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There are, however, very obvious reasons 

 for making a difference of character in the 

 two sorts of buildings. In a street, or a 

 square, hardly any thing but the front is 

 considered, for little else is seen; and even 

 where the building is insulated, it is gene- 

 rally more connected with other buildings, 

 than with what may be called landscape. 

 The spectator, also, being confined to a 

 few stations, and those not distant, has his 

 attention entirely fixed on the architecture, 

 and the architect; but in the midst of 

 landscape they are both subordinate, if 

 not to the landscape-painter, at least to 

 the principles of his art. 



In a letter written on tragedy to Count 

 Alfieri, by an eminent critic, Sig. Calsabigi, 

 he insists very much on the necessity of 

 uniting the mind of the painter with that 

 of the poet, and that the tragic writer should 

 be poeia-pittore ; it is no less necessary, 

 and more literally so, that the architect of 

 buildings in the country should be archi- 

 tetto-pittore, for indeed he ought not only 

 to have the mind, but the hand of the 



