continue for at least the next century. Simon Bening "explored new territory in the genre of landscape", seen in several of the leaves he painted for the c. 1520 Grimani Breviary. From the late 15th century, a number of painters emphasised landscape in their works, a development led in part by the shift in preference from religious iconography to secular subjects. Second-generation Netherlandish painters applied the mid-14th-century dictum of natural representation. This was born of the rising affluence of the region's middle class, many of whom had now travelled south and seen countryside noticeably different from their flat homeland. At the same time, the later part of the century saw the emergence of specialisation and a number of masters focused on detailing landscape, most notably Konrad Witz in the mid-15th century, and later Joachim Patinir. Most innovations in this format came from artists living in the Dutch regions of the Burgundian lands, most notably from Haarlem, Leiden and 's-Hertogenbosch. The significant artists from these areas did not slavishly reproduce the scenery before them, but in subtle ways adapted and modified their landscapes to reinforce the emphasis and meaning of the panel they were working on. Patinir developed what is now called the world landscape genre, which is typified by biblical or historical figures within an imagined panoramic landscape, usually mountains and lowlands, water and buildings. Paintings of this type are characterised by an elevated viewpoint, with the figures dwarfed by their surroundings. The format was taken up by, among others, Gerard David and Pieter Bruegel the Elder, and became popular in Germany, especially with painters from the Danube school. Patinir's works are relatively small and use a horizontal format; this was to become so standard for landscapes in art that it is now called "landscape" format in ordinary contexts, but at the time it was a considerable novelty, as the vast majority of panel paintings before 1520 were vertical in format. World landscape paintings retain many of the elements developed from the mid-15th century, but are composed, in modern cinematic terms, as a long rather than a medium shot. The human presence remained central rather than serving as mere staffage. Hieronymus Bosch adapted elements of the world landscape style, with the influence especially notable in his single-panel paintings. The most popular subjects of this type include the Flight into Egypt and the plight of hermits such as Saints Jerome and