The Renaissance which took place in the nineteenth century had the due reflections of each of its facets in the culture of the House of the Tagores. One remarkable trend of this renaissance had been religious reformation. Rammohan, a major apostle of this reawakening, had initiated a new religious movement- the Brahmo faith - which cast off the Hindu idolatry and superstitions and established anew the Upanishadic ethos and culture. There is a similarity between this new religious thought and the monotheistic foundations of the Protestant Faith of the European Renaissance. Debendranath indeed brought this new faith into his house.

Nationalism and the patriotism which had been the offshoots of this Renaissance had their direct impact on the culture of the Tagore House. The 'Hindu Mela' that was organised by Ganendranath Tagore in 1867 sought to promote patriotism as well as indigenous industry. Patriotic songs and poems would be recited here. The first patriotic composition by Rabindranath was indeed read out here.

The Renaissance evinced ever new harvests in fields like literature, music and arts and a most authentic picture of this efflorescence can be had on turning over the culture of the Tagore House. On one side, the literary journal Bharati, which continued for long as an enterprise by the House, came to be the very litter of seminal literary endeavours of the nineteenth century as well as the twentieth. On the other side, a Movement of Drama as an art-form outside the professional arena was shaping up around the stage set up at the Jorasanko premises. The House of the Tagores, on account of this, was successful in attaining an original style of theatrical art of its own. Thus Rabindranath emerged as the choicest actor and playwright of his age, and if one were to look for a peer of his in this it could be Jyotirindranath.

In the field of music too, both Rabindranath and Jyotirindranath went on making innovative experiments. Earlier Jyotirindranath and later Rabindranath exploited indigenous and foreign tunes alike to produce outstanding musical compositions. Even the womenfolk of the House joined them in this endeavour.

The House of the Tagores also had a remarkable role in the proliferation of the art of painting. Two of Rabindranath' s nephews, Gaganendranath and Abanindranath, ushered in a revolution in the world of painting. The new form of art in painting which emerged at the premises of the house earned the renown of 'The Bengal School'. Needless to say, it was Rabindranath who brought about the most remarkable innovations in the paintings of the house.

The nineteenth -century renaissance awakened not only the male psyche but also the psyche and sensibility of women. Enlightenment reached the interior of the House of the Tagores as well. Spread of education sparked off the movement of women' s liberty in the House and it was spearheaded by Jnyanadanandini Devi, wife of Satyendranath (son of Debendranath). Inspired by her husband she strode past the inner wings of the House and came out into the open. Swarnakumari Devi, a daughter of the House, came up with creative and literary writings just as Saraladevi Choudhurani got stirred up by patriotism and stood side by side with the menfolk. It was as it were a scene of an all- out and all- round effort, on the part of all the members of the House, at heralding in the modern era in Bengal. A complete and all-round vision of nationalism played the prime mover of their minds and it reflected itself in every aspect of their life-- dress and costumes, poetry, songs, visuals, drama, religion, and patriotism.