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| Introduction | |
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| The Gothic in the Renaissance | |
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| The Gothic in Printed Books | |
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| The Frontispiece of Rodez or the Aesthetic of the Disparate | |
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| Vitality of the Gothic | |
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| Gothic or Renaissance? Flamboyant Art | |
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| Nature and Function of Gothic Ornamentation | |
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| The Taste for Contrast | |
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| Italian Ornamentation | |
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| Variegated Designs: Gisors and Chaumont | |
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| Toward Synthesis: Saint Eustache in Paris and Mareil-en-France | |
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| Saint Etienne-du-Mont | |
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| Fontainebleau, Rosso, and the Galerie Francois I | |
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| The Chateau in the Renaissance | |
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| Fontainebleau: The King at Home at Last | |
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| Rosso Fiorentino | |
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| The Galerie Francois I | |
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| Stuccos and Frescoes: Techniques and Modes of Representation | |
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| Reading Problems | |
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| The Emblem | |
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| The Vienna Tapestry: A Duplicate of the Galerie? | |
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| Rosso in France | |
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| The Antique-Style of Classicism in the 1540s: Cellini, Serlio, and Primaticcio | |
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| Benvenuto Cellini: Goldsmith, Sculptor, and Adventurer | |
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| Serlio: Architect and Theorist | |
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| Primaticcio: His Career and Role at Fontainebleau | |
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| Primaticcio at the End of the Reign of Francois I (1540-47) | |
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| The Lessons of Fontainebleau | |
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| The Role of Prints | |
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| Original Printmakers | |
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| The Publication of Rosso and the Ornamental Style | |
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| The Popularization of Fontainebleau Ornament | |
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| Rosso, Designer of Objets d'Art | |
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| Luca Penni | |
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| Painting | |
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| Pierre Lescot, Jean Goujon, and the Louvre | |
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| The Louvre of the Renaissance and its Authors | |
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| The Jube at Saint Germain-l'Auxerrois | |
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| Goujon in Rouen | |
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| Pierre de Saint Quentin and the "Goujon Style" | |
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| Pierre Lescot | |
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| Goujon without Lescot | |
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| The Fontaine des Innocents | |
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| The Louvre as Architectural Decor | |
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| The Interior Decoration | |
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| The Ballroom | |
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| The Clouets | |
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| The Court Portrait | |
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| Lady in Her Bath: Portraiture with a Difference | |
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| Jean Cousin and Painting | |
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| Felibien and the Beginnings of Painting in France | |
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| Growth of the Legend and Nationalist History | |
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| Maurice Roy and Archival Documents | |
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| Jean Cousin and the "Primitives" | |
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| The Dearth of Sixteenth-Century French Painting | |
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| The Works and Style of Jean Cousin the Elder | |
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| Problems of Attribution | |
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| Like Father, Like Son? The Question of the Drawings | |
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| The Cousin Genre? | |
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| Jean Cousin and the Artistic Professions | |
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| Was Jean Cousin a Sculptor? Dead Stones Do Tell Tales... | |
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| Tapestry | |
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| Toiles Peintes: Painted Hangings | |
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| Stained Glass | |
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| Armor and Goldsmithing | |
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| Illustrated Books | |
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| Paris and the Provinces | |
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| Local Specialities | |
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| Innovation in the Provinces | |
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| Three Provincial Centers: Toulouse, Lyon, and Troyes | |
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| Langres, Jean Duvet, and the Cardinal of Givry | |
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| Sculpture and Death | |
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| The Renewal of Sculpture c. 1400 | |
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| Large-Scale Theatrical Sculpture | |
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| Tombs | |
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| The Tomb of Louis XII, a New Formula for the Royal Sepulcher | |
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| The Tomb of Francois I and the Work of Pierre Bontemps | |
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| The Tomb of Henri II--Germain Pilon | |
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| Ligier Richier | |
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| Death in the Garden | |
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| A Sense of National Identity--Philibert de L'Orme | |
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| Language as the Catalyst of National Awareness | |
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| Philibert de l'Orme, French Author-Architect | |
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| Early French Classicism | |
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| Notes | |
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| Bibliography | |
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| Index of Names | |
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| Topographical Index | |
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| Photographic Credits | |
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| Acknowledgments | |