Landscape and figure painters of America . in ^ wherever it was found. In this sphere it Italy. continued to excel, but never again, from the Vol. m. . chap. i. days of the early Renaissance, has it been J* A* Sy~ able to express the ideas that dominated the monds. 1 world at any time, as Giotto and his followersrepresented the religious and social aspira-tions of their day. From the beginning of this new life in artthere are traces of interest in landscape paint-ing, but until the commencement of the seven-teenth century it was treated as a subordinatematter. It was used mainly as an accessor
Landscape and figure painters of America . in ^ wherever it was found. In this sphere it Italy. continued to excel, but never again, from the Vol. m. . chap. i. days of the early Renaissance, has it been J* A* Sy~ able to express the ideas that dominated the monds. 1 world at any time, as Giotto and his followersrepresented the religious and social aspira-tions of their day. From the beginning of this new life in artthere are traces of interest in landscape paint-ing, but until the commencement of the seven-teenth century it was treated as a subordinatematter. It was used mainly as an accessoryof figure painting, for which it made a con-venient background. But it was mostly con-ventional work, and very seldom was thereany attempt to treat nature for its own sake. Still very charming are many of the earliertranscriptions of nature, such as the delicatelyand sincerely painted landscape in Hubert1380-1440. and Jan Van Eycks masterpiece, TheAdoration of the Lamb (see Plate 2), with itsgreen meadow, decked with flowers, its trees. Plate IV. — Madonna del Cardellino. Raphael. A BRIEF HISTORY 9 and far-off hills; or the scenery of Memlincs1 »i43°-i495- Reliquary of St. Ursula or Durers2 quaint 2I47I_I528. and symbolic version of the country in which the Knight on Horseback is placed. Very fine also are the backgrounds painted by Perugino and Pinturicchio (see Plate 3) and the somewhat sad landscapes of Raphael,3 with 3I483-i52o. their beautiful drawing of grass, flower, and tree in every detail. (See Plate 4.) But it is the Venetian school that makesthe nearest approach to modern ideas. Thelittle vistas of country in Bellinis4 work are , and Giorgione5 painted a lovely of nature, in which the Sleeping Venusreposes, in his picture in the Dresden and Tintoretto7 continue the work of , and reach the highest point, up 7l5I9-l594-to their time, in depicting nature. Titiansearly life was passed in the Ca
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