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