp. regarding details. Many of the woodcuts have minor mistakes, some are gross misrepresentations of costumes Vecellio had no knowledge of. An interesting resource for the historian, but don't use this for costuming ideas unless you either don't care for accuracy or know enough to sift the false from the true.

I bought this book with the expectation that it would cover all of Renaissance Europe and not just the usual area of focus for this subject (i.e. Elizabethan England). However, to my disappointment at least half the book concentrated on Italian costuming, which in retrospect is to be expected, since the author was Italian! The author definitely focuses on middle to upper-class clothing and will not be helpful to someone who may be looking for lower class clothing.

However, in general, the woodcuts are exquisite and the organization is very easy to use. It is certainly a 'must have' for anyone looking for historical pictures of Renaissance period clothing, written by someone who was a contemporary of the time.

Authentic Everyday Dress of the Renaissance : All 154 Plates from the "Trachtenbuch" (Paperback)

Book Description

Classic costume book of the 16th century depicts dress of Europeans (especially Spanish) of all classes. Special section on Aztec Indians brought to Spain by Cortes and sketched from life there by Weiditz. All 154 original plates have been meticulously reproduced, complete with English captions. Indispensable resource for costume and cultural historians—anyone interested in how life was lived in the mid-16th century. Notes on plates.

Language Notes
Text: English (translation)
Original Language: German

Review: Plate images are great

This book, in it's large size format and the wonderful colour pictures is a must for any costumer or medievalist. The images inspire you to make the clothing then find a horse and go parading down cobbled streets. Aaah, we can but dream

Review: Bird's Eye View of Early 16th Century Clothing

This is a basic book for those interested in history of costume in the late 15th and early 16th centuries. These are drawings of the clothing of the time made by an artist of the time. A range of people from a wide variety of walks of life and professions, as well as from many regions and countries, are presented. Gives an idea of what ordinary people wore, those who couldn't afford to have their portraits painted.

Review: Late-medieval traveller's sketchbook

This book is a selection of illustrations from the 'Trachtenbuch.' This is a good source of ideas for late medieval/early renaissance costumers. The illustrations are "sketchbook" quality. The author seems to have travelled extensively and sketched the people of the cities that he visited. Costumers may find it difficult to translate the sketches into actual articles of clothing.



Midwest Book Review
Medieval Costumes In England And France is a carefully researched volume offering costume aficionados and enthusiasts of the medieval period a meticulously detailed and splendidly illustrated study of clothing worn in the Middle Ages. Lucidly written accounts of the style and construction of costumes worn in the 13th, 14th and 15th centuries are followed by accurate descriptions and illustrations of royal raiment, elaborate ecclesiastical dress and vestments, academic and legal robes, as well as civilian dress for all classes. Mary Houston is a noted costume historian who brings her special expertise to discussions of accessories and such related subjects as ornaments, jewelry, armor, textiles, embroidery and hair-dressing. The 350 black & white line illustrations are taken from contemporary books, manuscripts, pictorial and sculptural representations. Medieval Costumes In England And France provides superbly documented information that is both clearly and succinctly presented in the text. Medieval Costumes In England And France is a "must have" reference for theatrical costume designers, members of organizations like "The Society for Creative Anachronism", science fiction & fantasy conventions, Madrigal performances, or even halloween parties and costume balls!

Book Description
Carefully researched, meticulously detailed account of the style and construction of period costumes. Includes descriptions and illustrations of royal apparel, elaborate ecclesiastical dress and vestments, academic and legal garments and civilian dress of all classes. Also discusses jewelry, armor, textiles, embroidery and hairdressing.

Review: Makes me want to sew even more!!!

I use this book as a refrence for all of my hopelades and Surcotes, and several of my men's things. I love this book!!

Review: Great book for beginning researchers!
Absolutely love this book. Though it is simple, I feel it's one of the essential clothing books if you're doing recreations. The layouts are great, the explanations well-done, and there are easy-to-follow diagrams for patterns. Documentation in the form of illuminated manuscripts and rubbings from funerary monuments, etc, also are VERY helpful. Personally, I don't make a single thing without consulting this book at least once!

Review: Useful and unusual points of wiev, for all studies of dress,
Easy to understand and with material suited for reenactors or makers of theatrical costume, the writer shows a sincerity for research in costume history that also makes this work suitable as a complementary book for serious studies. Illustrated with linedrawings and diagrams of construction. The diagrams are mostly based on conjecture and reconstruction work, as preserwed items of clothing from this period is extremely rare. Also shows armour and heraldry. Normally i dissaprove of illustations that are drawn after an original instead of reproducing them, but as the book was first printed in 1939, when photographic illustarations was a technical and economical luxury, and the writer gives the exact sources of the originals for the drawings, this book is an exeption for me. Normally I'm also sceptical towards reconstructions, but the writer is so straightforward about the fact that they are reconstructions, and by giving not only the result but the process of reasoning that leed to them, she gives the reader an opportunity to agre or dissagre with her. Personaly I'm inclined to agree with her reasoning as to how garments may have been constructed and why it looked and was done in that way.As an example she points out that techniques to bee considered must be wieved not from our present position but bee based on what was done in the preceeding period. What is a reasonable change? One may wish for a rewrite with all this sincerety and clear reasoning applied to more recent research material but untill that has been doone this is the book that provides many unusual and useful points of view on the subject.

Review: a must for historical writers or costumer
This book is a wonderful reference book for historical writers, SCA people or costumers. It covers three centuries of England and France during the Middle Ages, and has over 350 illustrations. Describes the styles, patterns for construction of medieval dress for all classes. also, goes into adornments such as jewelry and hairdressing. The book, as well,covers armour and the materials of the period.
This is an absolute must for anyone wanting to know what they wore, what it was made of, and the various evolving of styles.

Review: Very useful for medieval recreationists
It's a cheap book, but a USEFUL book. I focus on medieval costuming, and this was a good primer for me. Granted, for more detail you should refer to more focused books and primary/secondary resources... I've had this book for a couple of years now, and I still refer to it periodically when deciding on a new headress or dress to re-create.

Review: Truly useful

As this book focuses on only 3 centuries it can be quite detailed. The patterns could be more detailed but are a great starting point. The sections on religious garb is unusual and a great help as are the sections on fabric patterns from surving garments and fragments. A great book to have.

Houston's book seems to be an excellent overview of the costume of the late medieval period. While it doesn't delve much into the actual construction of the clothing (i.e. patterns, stitching, etc.), it's quite good at giving a solid visual representation of the changes that occurred during these centuries, and as such I think it's a great starting point for study.

As other reviewers have mentioned, the illustrations in here are redrawn from primary sources, so serious students of costuming will want to look at the primary sources whenever possible. Most will also need to seek out other sources to find better information on the construction of the clothing as well. But even so, this book is so inexpensively priced that I can't find too much to quibble about. Anyone, especially beginners, can buy it as an introduction and then move on to more detailed sources later.

Review: a useful resource, but not the best
In short, one of the only things I truly enjoyed about this book was the apparent use/artistic copy of actual woodcuts and pictures to display to the reader what the garb of the period looked like.

Review: A good place to start
While this book may be a good place to start, it shouldn't be your only source. It includes no photos of primary sources, but instead only modern drawings of various sources. The "patterns" are highly simplified and are the author's guess as to a plausible construction of the garments, rather than a Janet Arnold-style examination of extant pieces. Take these "patterns" with a large grain of salt! However, I did think the section describing religious vestments is detailed and informative, since I knew almost nothing about that subject.
Unfortunately, the section of this book covering the 15th century is much less detailed than those covering the 13th and 14th centuries, and only shows a few examples of the complicated and rapidly evolving fashions of that century, with no detailed "patterns". The fancy women's hats from the 15th century (which include the pointy and double-horned styles most people think of as "medieval") are only described briefly, with no actual construction information.

This book is fine as far as it goes, but anyone wanting to do historical costuming will need much more detailed and accurate information. In particular, look for books with photographs of the actual paintings, sculpture, or illuminated manuscripts that show the clothing. Be careful when using books that only show a modern artist's rendering, as this one does.

Review: Excellent reference; a "must-have" for costumers!

Don't let the tiny price fool you! This slim volume is worth its weight in gold for anyone seeking to study and/or replicate period costume. Clothing for the common folk, royalty and the clergy are meticulously examined and discussed. The only lack is any discussion of undergarments, the book focusing only on tunics, surcoats, cloaks, shoes and head coverings. We are left to wonder what sort of leggings, stockings, drawers, petticoats, corsets or chemises they might have worn.
It is easy to follow the development of line and cut through the centuries. Many detailed line drawings, along with some coloured plates give a good indication of details of construction and trim. It is easy to create patterns of any size from these drawings. Many drawings of the effigies of deceased monarchs and their consorts give an especially typical illustration of their favoured clothing. We can assume that the folk of their period followed their royalty's tastes during the reign and for some time afterward.

There is a very good section on embroideried trims and fabrics, and some treatment of jewelry as well. The head coverings for women are especially well covered. Armor and chain mail, and some weaponry are well discussed and illustrated.

A particularly interesting point is that the reigns of the monarchs of England, France and Germany are presented in table form for each century, complete w/ dates. Having this information compiled in this fashion is invaluable when one needs to be very accurate in construction of period garb, and may have not much more to go on than the name of the monarch of the time.

Review: A Fount of Information!
This is a great book for anyone interested in the clothing of this period. It's an easy read, and there's lots of patterns printed, in addition to pictures of people wearing the fashions. It allows you to see clearly the progression of fashion from 1200 to 1500.

Review: Must-have for costumers
This book is a necessary addition to the library of anyone who is reproducing costumes from cotehardies to houpelandes. The references are sometimes difficult to follow; however, the costumes are cross-referenced to easily follow the developments of fashion during the Gothic and early-Renaissance periods. It also contains pattern layouts and piecing guides for some of the articles of clothing.

Renaissance - from Wikipedia
All text is available under the terms of the GNU Free Documentation License

For other uses, see Renaissance (disambiguation).

Raphael was famous for depicting illustrious figures of the Classical past with the features of his Renaissance contemporaries. School of Athens (above) is perhaps the most extended study in this.In the traditional view, the Renaissance was understood as an historical age that followed the Middle Ages and preceded the Reformation, spanning roughly the 14th through the 16th century.

The Italian Renaissance of the 15th century represented a reconnection of the west with classical antiquity, the absorption of knowledge (particularly mathematics), a focus on the importance of living well in the present (Renaissance humanism), and an explosion of the dissemination of knowledge brought on by the advent of printing. In addition, the creation of new techniques in art, poetry, and architecture led in turn to a radical change in the style and substance of the arts and letters. The Italian Renaissance was often labeled as the beginning of the "modern" epoch.

Present day historians are skeptical about excessive claims for the modernity of the Renaissance, viewing the Renaissance as a cultural program or movement based on humanism and the classics rather than an entire historical age. The alternative views about this concept are discussed below.

Contents
1 Historiography
1.1 Multiple Renaissances
1.2 Critical views
2 Early Renaissance
3 Italian Renaissance
3.1 Causes
3.2 Fourteenth century Italy
4 The Renaissance Spreads
5 See also
6 References
7 Further reading
8 External links

Historiography
The term Renaissance (rebirth, Rinascimento in Italian), as used to indicate the flourishing of artistic and scientific activities beginning in Italy in the mid 1300s, first appears in the Vite, published in 1550 by Italian artist Giorgio Vasari. It is the French word for the Italian rinascita, used by French historian Jules Michelet, and expanded upon by Swiss historian Jacob Burckhardt (both in the 1860s). Rebirth refers to both a rediscovery of ancient classical texts and learning, and to the widespread revitalization of European culture resulting from the application of this classical knowledge in the arts and sciences. Thus Renaissance can refer to this rebirth of classical learning and knowledge or to the ensuing rebirth of European culture.

Multiple Renaissances

Leonardo da Vinci's Vitruvian Man, an example of the blend of art and science during the Renaissance.During the last quarter of the 20th century many scholars took the view that the Italian Renaissance was perhaps only one of many such movements. This is in large part due to the work of historians like Charles H. Haskins (1870–1937), who made a convincing case for a "Renaissance of the 12th century," as well as by historians arguing for a "Carolingian Renaissance" in the eighth and ninth centuries. Both of these concepts are now widely accepted by the scholarly community at large; as a result, the present trend among historians is to discuss each so-called renaissance in more particular terms, e.g., the Italian Renaissance, the English Renaissance, etc. This terminology is particularly useful because it eliminates the need for fitting "The Renaissance" into a chronology that previously held that it was preceded by the Middle Ages and followed by the Reformation, which many believe to be inaccurate. The entire period is now often replaced by the term "Early Modern". (See periodisation, Lumpers and splitters)

Other periods of cultural rebirth have also been termed a "renaissance"; such as the Harlem Renaissance or the San Francisco Renaissance. These are not considered in this article, which will concentrate on the European Renaissance linking the Middle Ages to the Modern Age.

Critical views
Note: This section needs more citations and references.
Since the inception of the term Renaissance in the 19th century, historians have differed in their interpretations of its meaning. Many historians now view the Renaissance as more of an intellectual and ideological change than a substantive one. Marxist historians, for example, hold the view that the changes in art, literature, and philosophy affected only a tiny minority of the very wealthy and powerful, leaving the lives of the great mass of the European population unchanged.

Many historians now point out that most of the negative social factors popularly associated with the "medieval" period - poverty, ignorance, warfare, religious and political persecution, and so forth - seem to have actually worsened in this era which saw the rise of Machiavelli, the Wars of Religion, the corrupt Borgia Popes, and the intensified witch-hunts of the 16th century. Many people who lived during the Renaissance did not view it as the "golden age" imagined by certain 19th century authors, but were concerned by these social maladies. Significantly, though, the artists, writers, and patrons involved in the cultural movements in question believed they were living in a new era that was a clean break from the Middle Ages.

Johan Huizinga (1872–1945) acknowledged the existence of the Renaissance but questioned whether it was a positive change. In his book The Waning of the Middle Ages, he argued that the Renaissance was a period of decline from the High Middle Ages, destroying much that was important. The Latin language, for instance, had evolved greatly from the classical period and was still a living language used in the church and elsewhere. The Renaissance obsession with classical purity halted its natural evolution and saw Latin revert to its classical form. Robert S. Lopez has contended that it was a period of deep economic recession. Meanwhile George Sarton and Lynn Thorndike have both argued that scientific progress was slowed.

Historians have begun to consider the word Renaissance as unnecessarily loaded, implying an unambiguously positive rebirth from the supposedly more primitive Middle Ages. Many historians now prefer to use the term "early modern" for this period, a more neutral term that highlights the period as a transitional one that led to the modern world.

Early Renaissance
The Renaissance has no set starting point or place; it happened gradually in different places at different times. Likewise, there is not a definite date or place marking the end of the Middle Ages. The start of the Renaissance is almost universally ascribed to Central Italy, however, especially the city of Florence. The poet Dante Alighieri (1265–1321)is often considered the first writer to embody the spirit of the Renaissance.

Petrarch (1304–1374) concluded that the height of human accomplishment had been reached in the Roman Empire and the subsequent ages were a period of social rot which he labeled the Dark Ages. He saw history as consisting of social, artistic and literary advancement, not as a series of religious events. Rebirth meant the rediscovery of ancient Roman and Greek Latin heritage through ancient manuscripts and the humanist method of learning. These new ideas from the past (called the "new learning" at the time) triggered the coming advancements in art, science and other areas.

Another possible starting point for the Renaissance would be the fall of Constantinople to the Turks in 1453. It was a turning point in warfare as cannon and gunpowder became a central element. In addition, Byzantine-Greek scholars fled west to Rome bringing renewed energy and interest in the Greek and Roman heritage, and it perhaps represented the end of the old religious order in Europe.

Throughout the 15th century, artists studied the natural world in order to perfect their understanding of such subjects as anatomy and perspective. Among the many great artists of this period were Sandro Botticelli, Domenico Ghirlandaio, Paolo Uccello and Piero della Francesca. There was a related advancement of Gothic Art centered in Germany and the Netherlands, known as the Northern Renaissance. The Early Renaissance was succeeded by the mature High Renaissance around the year 1500.

Italian Renaissance
Main article: Italian Renaissance
The Italian Renaissance was intertwined with the intellectual movement known as Renaissance humanism and with the fiercely independent and combative urban societies of the city-states of central and northern Italy in the 13th to 16th centuries. Florence, Italy was the birthplace of the Renaissance for several reasons.

The first two or three decades of the 15th century saw the emergence of a rare cultural efflorescence, particularly in Florence. This 'Florentine Enlightenment' (Holmes) was a major achievement. It was a classical, classicising culture which sought to live up to the republican ideals of Athens and Rome. Sculptors used Roman models and classical themes. This society had a new relationship with its classical past. It felt it owned it and revived it. Florentines felt akin to 1st century BC republican Rome. Rucellai wrote that he belonged to a great age; Leonardo Bruni's Panegyric to the City of Florence expresses similar sentiments. There was a genuine appreciation of the plastic arts—pagan idols and statuary—with nudity and expressions of human dignity. Painting took huge leaps forward in development from the works of Giotto through Fra Angelico, Masaccio, Masolino, Piero della Francesca and many others.

A political map of the Italian Peninsula circa 1494.A similar parallel movement was also occurring in the arts in the early 15th century in Florence—an avant-garde, classicising movement. Many of the same people were involved; there was a close community of people involved in both movements. Valla said that, as they revived Latin, so was Latin architecture revived, for example Palazzo Rucellai built by Leone Battista Alberti. Of Brunelleschi, he felt that he was the greatest architect since Roman times.

Sculpture was also revived, in many cases before the other arts. There was a very obvious classicism about contemporary sculpture, and highly true to life figures were being sculpted. Often biblically-themed sculpture and paintings included recognizable Florentines. Mention should be made of the competition to sculpt bas-relief bronze panels for the baptistery in Florence. The winner of the competition was Ghiberti, whose naturalistically and elegantly expressive work won over Brunelleschi's entry. Brunelleschi went on to give up sculpture and become one of the world's most significant architects, designing the Duomo of Florence.

The nascent philosophy of nominalism also played a part, and can be demonstrated by the attention to detail in the observation of nature expressed in many paintings of the time.

Classicism was applied both to literature and art. In many city-republics there was a small clique with a camaraderie and rivalry produced by a very small elite. Alberti felt that he had played a major part, as had Brunelleschi, Masaccio.The list of artists who contributed to the flowering of Italian art at this period is long and varied, and must also include Gentile de Fabriano, Fra Angelico, Lorenzo da Monaco, Fra Filippo Lippi, Masolino, Giovanni di Paolo and many more. Alberti admitted he had no explanation of why it happened.

Causes
There are several possible explanations for the emergence of the Renaissance in Florence:

The Medici family
One of the oldest explanations is that patronage of the Medici allowed for the advancement of artwork, especially under Lorenzo. This in turn led to the Renaissance. Unfortunately, this explanation fails to fit chronologically. The start of the Renaissance can be dated around 1410 to 1420, prior to the Medici's rise to power.

The Great Man argument
This theory argues that Donatello, Brunelleschi, Leonardo da Vinci, and Michelangelo were just geniuses. This is a circular argument which fails to explain the circumstances which differentiated these particular geniuses from those before or after.
The rise of individualism theory
This is a similar argument that argues for a change from collective neutrality towards the lonely genius.

The Black Plague theory
In the 14th Century, it is estimated that one-third of the people in Europe died of the plague, the Black Death; about 20 million deaths out of an estimated population of 70 million. The plague was indiscriminate: it affected kings and serfs, priests and peasants, the pious and the sinful. One’s fervent Christian beliefs, or the payment of indulgences, or confession, or anything else, provided no protection from it. In this theory, it was this event which caused the Christian worldview to wobble very badly, and led to people think more about life rather than the afterlife. This, together with the invention of the printing press by Gutenberg (1450s) and the wide dissemination of humanistic philosopies from the Greco-Roman era - Aristotle in particular, but also Plato (and so Socrates), Epicurus, Cicero, Seneca and others - created the intellectual climate which both fostered the emergence of Humanism, the interest in man and the here and now.

Fourteenth century Italy
In 1300, Florence had a civic culture, with people like Latini who had a sense of classical values, though different from the values of the fifteenth century. Villani also had a sense of the city as daughter and creature of Rome.

The 1380s saw several classicising groups, including monks and citizens. There was a gradual build-up rather than a big bang. Apart from the elites there was already an audience for the Renaissance. Florence was a very literate audience, already self-conscious and aware of its city and place in the political landscape.

The crucial people in the fourteenth and fifteenth century were

Manuel Chrysoloras: increased interest in the grammar of ancient architecture (1395)
Niccoli: a major influence on the perception of the classics.
Their teachings reached the upper classes between 1410 and 1420 and it is argued that this is when the new consciousness emerged. Brucker noticed this new consciousness in council debates around 1410; there are increased classical references.

Florence experienced not just one but many crises; Milan, Lucca, the Ciompi. The sense of crisis was over by 1415 and there was a new confidence, a triumphant experience of being a republic.

Between the years 1413-1423 there was an economic boom. The upper class had the financial means to support scholarship. Gombrich says there was a sense of ratifying yourself to the ancient world, leading to a snobbishness and an elite view of education, and a tendency for the rich wanting to proclaim their ascendancy over the poor and over other cities.

The early Renaissance was an act of collaboration. Artisans and artists were enmeshed in the networks of their city. Committees were usually responsible for buildings. There were collaborations between patricians and artisans without which the Renaissance could not have occurred. Thus it makes sense to adopt a civic theory of the Renaissance rather than a great man theory.

The Renaissance Spreads
Main article: Northern Renaissance

The Arnolfini Portrait, by Jan van Eyck, painted 1434
Town hall in PoznanThe Renaissance spread north out of Italy being adapted and modified as it moved. It arrived in France, imported by King Charles VIII after his invasion of Italy. Francis I imported Italian art and artists, including Leonardo Da Vinci and at great expense he built ornate palaces. Writers such as François Rabelais, Pierre de Ronsard, Joachim du Bellay and Michel de Montaigne, painters such as Jean Clouet and musicians such as Jean Mouton also borrowed from the spirit of the Italian Renaissance.

Italians brought the new style to Poland and Hungary in the second half of the 15th century. After the marriage of Matthias Corvinus, king of Hungary and Beatrix of Naples in 1476 Buda became the first important artistic centre of the Renaissance north of the Alps. The most important humanists living in Matthias' court were Antonio Bonfini and Janus Pannonius. The Ottoman conquest of Hungary in 1526 put an abrupt end to the short-lived Hungarian Renaissance.

The first Italian humanist, who came to Poland in the middle 15th century was Filip Callimachus. Many Italian artists came with Bona Sforza of Milano to Poland, when she married Zygmunt I of Poland in 1518. The Polish Renaissance is the most Italian-like branch of the Renaissance outside of Italy. This was supported by strengthened (at least temporarily) monarchies in both areas and supported by newly established universities.

From France the spirit of the age spread to the Low Countries and Germany, and finally to England, Scandinavia, and Central Europe by the late 16th century. In these areas humanism became closely linked to the turmoil of the Protestant Reformation and the art and writing of the German Renaissance frequently reflected this dispute.

In England, the Elizabethan era marked the beginning of the English Renaissance. It saw writers such as William Shakespeare, Christopher Marlowe, John Milton, and Edmund Spenser, as well as great artists, architects (such as Inigo Jones) and composers such as Thomas Tallis, John Taverner, and William Byrd.

Early Renaissance arrived in the Iberian peninsula through the Mediterranean possessions of the Aragonese Crown and the city of Valencia. Early Iberian Renaissance writers include Ausiàs March, Joanot Martorell, Fernando de Rojas, Juan del Encina, Garcilaso de la Vega, Gil Vicente and Bernardim Ribeiro. Late Renaissance in Spain saw writers such as Miguel de Cervantes, Lope de Vega, Luis de Góngora and Tirso de Molina, artists such as El Greco and composers such as Tomás Luis de Victoria. In Portugal writers such as Sá de Miranda and Luís de Camões and artists such as Nuno Gonçalves appeared.

While Renaissance ideas were moving north from Italy, there was a simultaneous spread southward of innovation, particularly in music. The music of the 15th century Burgundian School defined the beginning of the Renaissance in that art; and the polyphony of the Netherlanders, as it moved with the musicians themselves into Italy, formed the core of what was the first true international style in music since the standardization of Gregorian Chant in the 9th century. The culmination of the Netherlandish school was in the music of the Italian composer, Palestrina. At the end of the 16th century Italy again became a center of musical innovation, with the development of the polychoral style of the Venetian School, which spread northward into Germany around 1600.

The paintings of the Italian Renaissance differed from those of the northern Renaissance in some ways. The Italian Renaissance did not only focus on religious figures but they also produced portraits of well-known figures of the day, and they also put religious figures in Greek or Roman backgrounds. During the Italian Renaissance, artists learned the rules of perspective which shows how far the object is by its size and made the paintings look three-dimensional. The artists also used shading to make objects look round and real. The Italian Renaissance artists studied human anatomy and drew from the models so it would be possible for them to sketch the human body more accurately than before. At first, northern Renaissance artist still focused on religious drawings, e.g. Albrecht Dürer who portrayed the religious upheaval of his age. Later on, Pieter Bruegel’s works influenced later artists to paint scenes of daily life rather than religious or classical themes. It was also during the northern Renaissance that Flemish brothers Hubert and Jan van Eyck perfected the oil painting technique, which enabled artists to produce strong colors and a hard surface that could survive for centuries.

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