Ruskin 's early work, in the years before his serious defence of Turner, demonstrates a surprising and genuine appreciation of Claude. In his 'Essay on the Relative Dignity of Studies of Painting and Music and the advantages to be derived from their Pursuit', written in 1838 but published only after his death, Ruskin reflected that 'that no person can become a fine artist, without being a gentleman' and suggested that this quality was evident in Claude 'whose paintings are so distinguished by the soul which [he] put[s] into nature' ( Works, 3.276). This claim is surprising in the light of Ruskin's later radical critique of Claude as a painter who showed no sensitivity towards the dynamic and spiritual character of creation. Yet Ruskin's view of Claude, at this stage, was founded on a belief that the artist was a man who possessed true pathos for the landscape. As a young man Ruskin believed that Claude's understanding of nature was impressive ( Works, 1.421).