In retrospect, the clearest lesson of Panofsky's elegantly erudite lineup of medieval renascences
is that there were too many of them to be trumped by a so-called "real thing" at the end of the fifteenth century.
It was largely within the context of this American reformulation of the debate on the Renaissance that Panofsky published his famous Kenyon Review essay of 1944, "Renaissance and Renascences,"(13) originally intended as a contribution to the Renaissance symposium in the Journal of the History of Ideas.
He felt, nevertheless, that the medieval renascences were marked by a disjuncture of classical content and classical form.
Panofsky would use a heavily footnoted and more nuanced version of the article for the title essay of Renaissance and Renascences in Western Art in 1960.
Warburg's lecture on the Schifanoia frescoes was an important part of the prehistory of Panofsky's "Renaissance and Renascences," but Warburg had not ascribed to the Italian Renaissance the "historical perspective" on the classical past so important to Panofsky.