Page:The Waning of the Middle Ages (1924).djvu/282

 With each attempt to draw a sharp line of demarcation between the Middle Ages and the Renaissance, this borderline has receded further and further backward. Ideas and forms which one had been accustomed to regard as characteristic of the Renaissance proved to have existed as early as the thirteenth century. Accordingly, the word Renaissance has been so much extended by some as to include even Saint Francis of Assisi. But the term, thus understood, loses its genuine meaning. On the other hand, the Renaissance, when studied without preconceived ideas, is found to be full of elements, which were characteristic of the medieval spirit in its full bloom. Thus it has become nearly impossible to keep up the antithesis, and yet we cannot do without it, because Middle Ages and Renaissance by the usage of half a century have become terms which call up before us, by means of a single word, the difference between two epochs, a difference which we feel to be essential, though hard to define, just as it is impossible to express the difference of taste between a strawberry and an apple.

To avoid the inconvenience inherent in the unsettled nature of the two terms Middle Ages and Renaissance, the safest way is to reduce them, as much as possible, to the meaning they originally had—for instance, not to speak of Renaissance in reference to Saint Francis of Assisi or the ogival style.

Nor should the art of Claus Sluter and the brothers Van Eyck be called Renaissance. Both in form and in idea it is a product of the waning Middle Ages. If certain historians of art have discovered Renaissance elements in it, it is because they have confounded, very wrongly, realism and