In the Renaissance and Classicism - rhetoric is converted into a theory applicable to any artistic prose.
Strictly regulatory in nature-approved for the European rhetoric especially in Italy, where, thanks to a meeting of Latin scholars and popular Italian language, it is best to find the application of the theory of three styles. In the history of Italian rhetoric are prominent Bemba and Castiglione as stylists. Legislative direction is particularly strong in the Academy della Crusca, whose task is to guard the purity of language. In the works, for example, Sperone Speroni evident imitation of the techniques Gorge in antithesis, rhythmic structure of speech, the selection of concord, and the Florentine renaissance attitsizma Davantsati observed.
Only in the Renaissance again becoming known Kvintilian, whose works have been lost in the Middle Ages.
From Italy, this area is passed by France and other European countries. It creates a new classicism in rhetoric, which was the best expression in the talk of verbiage Fenelona. Any question, on the theory Fenelona, or prove to be (an ordinary style) or picture (middle), or carry (high). According to Cicero, speaking the word to be closer to the poetic, is not necessary, however, pile artificial decorations. We should all try to imitate the ancient; importantly - clear and consistent sense of speech and thought. Interesting information for the characterization of French rhetoric can be found in the history of the French Academy and other institutions, protecting the traditional rules.
Similarly, and the development of rhetoric in England and Germany during the XVIII century.