The intellectual movement to which we apply the name Renaissance in its narrower sense [Footnote: In the more inclusive sense the Renaissance of course began in the time of Cimabue and Dante, but it was not till the latter half of the fifteenth century that it became a pervading force outside of Italy.] has many aspects. Whatever views we may happen to hold as to schools of painting and architecture, it is indisputable that a revolution was wrought by the work of Raphael and Leonardo, Michael Angelo and Titian, and the crowd of lesser great men who learned from them. The limitations imposed on Art by ecclesiastical conventions were deprived of their old rigour, and it was no longer sought to confine the painter to producing altar pieces and glorified or magnified missal-margins. The immediate tangible and visible results were however hardly to be found outside of Italy and the Low Countries; and if English domestic architecture took on a new face, it was the outcome rather of the social than the artistic change: since men wanted comfortable houses instead of fortresses to dwell in. The Renaissance in its creative artistic phase touched England directly hardly at all. On its literary side, the movement was not creative but scholarly and critical, though a great creative movement was its outcome. In the earlier period the name of Ariosto is an exception; but otherwise the greatest of the men of Letters are perhaps, in their several ways, Erasmus and Macchiavelli abroad and Thomas More in England. Scholars and students were doing an admirable work of which the world was much in need; displacing the schoolmen, overturning mediaeval authorities and conventions, reviving the knowledge of the mighty Greek Literature which for centuries had been buried in oblivion, introducing fresh standards of culture, spreading education, creating an entirely new intellectual atmosphere. An enormous impulse was given to the new influences by the very active encouragement which the princes of Europe, lay and ecclesiastical, extended to them, the nobility following in the wake of the princes. The best literary brains of the day however were largely absorbed by the religious movement. The great imaginative writers, unless we except Rabelais, appear in the latter half of the sixteenth century--Tasso and Camoens and Cervantes, [Footnote: _Don Quixote_ did not appear till 1605; but Cervantes was then nearly sixty.] Spenser and Marlowe and Shakespeare, as well as Montaigne. But even in the first half of the century, Copernicus enunciated the new theory that the Sun, not the Earth, is the centre of the astronomical system; and before the end of our period, the new methods had established themselves in the field of science, to be first formulated early in the new century by one who had already mastered and applied them, Francis Bacon. Essentially, the modern Scientific Method was the product of the Tudor Age. [Sidenote: The Reformation and the Counter-Reformation]