the wall; there is no dampness in air or earth, by which they could be induced; the heat of the sun scorches away all lichens, and mosses, and mouldy vegetation. No thatch or stone crop on the roof unites the building with surrounding vegetation; all is clear, and warm, and sharp on the eye; the more distant the building, the more generally bright it becomes, till the distant village sparkles out of the orange copse, or the cypress grove, with so much distinctness as might be thought in some degree objectionable. But it must be remembered that the prevailing colour of Italian landscape is blue; sky, hills, water, are equally azure: the olive, which forms a great proportion of the vegetation, is not green, but grey; the cypress, and its varieties, dark and neutral, and the laurel and myrtle far from bright. Now, white, which is intolerable with green, is agreeable contrasted with blue; and to this cause it must be ascribed that the white of the Italian building is not found startling or disagreeable in the landscape. That it is not, we believe, will be generally allowed.
3. Elegance of feeling. We never can prevent ourselves from imagining that we perceive, in the graceful negligence of the Italian cottage, the evidence of a taste among the lower orders refined by the glory of their land, and the beauty of its remains. We have always had strong faith in the influence of climate on the mind, and feel strongly tempted to discuss the subject at length; but our paper has already exceeded its proposed limits, and we must content ourselves with remarking what will not,
