Would you define the title character of Christopher Marlowe's Doctor Faustus as a Renaissance man?

The title character of Christopher Marlowe's play
Doctor Faustus has often been called a "Renaissance man," and the
designation seems appropriate in number of different ways.  Those ways include the
following:

• He is, quite literally, a man living
  during the historical period commonly thought of as "the Renaissance" (that is, the
  sixteenth century, at least in England).


• He exemplifes
  the strong interest in classical literature and culture that was typical of that
  period.


• At the same time, he shows the influence of
  Christian ideas, which were also extremely important during that
  era.


• He exemplifies the greater social mobility common
  during that period. His parents were "base of stock" (Prologue, 10), but their son
  nevertheless rose to great social prominence and
  power.


• He exemplifies the growing importance of formal
  education and especially university training that was common during this time. He has
  been to a university and is extremely well educated (which makes his later foolish
  choices all the more difficult to understand).


• He is
  interested in, and even expert in, many different areas of learning -- a sense in which
  we still use the phrase "Renaissance man" today.


• He has
  the kind of high-flying aspirations that were typical of many people during the
  Renaissance -- a period (for instance) of enormous geographical
  exploration.


• He is a "Faustian man" in Oswald Spengler's
  sense: a man always striving for another achievement, never content with what he already
  has (although the achievements in this case seem ultimately
  trivial).


• His chief focus seems to be earthly rather than
  heavenly, although the main purpose of the play seems to be to check and warn against
  precisely the kinds of materialistic impulses that motivate
  Faustus.


• He is an "over-reacher," as was true of many
  people in the Renaissance. Therefore, almost the final words of the play warn us to
  

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. . . Regard his hellish
fall,

Whose fiendful fortune may exhort the
wise

Only to wonder at [that is, merely regard with wonder,
not actually perform] unlawful things.  (Epilogue,
4-6)