Renaissance art movement emerged in the 1400s in Italy and lasted through to the 1600s. Renaissance introduced innovative techniques and styles to the fields of painting, sculpture, and architecture, marking a shift from the artistic norms of the Middle Ages. Artists of this era drew inspiration from ancient times while harnessing rapid developments in science and technology to create innovative artistic techniques, materials, and tools. As a result, the Renaissance departed from the predominantly religious themes of the Middle Ages, which was marked by immobile and highly stylized depictions. Renaissance painters created art that was more dynamic, expressive, and realistic. This art uplifted the human spirit and celebrated human accomplishments. It also portrayed the world with greater accuracy and reflected the increasing emphasis on individual freedom and the diminishing influence of the church.
The art of the Renaissance was based on the art of Classical antiquity, which was considered the most esteemed historical tradition. It modified this legacy by incorporating recent advancements in Northern European art and by utilizing current scientific knowledge. Renaissance art, encompassing various forms such as painting, sculpture, architecture, music, and literature, was shaped by a heightened appreciation for nature, a resurgence of classical knowledge, and a more individualistic perspective on humanity.
Medieval art encompasses a diverse range of artistic expressions and architectural styles that emerged during the Middle Ages, a period that lasted approximately from the decline of the Roman Empire in 476 A.D. to the early phases of the Renaissance in the 14th century, spanning roughly a thousand years. It is distinguished by the utilization of religious themes adorned with detailed religious patterns, symbolic incorporation of colors, and lavish utilization of valuable materials.
Medieval art was created in a variety of media, and it has been preserved in a significant number of works, including sculpture, illuminated manuscripts, stained glass, metalwork, and mosaics. These mediums have a higher survival rate than other media, such as fresco wall-paintings, work in precious metals, or textiles, including tapestry.
Art historians endeavor to categorize medieval art into significant periods and styles, frequently encountering challenges in the process. A widely recognized classification encompasses the subsequent stages of Early Christian art, Migration Period art, Byzantine art, Insular art, Pre-Romanesque, Romanesque art, and Gothic art, along with other more periods falling under these main styles. Medieval art spread across Western Europe, the Middle East, and Northern Europe
Renaissance vs. Medieval Art
Medieval and Renaissance art exhibit significant differences in various aspects, including the depiction of spatial depth, the proportions of human figures, the interactions between humans and their surroundings, and the rendering of three-dimensional objects. The variations in composition can be attributed directly to the disparities in the worldview of the two cultures. The differentiation between Medieval and Renaissance painting does not lie in the skill of perspective drawing; rather, both artistic movements had separate worldviews that required different approaches to visual representation.
Realism and Perspective
Realism in the arts refers to the deliberate effort to portray subject matter accurately, without any artificial or exaggerated components, and without relying on artistic conventions or fantastical features. Linear perspective employs mathematical principles to accurately depict spatial dimensions and depth in artistic representations. Renaissance artists prioritized the depiction of realistic settings, and they utilized linear perspective as a dependable technique to achieve this realism, so enhancing the appeal of their paintings.
Renaissance and Medieval paintings differ in their use of perspective and physical realism. Renaissance art attempted to achieve a level of realism that was lacking in most Medieval art-works. While early illustrations tend to be simplistic and follow a set pattern, including ornate backgrounds, the larger images from later times are typically elaborate and showcase expansive landscapes, interiors, or cityscapes in their backgrounds. The transition from depicting timeless ideals to depicting mundane and transient aspects of human life was a significant artistic development during the Renaissance (Panofsky, 1944).
Medieval visual art typically exhibits a flat and stylized aesthetic, in contrast to the physical realism found in classical art. Renaissance painting had vibrant colors as opposed to muted or dark hues in the Medieval era. Medieval paintings frequently employ a gloomy color palette, distorted three-dimensional representations of reality, and often depict human nature with less emphasis. On the other hand, Renaissance painters depict society and a diverse array of cultures. Artisans in the Medieval period primarily depicted religious and biblical scenes in their paintings. Due to their lesser emphasis on realism, they had minimal requirements for linear perspective. However, throughout the Renaissance, artists had a revived fascination with depicting figures, individuals, landscapes, and religious scenes in a manner that closely resembled reality.
This first image is a medieval painting created by an unidentified creator. In the foreground, a cluster of men can be seen enjoying in their supper. The group is seated around a table. Each of them is adorned with traditional garments. Multiple structures may be observed in the backdrop. The sky is illuminated. The medieval artist has employed primary colors, specifically red, blue, and white. Minimalistic facial sketches convey a sense of emotional neutrality or uniformity of expression. The painting radiates a spiritual aura, seen in the artist’s depiction of a halo encircling the head of the individual in the corner. This painting lacks artistry, possibly due to the artist’s choice of colors. Examining this artwork provides the observer with a valuable understanding of the artistic style prevalent during the medieval period. The content is highly religious in tone and lacks the portrayal of human emotions.
The second image depicts The Last Supper (1495–1498) created by the renowned artist Leonardo Da Vinci. This artwork was created during the Renaissance period. This image depicts a gathering of individuals seated behind a huge rectangular table, engaged in the act of consuming their evening meal. They are dressed in attire that resembles the clothing worn in ancient Greece. Additionally, there is a picturesque mountain range visible in the distance via the window. The walls of this dining room are painted white on the right side and black on the left side. This image is replete with a multitude of emotions and dynamic movements. It appears that these individuals are disseminating false information and berating the one seated in the center of the table. The artist has employed a diverse array of colors, including deep black as well as vibrant shades of red, green, and blue. This image depicts a multitude of human experience, emotions, and conduct. The artist portrays all of those elements using a diverse range of colors, in a three-dimensional format, and with great vividness.
During the Renaissance, artists utilized light as a means to clearly depict their subjects, outline them, and enhance the overall realism of their artwork. Their pieces explore the strong contrasts between light and dark while adhering to strict limitations. Light not only provides illumination, but also enhances the clarity and detailing of the subject matter. Light, to a certain degree, had influence over the shapes of the subject matter. Anderson, (2006) describes Chiaroscuro, an artistic technique that involves the juxtaposition of light and dark, by showcasing an artist’s proficiency in manipulating shadows to produce a three-dimensional appearance in a painting. This effect gives the objects in the picture a more dramatic presentation.
Renaissance artists prioritized the advancement of novel techniques and artistic approaches to composition and aesthetic impact. These developments embraced the resurgence of fascination with ancient times, the establishment of perspective techniques, and the prioritization of architectural structures. Their goal was to produce art that adhered to accurate dimensions and closely mirrored reality. A notable characteristic of Renaissance painting is the advancement of linear perspective. Although Renaissance painters like Giotto attempted to employ perspective in their works before, the formalization of perspective as an artistic technique dates only to the Italian architect Filippo Brunelleschi, who illustrated its fundamentals, and the writings of Leon Battista Alberti, who discussed perspective and provided a perspective construction in his De Pictura in 1435.
To effectively utilize linear perspective, a painter must envision the canvas as a “open window” through which they perceive the subject of the painting. Within this open window, it is imperative to create straight lines to depict the boundary between earth and sky, partition the artwork with distinct parallel lines, and establish a fixed focal point where parallel lines converge. The vanishing point is typically positioned in close proximity to the midpoint of the horizon. At this juncture, it is imperative to delineate the “visual rays” that establish a connection between the observer’s eye and the distant point. The meeting of these lines with the horizontal lines on the canvas assisted artists in locating the prospective locations. Typically, an artist employs visual lines to align the boundaries of the walls and flooring.
The idea of the ideal city reached its final form, greatly influencing modern urban planning. The ideal Renaissance town was a harmonious, symmetrical community centered on a central square, like the one shown below
Medieval era painting exhibited a notable absence of perspective, whereby the scale of human figures was not decided by their placement within the picture, but rather by other considerations, such as their social standing. The portrayal of humans and their environment was depicted in a manner that did not accurately reflect reality, as it was limited to two dimensions. However, in the early Renaissance, artists such as Masaccio from Florence started employing perspective techniques to provide a sense of depth and direct attention towards significant characters or objects.
In Annunciation 1344, from the medieval period, the use of linear perspective does not exhibit any noticeable improvement until the introduction of isometric and oblique projection, whereby the concept was extended from the objects within a space to the space itself. This occurred due to the necessity for more persuasive and intricate scenery to effectively trick the eye on a larger scale, as shown in art history and the field of scenography.
Fashion
While clothes for the average man did not always alter dramatically, paintings and tapestries are depicting the large sums of resources spent on apparel for those who could afford it.
Given the long duration of the Middle Ages, people during this period commonly wore voluminous clothing, using large amounts of fabric to demonstrate wealth. The color of an individual’s attire frequently indicated their social standing, while lavish embellishments like fur trim and needlework implied their wealth. Men exhibited a preference for pleating and lengthy coats, but women displayed a preference for flowing dresses adorned with ornate headpieces. Both during the Romanesque period and the Gothic period, there were a lot of Psalters and Books of Hours with elaborate illuminations. Psalters were the books that were typically possessed by affluent individuals who were not part of the clergy. They were frequently utilized for the purpose of instructing children in the art of reading.
Renaissance fashion was unique, particularly among the upper classes, who preferred garments made from opulent materials and with dramatic designs. Depending on the country, Renaissance implemented strict sumptuary rules that regulated the clothing choices of individuals based on their social rank. Corsets, also known as ‘pair of bodies,’ crafted from silk were an essential requirement, irrespective of one’s gender. Upon observing the image depicted above, it is evident that the garments were not tightly fastened. Although the higher class often utilized boning for support, the lower class, who engaged in laborious work, could not afford such rigid materials. The garment was rigidly stiffened using starch. While ladies frequently wore broad skirts and cinched waistlines, males preferred wearing tights to show off their well-shaped ankles and tightly fitted doublets or jerkins. The French style was highly regarded for its vast popularity, characterized by necklines with elegant curves and crown-like hoods with rounded shapes, as opposed to towering chapeaus.
Religion
In the early Medieval era, there was surprisingly greater diversity in religion contrary to popular belief, . Pagan beliefs and rituals were still observed in many locations, but they were frequently mixed with the Christian influences sweeping the country. It got to the point where a large number of people who could have identified as “Christians” were not recognized as such by any recognized church at the time. Rural communities were home to a large concentration of Jewish intellectuals and merchants, and as trade routes developed and the Crusades continued, Muslims and Christians interacted frequently—though not always at the point of a sword. Despite the orthodox church’s efforts to eliminate and condemn these behaviors, they frequently found favor among the populace who were under the oppressive influence of the Catholic church.
Religion continued to play a significant role in daily life during the Renaissance, despite the fact that the country was home to the center of Roman Catholicism—Italy, in particular. A significant proportion of Renaissance art portrayed biblical scenes or was commissioned by the church. The focus on naturalism positioned characters such as Christ and the Madonna not against a grandiose golden the background, as was common in medieval times, but inside sceneries derived from the observable world.
During the Renaissance, the Catholic church was invincible, with archbishops assuming prominent positions in the chambers of government. Bishops, typically hailing from aristocratic and noble lineages, frequently assumed leadership of a diocese, thereby wielding significant authority over the region. Their authority was not unqualified, despite its strength. The number of individuals who were learning to read and write increased, and with this increase in literacy came a rise in cultural values. The emergence of Humanism challenged the credibility of the church’s doctrines by highlighting the significance of the person and the inherent worth of human beings.
Art Material and Medium
Medieval artwork primarily encompassed prominent mediums such as illuminated manuscripts, mosaics, frescoes, panel paintings, metals, and textiles, which artists utilized extensively to convey their artistic expressions. The utilization of gold leaf on the background regions offered a dual message: its inherent purity and value symbolized religious devotion, while its presence served as a reminder of the physicality of the painted surface or image plane. As the Bible gained significance in people’s lives, symbolism became increasingly vital, resulting in more stylized works. Since most people were illiterate, stories had to be presented to them in a way that made sense visually. There was a lack of comprehension regarding perspective, resulting in a visually uninteresting and somewhat unsettling appearance, resembling the uncanny valley. The use of vibrant colors and expensive materials, which aimed to excite the audience, often detracted attention from this aspect.
Renaissance artists were highly skilled in utilizing a diverse array of drawing and painting tools and materials, ranging from inks, pens, brushes, different types of paper, panels, gesso, water, oil and glue-based binders, and much more. Each tool was specifically designed for a particular purpose, making the artist’s choice of tool crucial to the success of their work. In a turn to more individualistic expression. they expanded their use of materials and techniques, including oil painting on canvas, fresco painting, and sculpture in marble and bronze. The development of new pigments and painting techniques allowed for greater richness and depth of color in Renaissance artworks.
During the Quattrocento period in Italy, colors, grounds, varnishes, and other materials were typically produced within the artist’s workshop itself. The responsibility of mixing colors, applying gesso, and performing other manual tasks often fell to apprentices or assistants (garzone), while the artist, who had previously been an apprentice themselves and had acquired an extensive understanding of all processes, methods, tools, and materials within the bottega, oversaw and directed the production process.
The Renaissance masters’ remarkable results were a result of their deep understanding of these processes, methods, tools, and materials, extensive hands-on experience under a master-artist, as well as their study of anatomy, perspective, optics, and history of ancient Roman art. Their expertise and knowledge of these fundamentals allowed them to achieve extraordinary levels of skill and produce works of art that continue to inspire and awe to this day.
Renaissance vs. Medieval Architecture
Late medieval architecture was characterized by Gothic architecture’s high spires, which austerely pointed to heaven. Cathedrals were the most renowned architectural achievements of the High Middle Ages. The immense structures, which could take a hundred years to construct and necessitate the efforts of a whole community, were distinguished by expansive areas and striking illumination that evoked a sense of paradise. However, throughout the Renaissance period, designers like Filippo Brunelleschi integrated ancient Grecian and Roman art concepts into the building of that time. These structures, constructed with mathematical proportions, perspective, and classical reasoning, were designed to convey a sense of order and reason. They were built using human-scale measurements, further emphasizing their connection to the natural world.
Symmetry and Proportion
Proportions played a significant role in establishing architectural forms throughout the Middle Ages. Their main advantage was that a design could be simply enlarged without requiring mathematical computations, based on ratios of width to breadth or breadth to height. Preliminary sketches can be employed to establish the fundamental concepts of a design before being scaled up to full size. Only a single modular measurement needs to be defined for the building, employing basic ratios to determine the proportionate relationships between its component sections. Medieval designers employed two types of proportional systems: modular and geometrical. Modular proportions were established using whole numbers or integers, while geometrical proportions were generated from geometric operations.
Medieval design practices relied on the principles of compass and ruler geometry, without considering rational and irrational proportions. Medieval art often featured bold themes and intricate arrangements that were derived from very basic and natural geometric shapes, primarily circles and straight lines, and had limited functional systems. Architects utilize light as a means to achieve increased interior heights, aiming for maximum uninterrupted vertical space. The integration of vertical soaring and basic geometric configurations resulted in a building structure that is visually striking and aesthetically pleasing.
The arches that delineate the naves of these cathedrals exhibit precise modulation and geometric coherence. A single glance reveals the recurring shapes and proportionate dimensions that are appropriate for a vast and substantial structure. On the ground floor, there is a spacious arcade consisting of substantial piers or columns. The piers possibly contained debris instead of being constructed from solid, sculpted stone. Located above this arcade is an upper level consisting of smaller arches, frequently arranged in pairs with a column positioned between them. The subsequent higher level exhibited a corresponding decrease in size, resulting in a logical reduction of structural components as the overall weight of the building decreased.
The ornamentation is frequently characterized by minimalism, employing geometric forms instead of floral or curvilinear patterns. Typical shapes utilized include diapers, which are square or diamond-shaped figures, and chevrons, which are patterns and shapes with a zigzag design. Additionally, simple circular shapes were employed, mirroring the semi-circular form of the omnipresent arches.
Renaissance architecture incorporated a greater utilization of Roman and Greek architectural styles compared to Medieval architecture (Ballard, 2022). Renaissance artists prioritized the classical concepts of beauty, which were grounded in the principles of proportion and symmetry. Additionally, geometry was included in the design, resulting in numerous building layouts that featured symmetrical squares.
The Maria Laach abbey in Germany serves as a notable illustration of the Holy Roman Empire’s effort to assimilate aspects of Roman culture, given its status as the heir to the Roman Empire.
The golden mean, a proportion that fascinated Renaissance artists, was also employed by ancient Greeks in both art and architecture. The golden mean, commonly observed in nature as the form of a leaf or the spiral of a shell, is believed to contribute to the harmonious arrangement of buildings and other structures.
The Golden Mean is present in the placement of the Mona Lisa.
The humanists also employed the writings of Vitruvius, a Roman architect, as a guiding influence in their architectural ideas. Vitruvius praised the merits of proportion and symmetry in construction, clarifying how the human form exemplified the aesthetic appeal of proportion in the natural world.
Renaissance architects, particularly those in Italy, also visited the remains of old buildings to survey and study them, in order to understand how proportion and symmetry were implemented in actual constructions. These investigations yielded a novel architectural philosophy centered around aesthetics. The Gothic spires and embellishments, which symbolized an upward journey towards heaven, were substituted with graceful symmetry that showcased the intellectual prowess of humanity.
Classical Elements
Medieval design encompasses two primary architectural styles: Romanesque and Gothic. Pre-Romanesque medieval style is sometimes classified by historians as a distinct form that came before the Romanesque and Gothic periods. Medieval-style houses are distinguished by a central hall or hearth that is encompassed by areas designated for cooking and living. Medieval homes were structurally reinforced with wooden pillars and beams, and then filled with a diverse range of materials including clay, sod, straw, reed, and branches. Medieval churches were constructed with significant technological developments, like buttressing, vaulted arches, rounded arches, and sturdy walls, which sharply contrasted with other architectural styles.
Timber was utilized for all types of structures, including humble residences, agricultural buildings, and grand town houses and guildhalls. A Notable examples of such structure The Harmondsworth Barn, located in Middlesex, was constructed in 1426-7 and is considered one of the largest timber-framed barns ever erected in England. It is also regarded as one of the remarkable architectural achievements of its time.
The people of the Middle Ages aspired to replicate the architectural style of Ancient Rome, resulting in the emergence of the Romanesque movement. The Holy Roman Empire sought to absorb as much of Rome’s culture as possible when Rome fell, Germany’s Maria Laach Abbey serves as an excellent example.
Gothic art originated at a later time due to the inadequate structural stability of Romanesque architecture, which hindered the construction of tall structures. Gothic Cathedrals were renowned for their towering height. The Romanesque architecture included elongated Roman arches, which were reinforced with buttresses to bear the load of towering walls.
The Cathedral of Notre-Dame of Reims has a length of 149 meters and a height of 87 meters (with the bell tower). It is constructed in the form of a Latin cross.
The Gothic cultural trend remained prominent throughout the Late Middle Ages until the Renaissance emerged in Italy. By this juncture religious history, architecture had completely embraced the aesthetic of Ancient Rome, and a resurgence of ancient Greco-Roman culture defined the era.
Renaissance architecture used various ancient components such as domes, pilasters (rectangular columns), columns, lintels (a sort of beam), arches, and pediments (triangular gables) systematically and repetitively, taking influence from the classical era. Architects throughout the Renaissance had a newfound fascination with the architectural achievements of the classical era. They extensively studied well-preserved masterpieces like the Pantheon in Rome, which was constructed in the 2nd century AD.
While domes are prevalent in modern buildings, they were absent in medieval architecture and experienced a resurgence during the Renaissance. The optimal technique for constructing a dome was determined through an examination of classical writers such as Vitruvius.
The building of a dome relies heavily on the stability of the walls it is built upon, as domes lack their foundations. If the mathematically flawed method employed in constructing the walls lacks stability, the structure will succumb to the weight of the dome and collapse. Brunelleschi and Michelangelo are renowned for their Renaissance domes.
The focus was on the significant architectural styles of the past, namely the Doric, Ionic, and Corinthian periods of construction. These categories pertain to the form and embellishment of columns. Columns provide support for arches and other traditional architectural components such as architraves, principal horizontal supports, ornate friezes, and cornices.
Notable examples of Renaissance architectural masterpieces that had a global influence include St. Peter’s Basilica in Rome, the Tempietto of Rome, and the dome of Florence’s cathedral. Another prominent characteristic of Renaissance architecture is the abundant presence of illustrated texts dedicated to the subject, which played a crucial role in propagating ideas throughout Europe and beyond. The Renaissance style sometimes incorporated local customs in numerous nations and was subsequently confronted by the opulently ornamental Baroque style starting in the 17th century in other countries.
Air and light
Medieval architecture highlights both verticality and utilizes the transformational potential of light. They sought to create spacious and well-lit interiors by the use of large windows adorned with stained glass.Gothic cathedrals create radiant environments that generate a feeling of divine grandeur by including large stained glass windows and strategically placed clerestory windows.
The great west window of York Minster, which was glazed in 1338 by Master Richard Ketelbarn, features a heart-shaped pattern of tracery flowers together with depictions of bishops and saints.
Gothic architects aimed to uplift the human spirit and evoke a sense of reverence for the divine through the use of pointed arches, ribbed vaults, towering spires, and radiant stained glass. Presently, the enduring influence of Gothic architecture may be observed in the awe-inspiring cathedrals and churches throughout art world that still enchant visitors with their surreal splendor and profound spiritual significance.
The Gothic architectural style also featured lofty towers, pointed arches, and vaulted ceilings. During the Mannerist period, architects used the Palladian arch, which consisted of a tall semi-circular entrance at the top and two shorter square openings on either side. Windows serve the purpose of illuminating the interior of a building and, in the context of residential design, providing visual access to the surroundings. Stained glass is not a feature, however it is occasionally seen.
Romanesque used light to maximize the religious rite directing it through the constructive system to emphasise the ceremony and represent divinity – backlighting the altar at dawn, while focussing light towards it at dusk. In churches, the brightest part was situated in the altar, always oriented towards east. Therefore, the individual was attracted by this brightness and moved towards it. In this same way; we can observe a progressive change of direction of the light treatment, from a more central structure to a linear one.
Renaissance architects possessed a level of knowledge of light and shadow that was just as advanced as their grasp of music and acoustics. Artists and architects, such as Leonardo da Vinci, examined light in order to produce lifelike depictions. They comprehended the relationship between shadows and the definition of shapes, as well as the impact of reflections on colors. This knowledge influenced architecture, resulting in buildings that manipulated light and shadow to achieve depth and three-dimensionality.
Lead glass was invented by George Ravenscroft, an English glassmaker, in 1674. The incorporation of lead enhanced the optical characteristics of the glass and eased the process of hot forming. During the Renaissance period, lighthouses were equipped with integrated transparent windows.
While skylights eventually became a decorative element, its primary function remained the provision of light. The wooden frames lacked sufficient protection against rain or water infiltration.
The Florence Cathedral, also known as the Cathedral of Saint Mary of the Flower, is a notable illustration of a building that combines features of a Renaissance lighthouse and a dome.
Decorations
Renaissance architecture has a diverse range of ornamental features in its designs. The elegantly patterned floors complement the spacious ceilings. Renaissance-style flooring commonly showcases tilework adorned with detailed geometric motifs and a palette of natural, earth-toned colors. The neutral colors provide as an excellent background for the Renaissance artworks that embellish the walls.
Rusticated quoins are frequently used to highlight the corners of buildings. As seen in Florence’s Palazzo Medici Riccardi (1444–1460), basements and ground levels were frequently rusticated. The internal walls are meticulously plastered and finished with either lime wash or smooth neutral colors such as white, cream, or beige with hints of gold. In more formal settings, the interior surfaces are adorned with frescoes.
The most common embellishments in architecture are columns and pilasters, although arches, pediments (both blind and non-blind), and stringcourses are also commonly employed. The building façades feature distinct decorative elements that aid in distinguishing between single-story and two-story buildings.
Medieval architecture used intricate decorative elements. Gothic structures were embellished with ornate sculptures and decorations such as elaborate mouldings, detailed carvings, realistic statuary, decorative pinnacles or spires, and charming gargoyles. Vast amounts of sculptural decoration were also applied to column capitals, wall surfaces, and arches—which were occasionally flattened and cusped, or “ogee.”
The Decorated style emerged as a derivative of Gothic architecture, originating around 1290. Its name reflects the intricate stone tracery of its sometimes enormous windows. The enormous octagonal “lantern” of Ely Cathedral, which was constructed in 1322–1328 above the crossing and is subtly supported by massive timber struts, is one of the most remarkable examples of the Decorated style.
Frequently Asked Questions About Renaissance and Medieval Art Periods
What other Art Movements are similar to Medieval and Renaissance?
The Gothic and Baroque art movements are similar to Medieval and Renaissance art. Gothic art, emerging in the late Middle Ages, shares the religious and architectural focus of the Medieval period. Baroque art, which followed the Renaissance, extends its focus on realism and human emotion while adding dramatic intensity and movement.
Is Medieval the same as Middle Ages?
Yes, the terms “Medieval” and “Middle Ages” relate to the same historical era in Europe, roughly spanning from the fifth to the late fifteenth century. This era commenced following the decline of the Western Roman Empire and evolved into the Renaissance and the Age of Discovery.
Is Renaissance the same as the Enlightenment?
No, the Enlightenment and the Renaissance are two different historical eras. The Renaissance (14th–17th centuries) was characterized by an emphasis on humanism and the rediscovery of old Greek and Roman culture, as well as the resurrection of classical art, literature, and education. The goal of the Enlightenment (17th–19th centuries) was to develop knowledge and transform society via reason and empirical evidence. It placed a strong emphasis on reason, science, and intellectual exchange.
References
- Anderson, M. (2006). Amazing Leonardo da Vinci Inventions: You Can Build Yourself. Nomad Press.
- Panofsky, E. (1944). Renaissance and renascences. The Kenyon Review, 6(2), 201-236.
