Abstract
HE similarity in the approaches to landscape taken by the geographer and the landscape painter have been acknowledged since the first half of the nineteenth century.' Both are committed to developing coherent descriptions of the surface of the earth, in that they are concerned with associations of phenomena rather than with individual features in the landscape. Ends, aesthetic in one case and scientific in the other, rather than means distinguish their pursuits. At the beginning of this century the English art critic Roger Fry observed:
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