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That this development was decisive for Panofsky's understanding of the Renaissance is barely mentioned in "Renaissance and Renascences," but it consumes a large portion of the later Renaissance and Renascences in Western Art; and he had established his interest in Renaissance perspective in his well-known essay of 1927, "Die Perspective als |symbolische Form '.
In "Renaissance and Renascences" he used a 1928 Lincoln for an analogy, although the same car lost its specificity in Renaissance and Renascences in Western Art.
In differentiating the Italian Renaissance from the Carolingian and the twelfth-century renascences, Panofsky argued that "the two mediaeval renascences were limited and transitory, the Italian |rinascimento del |antichita' was total and permanent.
In Renaissance and Renascences in Western Art he acknowledged that "a good case might be made for restricting the term |modern' to that |fourth period of history,' essentially distinguished from the Renaissance, which began about 1600 and seems to be drawing to a close right now.