The Renaissance was a time of intellectual turmoil at the beginning of the modern era of European civilization. 

During this period, people changed the way they thought about art, science, religion, philosophy, and government. 

People even developed new standards for the way people should act. Bladassare Castiglione's "The Courtier" is 

widely known as an authority on the behavior of the ideal nobleman of the Renaissance. In addition, Castiglione 

also gives his description and purpose of the ideal female. However, many women refused to conform to 

Castiglione's image and made significant contributions to society, thereby attaining recognition and becoming 

leaders and role models for those who resisted the patriarchal gender values that characterized the modern 

world formed by the Renaissance. 

       First of all, Castiglione declares the ideal courtier should take up arms and handling of weapons as his primary

profession. Aside from that, he should be a bold, energetic, and faithful servant. He should strive to protect his 

reputation as such, for once his name is ever stained, it cannot be restored. Castiglione highly emphasizes education 

as essential for the ideal courtier, especially in the humanities. A man should also be able to speak Greek as well as 

Latin. He should be familiar with the writings of poets, orators, and historians, and able to produce his own poetry and 

prose. Castiglione claims the reward for these studies will be a bold self-confidence, but he cautions men to stay 

reserved and modest, not forward (Castiglione 1) 

       In addition to this description of the ideal man, Castiglione presents his version of the ideal woman. In his 

description of the ideal female, he claims she should be unlike men in general attitude. That is, females should 

possess a soft, delicate tenderness (Castiglione 1), as opposed to the strong, manly attitude of the courtier. He 

says, however, that education is as important to women as it is to men. Next, Castiglione unknowingly sparked 

a great controversy by stating, "in a Lady who lives at court, a certain pleasing affability is becoming above all else

whereby she will be able to entertain graciously every kind of man" (Castiglione 2). In short, while the education 

of men has a practical application, women are educated only so they can entertain men. 

Castiglione's presentation of the gender ideals most likely were created by the widespread sexism of the day.

Castiglione's opinion did not create the patriarchal attitude of the time; it only indicated the dominant values held 

by the Renaissance humanists. 

       The models held up by "The Courtier" may have been generally accepted, but many women stood in contrast 

to them. Caterina Sforza, for example, heroically contributed to her society. In fact, she not only contributed to her 

community; she defended it. When her husband, Girolamo Riario, was killed she defended his hereditary possession, 

Forli, first against his murderers, then against Cesare Borgia (Burckhardt 1). By leading that defense, she earned 

widespread respect and admiration from her contemporaries. 

       Similarly, Joan of Arc provided leadership that inspired her countrymen. Although her influence occurred 

before the appearance of "The Courtier," her actions display the heroic, adventurous spirit prevalent among women 

of the day. Among other accomplishments, Joan of Arc crowned Charles VI at Reims in 1429, which restored the 

monarchy in France. Eventually she inspired the French people to win the Hundred Years War over the English. 

Indeed, she ranks as one of the great heroes of France and of the world. (Esler, 249-250) 

       In addition to providing political leadership, women of the Renaissance also made significant contributions in 

the field of literature. Christine de Pizan used her extensive humanist education to benefit society. Her most famous 

work, The Book of the City of the Ladies, is a fictional account of a city inhabited by famous women of the past. As 

an account of a society of women running a city on their own the work is an antithesis to the sexist attitude of the 

day, as expressed by Castiglione. Pizan went on to use her writing to dispel other stereotypes of women at that 

time. ("Christine") 

       Vittoria Colonna is another of the best known female writers of the Renaissance. Colonna, educated according 

to Castiglione's model, went on to befriend a number of intellectuals of the day, including Michelangelo. She is best 

known for the volumes of poetry written in memory of her husband and is referred to by some as "immortal" 

(Antezana 1) 

       Also, a number of Renaissance women made significant artistic contributions. Sofonisba Anguissola was one 

of the most talented female artists of the period. Also highly educated and trained, her art work was praised by the 

great Michelangelo . Anguissola went on to become court painter to Queen Isabella of Spain (Zwanger 1). 

       Indeed, Castiglione's declaration that women should be relegated to a purely aesthetic role is an inarguably sexist 

statement. However, the point as to whether Renaissance females conformed to it is debatable. Both sides offer 

valid insights and examples of a reformed role of the female that appeared in the Renaissance. 

       One side of the argument claims that during the Renaissance, according to Castiglione's decree, women assumed 

a role which was devoid of any cultural or political value. Joan Kelly-Gadol summarizes this argument by stating, 

"The kind of economic and political power that supported the cultural activity of feudal noblewomen in the eleventh 

and twelfth centuries had no counterpart in Renaissance Italy." In short, "the exercise of political power by women 

was far more rare than under feudalism" (Kelly-Gadol 1) 

       Granted, women like Elisabetta Gonzaga seem to comply with the role prescribed by Castiglione. She had 

no interest in "unbecoming" activities like hunting or riding, which resulted in a lack of the sense of daring Caterina 

Sforza and Beatrice d'Este experienced (Kelly-Gadol 1). Indeed, one might interpret from her writing that she was 

docile and without spirit. 

       However, there are clear examples of women who found their way out of the sexual subordination assigned

by Castiglione who refused to conform to the idea. Perhaps Castiglione was not such an authority after all. Women 

like Caterina Sforza, Joan of Arc, Christine de Pizab, Vittoria Colonna, and Sofonisba Anguissa transcended the 

prevalent attitudes with a courage and talent which place them not only at the top of a list of great women of the 

Renaissance, but place them among the great historical figures of all time. 
 
 

Word count: 1063 
 
 
 
 

Sources cited: 

Antezana, Renee and Karin Larkin. "Vittoria Colonna," [http://sun5.vassar.edu/old_oclists/wmst22001/0055.html] accessed 31 August 1999. 

Burckhardt, Jacob. The Civilization of the Renaissance in Italy (New York, 1954), 292-296 [https://beret.stetson.edu/classes/hy10430/burckhardt.html] accessed 26 August 1999. 

Castiglione, Baldassare, "The Courtier,"  (1516) [https://beret.stetson.edu/classes/hy10430/castiglione.html] accessed 26 August 1999. 

"Christine de Pisan" Encyclopedia Britannica [http://search.eb.com/eb/article?eu=84609] accessed 26 August 1999. 

Esler, Anthony. The Human Venture (Upper Saddle River, NJ, 2000) 

Kelly-Gadol, Joan. "Did Women Have a Renaissance?" in Renate Bridenthal, Claudia Koonz, eds., Becoming Visible. Women in European History (Boston, 1977), 148-152 [https://beret.stetson.edu/classes/hy10430/kellygadol.html] accessed 31 August 1999. 

Zwanger, Meyrl. "Women and Art in the Renaissance," [http://www.columbia.edu/cu/sister/Renaissance.html] accessed 31 August 1999. 
 
 
 
 
 
 
 

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