Malcolm Andrews' second and third chapters (from 'Landscape and Western Art', see previous post) are 'Subject or Setting?' and 'Landscape as Amenity'. The notes I've made lurch from a quote taken from page 10 to another from page 78, missing out both of these chapters completely. I guess I found little to chime with my specific interest. However, that's not to say that I learnt little.
Chapter 2 is subtitled 'Landscape and Renaissance Painting' and provides a description of how landscape elements crept incrementally into pre-existing images of religious, historical or mythological subjects. The answer to the question of the chapter's title ('Subject or Setting?) was for a long time unequivocally 'setting': at this early stage landscape was peripheral, ornamental, a lowly adjunct (parergon) to the principal content of a painting (its 'proper' subject or Argument). Andrews presents an extended study of a single subject, Saint Jerome in the desert, to illustrate how landscape functioned in its subservient role and how, later, it gained a great weight of intricate allegorical symbolism to convey meaning.
Chapter 3 explores how landscape (real and pictorial) came to serve as a 'pleasant place' (locus amoenus) in which to find spiritual refreshment. Links between representations of nature and Renaissance gardens underscore how landscape 'for landscape's sake' came to dominate over a previously narrative function. The chapter ends with a survey of later developments of the Enlightenment thinking born of the Renaissance mixture of 'literary pastoral, landscape painting, gardening, the locus amoenus' etc.