Turn from Dürer to Da Vinci, and you will find another note. Da Vinci was, as we shall see, a climber, and this gives the dominant note to his great study of storm and thunder among the peaks, to be seen at Windsor Castle. His mountain rambles have given him that feeling of worship, tempered by awe, which even the Climbers’ Guides have not banished. But this book is not a treatise on mountain Art--a fascinating subject; and we must content ourselves with the statement that painters of all ages have found in the mountains the love which is more powerful than fear. Those who doubt this may examine at leisure the mountain work of Brueghel, Titian, or Mantegna. There are many other witnesses. At the beginning of the sixteenth century, Hans Leu had looked upon the hills and found them good, and Altdorfer had shown not only a passionate enthusiasm for mountains, but a knowledge of their anatomy far ahead of his age. Wolf Huber, ten years his junior, carried on the torch, and passed it to Lautensack, who recaptured the peculiar note of German romance of which Dürer is the first and the greatest apostle. It would be easy to trace the apostolic succession to Segantini, and to prove that he is the heir to a tradition nearly six hundred years old. But enough has been said. We have adduced a few instances which bear upon the contention that, just as the mountains of the Middle Ages were much the same as the mountains of to-day, so also among the men of those times, as among the men of to-day, there were those who hated and those who loved the heights. No doubt the lovers of mountain scenery were in the minority; but they existed in far larger numbers than is sometimes supposed. CHAPTER II THE PIONEERS Within the compass of this book, we cannot narrate the history of Alpine passes, though the subject is intensely interesting, but we must not omit all mention of the great classic traverse of the Alps. We should read of Hannibal’s memorable journey not in Livy, nor even in Bohn, but in that vigorous sixteenth-century translation which owes its charm and force even more to Philemon Holland the translator than to Livy.