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iHstance, of pilasters joined with trellisses, 

 or of columns encircled by climbing plants. 

 Sometimes on such occasions, he has made 

 use of twisted columns, and, I think, with 

 peculiarly good effect ; for the waving lines 

 of the columns accord with those of the 

 plants, which in return soften the defect 

 of such columns, while they coincide with 

 their undulating shape. 



In all that has lately been said, I have 

 considered architecture and buildings as 

 they appear in historical pictures : I shall 

 now proceed to consider the character of 

 buildings, anc^ the manner in which they are 

 introduced and accompanied, where the 

 landscape is principal ; or, if not strictly 

 so, where it occupies a considerable and 

 striking part of the picture. But little of 

 this kind is to be found in the great 

 masters of the Roman and Florentine 

 schools ; none of whom, I imagine, ever 

 painted what would properly be called a 

 landscape. Raphael in his back-grounds 

 has seldom completely overcome the dry- 

 ness of his early manner ; nor could he in 



