A striking feature of fifteenth-century historiography is the manner in which accounts of political thought in this period have tended to follow two basically distinct courses. One group of historians has pursued the avenue of humanist political theory, primarily in Florence, running from Coluccio Salutati and Leonardo Bruni at the beginning of the fifteenth century down to Machiavelli at its end, tracing the rise and decline of the republican ideal, or myth, in Florentine politics and from there into the mainstream of Western political theory. Another group has concerned itself with conciliar theory in the Church, pursuing its development through the councils of Pisa, Constance, and Basel to its demise in the early sixteenth century. These historians, too, have connected conciliar thought to the broader course of Europe's political development.

Against a system of gender ideologies that defined a woman's social position and intellectual pursuits as private, devoted to domestic concerns and the moral welfare of her family, the emergency of the cortigiana onesta, the intellectual courtesan, dramatically calls into question the humanists’ injunction against women's public status and speech. How did Veronica Franco, the foremost example of the cortigiana onesta in sixteenth-century Italy, succeed in infiltrating the “academy of learned men“? Were any restrictions placed upon her professional activities when she vied with men for public recognition and literary commissions? How did social forces contain or compel the courtesan's cultivation of a literary identity in Venetian society? And finally, what were the maneuvers, both personal and professional, that the cortigiana onesta adopted when she obtained entrance into an elite literary circle and allied herself with powerful male patrons and intellectuals?

Architectural patronage in the late Quattrocento was a way of demonstrating status. In spite of the republican and unaristocratic rhetoric espoused by the Florentine ruling class, powerful families, like the Medici or Strozzi, sought to impress their compatriots with conspicuous displays of wealth. In the course of the fifteenth century, the attitude towards the manifestation of riches passed from a medieval and Christian contempt to a distinct appreciation of magnificence as a virtue and duty of the rich. This need to impress is nowhere more apparent than in the patronage of architecture—especially palace building.