Exploring how we can reconceptualise the High Renaissance in a way that reflects how we research and teach today, this volume proposes new approaches to the art of the period. Contributors focus on Rome, the paradigmatic centre of the High Renaissance narrative, as they question notions of periodisation, reconsider the Renaissance relationship with classical antiquity, and ultimately reconfigure our understanding of 'high Renaissance style'.

Contents: Preface; Inventing the High Renaissance from Winckelmann to Wikipedia: an introductory essay, Jill Burke; Part I Vantage Points: Teaching (and thinking about) the High Renaissance, with some observations on its relationship to Classical Antiquity, Brian A. Curran; Figments and fragments: Julius II's Rome, Suzanne B. Butters; Humanists, historians and the fullness of time in Renaissance Rome, Kenneth Gouwens; Cellini's Roma, Gwendolyn Trottein; On the unity/disunity of the arts: Vasari (and others) on architecture, David Cast. Part II Making the High Renaissance: Classicism, Conflation and Culmination: Bramante and the origins of the 'High Renaissance', Christoph Luitpold Frommel; Classical mistranslations: the absence of a modular system in Calvo's De Architectura, Angeliki Pollali; Giuliano da Sangallo between Florentine Quattrocento and Roman High Renaissance, Sabine Frommel; Perugino, Raphael and the decoration of the Stanza dell'Incendio, Michael Bury; Forgery, faith and divine hierarchy after Lorenzo Valla, Meredith J. Gill; The conception and design of Michelangelo's Sistine Chapel ceiling: 'wishing to shed a little light upon the whole rather than mentioning the parts', David Hemsoll; Pope Clement VII and the decorum of medieval art, Sheryl E. Reiss; Bibliography; Index.

Jill Burke is Senior Lecturer in the History of Art at the University of Edinburgh, UK.