Early painting dealt with man alone, or rather with persons; for personality in its transcendent forms--saints, angels, God himself-- was usually preferred above little man. Except the spiritual, nothing was regarded as of consequence. The principle of early painting might be summed in the proud saying, "On earth there is nothing great but man; in man there is nothing great but mind." It is true when man is thus detached from nature he hardly appears to advantage or in his appropriate setting. But the early painters would tolerate nothing natural near their splendid persons. They covered their backgrounds with gilding, so that a glory surrounded the entire figure, throwing out the personality sharp and strong. Nothing broke its effect. But after all, one comes to see that we inhabit a world; nature is continually about us, and man really shows his eminence most fully when standing dominant over nature. Early painting, accordingly, began to set in a little landscape around the human figures, contrasting the person with that which was not himself. But an independent interest could not fail to spring up in these accessories. By degrees the landscape is elaborated and the figure subordinated. The figure is there by prescription, the landscape because people enjoy it. Nature begins to assert her claims; and man, the eminent and worthy representative of old ideals, retires from his ancient prominence. When the Renaissance revolted against the teachings of the mediaeval church, the disposition to return to nature was insolently strong. Natural impulses were glorified, the physical world attracted attention, and even began to be studied. Hitherto it had been thought deserving of study only because in a few respects it was able to minister to man. But in the Renaissance men studied it for its own sake. Gradually the distinction between man and nature grew faint, so that a kind of pantheism arose in which a general power, at once natural and spiritual, appeared as the ruler of all. We individual men emerge for a moment from this great central power, ultimately relapsing into it. Nature had acquired coordinate, if not superior, rights. Yet the full expression of this independent interest in nature is more recent than is usually observed. Landscape painting goes back but little beyond the year sixteen hundred. It is only two or three centuries ago that painters discovered the physical world to be worthy of representation for its own sake.