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| General Introduction | |
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| Preface | |
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| List of Illustrations | |
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| Notes on the Cover | |
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| Introduction: Renaissance Questions | |
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| Issues and Interpretation | |
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| Europe United? | |
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| Historical Outlines | |
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| Artistic Continuities | |
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| Renaissance Past and Future | |
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| Thought and Context | |
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| Cities, Spaces and Institutions | |
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| The Piazza and Political Imagining | |
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| The Florentine Formula | |
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| Courtly Variations: The Example of Urbino | |
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| Dynasties, Nations and States: The French Example | |
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| Cities of God: Utopia, Geneva and Rome | |
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| The Domain of Taste | |
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| Education, Imitation and Creation | |
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| Book-Learning in the Renaissance | |
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| 'I do not adore Aristotle' | |
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| Platonic Possibilities: Ficino and Cusanus | |
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| Texts and Text-Books: Valla and Ramus | |
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| Reformation and the Renaissance Individual | |
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| The Limits of Humanism | |
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| Erasmus, Luther and St Ignatius | |
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| From Purgatory to Pyre: Conscience in the Middle Ages and Renaissance | |
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| Science, Art and Language: a Conclusion to Part One | |
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| Renaissance Rationality | |
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| Scientific Humanism and Religious Science | |
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| Leonardo, Van Eyck and Vesalius | |
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| The Crux of Language: Bruno and Montaigne | |
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| The Arts | |
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| The Figurative Arts | |
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| Competitive Eyes | |
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| Seeing in the Renaissance | |
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| Experimentation in Matter and Form | |
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| The Divine Artist | |
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| Movements in Mannerism | |
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| Lyric, Epic and Pastoral | |
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| Petrarchan Possibilities | |
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| The Lyric: Passion and Penitence | |
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| The Epic Imagination: Tasso, Camoes and Spenser | |
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| Pastoral Experimentation | |
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| Music | |
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| A Flemish Polyphony | |
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| Dufay and Josquin in Italy | |
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| Theory, Symbol and Passion | |
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| Words and Music in the Sixteenth Century | |
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| Prose Fiction and Theatre | |
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| The Popular Voice: Carnival and Boccaccio | |
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| Novelle and Plays: Framing Gossip | |
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| Rabelais, Cervantes and Textual Riot | |
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| Shakespeare the Critic | |
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| A Tragic Afterword | |
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| Bibliography | |
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| Index | |