[6] According to Dr. Wilhelm Lübke, Outlines of the History of Art (Vol. II, p. 452), Patenier might almost be called the founder of the modern northern school of landscape painting. See also p. 575 in the same volume. On this subject see also Muther, Geschichte der Malerei, Vol. II, p. 72: "Although in a way it is possible to establish in what respect the painting of the Netherlands in the sixteenth century ran parallel with that of Italy, it is also necessary to emphasize the fact, on the other hand, that painting." Muther mentions Hendrik Met de Bles, Joachim de Patenier and Bosch as the leaders of this tendency.
[7] See W. H. Riehl, Culturstudien aus drei Jahrhunderten, p. 67.
[8] This use of the word sentimental in regard to the love of nature for its own sake, is not by any means unprecedented. Schiller, in his essay Ueber naive und sentimentale Dichtung, as an advocate in favour of the love in question, constantly refers to it as sentimental. (See 1838 Edition of Works, Vol. XII, pp. 167-281.)
[9] See W. R. Hardie, Lectures in Classical Subjects, pp. 16-17: "What are the scenes in Nature which had the greatest attraction for the ancients? The landscape which a Greek would choose for his environment was a tranquil one, a cultivated spot or a spot capable of cultivation;" and p. 21: "... apart from the work of one or two exceptional poets like Æschylus or Pindar, it must be allowed that the ancient view of Nature was somewhat prosaic and practical, showing a decided preference for fertile, habitable and accessible country."
[10] Some Aspects of Greek Genius, p. 252. See also his remarks, pp. 246-248, concluding thus: "The great period, indeed, of the Attic drama, when the dialectic movement of thought was in full operation, can hardly be called 'simple' in Schiller's sense" [he is quoting Schiller on "Simple and Sentimental Poetry," where in the opening paragraph Schiller applies the word naiv, simple, to a natural object, as meaning that state in which nature and art stand contrasted and the former shames the latter]; "yet even then, as in Homer, nature is but the background of the picture, the scene in which man's activity displays itself. The change of sentiment sets in only from the time of Alexander onwards. Nature is then sought for her own sake; artists and poets turn to her with disinterested love; her moods are lovingly noted, and she is brought into close relationship with man."
[11] Studies of the Greek Poets, Vol. II, p. 258.
[12] See Social Life in Greece (Mahaffy), p. 426, and What have the Greeks done for Modern Civilization? (Mahaffy, 1909), p. 11: "External nature was the very thing that the Greeks, all through their great history, felt less keenly than we should have expected. Their want of a sense of the picturesque has ever been cited as a notable defect." See also W. R. Hardie, Lectures on Classical Subjects (1903), p. 8: "To what extent do the modern feelings and fancies about Nature appear in the ancient poets?... The usual and substantially true answer is that they appear to a very slight extent. Like Whitehead, the Greek is slow to recognize 'a bliss that leans not to mankind.'"
[13] Culturstudien aus drei Jahrhunderten (2nd Edition, 1859), p. 63.
[14] See S. H. Butcher, Some Aspects of the Greek Genius, pp. 265, 266: "Mountains and lonely woods and angry seas, in all periods of Greek literature, so far from calling out a sublime sense of mystery and awe, raise images of terror and repulsion, of power divorced from beauty and alien to art. Homer, when for the moment he pauses to describe a place, chooses one in which the hand of man is visible; which he has reclaimed from the wild, made orderly, subdued to his own use. Up to the last days of Greek antiquity man has not yet learnt so to lose himself in the boundless life of Nature, as to find a contemplative pleasure in her wilder and more majestic scenes."