 In the first half of the twentieth century, Anglo-American philosophy largely ignored the aesthetics of nature. However, there were some noteworthy exceptions. For example, in North America, George Santayana investigated the topic as well as the concept of nature itself. Somewhat later, John Dewey contributed to the understanding of the aesthetic experience of both nature and everyday life, and Curt Ducasse discussed the beauty of nature as well as that of the human form. In England, R. G. Collingwood worked on both the philosophy of art and the idea of nature, but the two topics did not importantly come together in his thought. However, other than a few such individuals, as far as aesthetics was pursued, there was little serious consideration of the aesthetics of nature. On the contrary, the discipline was dominated by an interest in art. By the mid-twentieth century, within analytic philosophy, the principal philosophical school in the English-speaking world at that time, philosophical aesthetics was virtually equated with philosophy of art. The leading aesthetics textbook of the period was subtitled Problems in the Philosophy of Criticism and opened with the assertion: “There would be no problems of aesthetics, in the sense in which I propose to mark out this field of study, if no one ever talked about works of art” (Beardsley 1958). The comment was meant to emphasize the importance of the analysis of language, but it also reveals the art-dominated construal of aesthetics of that time. Moreover, if and when the aesthetic appreciation of nature was discussed, it was treated, by comparison with that of art, as a messy, subjective business of less philosophical interest. Some of the major aestheticians of the second half of the century argued that aesthetic judgments beyond what became known as the “artworld” must remain relative to conditions of observation and unfettered by the kind of constraints that govern the appreciation of art (Walton 1970, Dickie 1974).