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Patronage, in its broadest sense, has been established as one of the dominant social processes of pre-industrial Europe. While it has been traditionally viewed simply as the context for extraordinary artistic creativity, patronage has more recently been examined by historians and art historians alike as a comprehensive system of patron-client structures which permeated society and social relations. Focusing specifically on the city of Florence, these essays explore the new understanding of Renaissance Italy as a 'patronage society,' considering its implications for the study of art patronage and patron-client structures wherever they occur.