“A View of Snowden, in the Vale of Llan Beriis, in Caernarvon Shire. I. Boydell. Del. & Sculp. Published according to Act of Parliament by J. Boydell at the Globe near Durham Yard in the Strand 1750.” CADER-IDRIS 297 “The Summit of Cader-Idris Mountain in North Wales. Richard Wilson pinx’t. E. & M. Rooker sculpser’t. Published July 17, 1775 by John Boydell, Engraver in Cheapside London.” KILGARREN CASTLE 300 “Kilgarren Castle in South Wales, Richard Wilson pinx’t. Will’m. Elliott sculp’t. Published July 17th 1775 by John Boydell Engraver in Cheapside London.” SNOWDON 304 By Richard Wilson. In the Manchester City Art Gallery. From a photograph by Sherratt and Hughes, Manchester. THE MARKET CART 307 Painted by Thomas Gainsborough. In the National Gallery. PEMBROKE 311 “Engraved by I. Walker from an Original Picture by Paul Sandby Esq. R. A. Published May 1st 1797.” LODORE WATERFALL 315 “Drawn by Jos’h. Farington. Engraved by W. Byrne and T. Medland. London. Published as the Act directs, April, 1785.” THE WOOD CUTTERS 318 Painted by G. Morland. Engraved by W. Ward. Published by T. Simpson, St. Paul’s Church Yard, London, 1792. The general theme of the treatment of Nature in literature is not a new one. Schiller’s essay entitled “Ueber die naive und sentimentale Dichtung” (1794), was the first attempt to state and explain the difference between the classical way of looking at Nature and the modern way. The externality in the classical attitude toward Nature, he attributed to the fact that the Greeks were in their thoughts and habits of life so a part of Nature that they felt no impulse to seek her with the passionate longing of the modern poet, whose ardent and heartfelt love of Nature is but the result of a mode of thought and life out of harmony with her. This essay, however inadequate as a presentation of the Greek attitude toward Nature,[1] determined the lines of much succeeding study.