imals, no individuality was
reached.

From the middle of the fourteenth century a new French school sprang
up. The external world was more keenly and accurately studied,
especially on its graceful side. It was only at the end of that
period that painting felt the need to develop the background, and
indicate actual surroundings by blue sky, hills, Gothic buildings,
and conventional trees. These were given in linear perspective; of
aerial perspective there was none. The earlier taste still ruled in
initialling and border decorations; but little flowers were added by
degrees to the thorn-leaf pattern, and birds, sometimes angels,
introduced.

The altar-piece at Cologne, at the end of the fourteenth century, is
more subjective in conception, and full of lyric feeling. Poetic
feeling came into favour, especially in Madonna pictures of purely
idyllic character, which were painted with most charming
surroundings. Instead of a throne and worshipping figures, Mary was
placed sitting comfortably with the Child on flowery turf, and saints
around her; and although the background might be golden instead of
landscape, yet all the stems and blossoms in the grass were naturally
and accurately treated. In a little picture in the town museum at
Frankfort, the Madonna is seated in a rose garden under fruit trees
gay with birds, and reading a book; a table with food and drinks
stands close by, and a battlemented wall surrounds the garden. She is
absorbed in contemplation; three female saints are attending to
mundane business close by, one drawing water from a brook, another
picking cherries, the third teaching the child Christ to play the
zither. There is real feeling in the whole picture, and the landscape
is worked in with distinct reference to the chief idea.

Hence, although there were many isolated attempts to shew that realistic
and individual study of Nature had begun, landscape-painting had not
advanced beyond the position of a background, treated in a way more or
less suited to the main subject of the picture; and trees, rocks,
meadows, flowers, were still only framework, ornament, as in the poetry
of the Minnesingers.[10]

CHAPTER IV

INDIVIDUALISM AND SENTIMENTAL FEELING
AT THE RENAISSANCE

In a certain sense all times are transitional to those who live in
them, since what is old is always in process of being destroyed and
giving way to the new. But there are landmarks in the general
development of culture, whi