In this way we pass the day, often lingering about one spot in most vagrant fashion, till nightfall, when the last diligence comes crashing in, and stops to change its wretched horses. We take our places quickly in the intérieur, and are wedged in between little soft white figures with black eyes and stained finger-nails, who stare at us with a fixed and stony stare, all the way back to Algiers. Another day we spend in the Jardin d'Essai, (the garden of acclimatisation), where we may wander in December, amidst groves of summer flowers, and where every variety of tree and shrub is brought together for study and comparison. Through the kindness of the director we are enabled to make studies of some rare and curious tropical plants; but there is a little too much formality and an artificial atmosphere about the place, that spoils it for sketching; although nothing can control, or render formal, the wild strength of the gigantic aloes, or make the palm-trees grow in line.
From the 'Garden of Marengo,' just outside the western gates, we may obtain good subjects for sketching, including both mosques and palm-trees, such as we have indicated on our title-page; and from the heights behind the Casbah, some beautiful distant views across the plain of the Mitidja. Of one of these an artistic traveller thus speaks: 'Standing on a ridge of the Sahel, far beneath lies the Bay of Algiers, from this particular point thrown into a curve so exquisite and subtle as to be well nigh inimitable by art, the value of the curve being enhanced by the long level line of the Mitidja plain immediately behind, furnishing the horizontal line of repose so indispensable to calm beauty of landscape; whilst in the background the faintly indicated serrated summits of the Atlas chain preserve the whole picture from monotony. The curve of shore, the horizontal bar of plain, the scarcely more than suggested angles of the mountains, form a combination of contrasting yet harmonising lines of infinite loveliness, which Nature would ever paint anew for us in the fresh tints of the morning, with a brush dipped in golden sunshine and soft filmy mist, and with a broad sweep of cool blue shadow over the foreground.'
But our favourite rendezvous, our principal 'Champ de Mars,' was a little Arab cemetery, about six miles from Algiers; on the heights westward, in the direction of Sidi Ferruch, and near to a little Arab village called the 'Bouzareah.' This spot combined a wondrous view both of sea and land, with a foreground of beauty not easy to depict. It was a half-deserted cemetery, with tombs of Marabout priests over which the palm-trees waved, and little gravestones here and there surmounted with crescents. Sheltered from the sun's rays, hidden from the sight of passers-by, surrounded with a profusion of aloes, palms, cacti; and an infinite variety of shrubs and flowers peeping out between the palmettos, that spread their leaves like fans upon the ground—it combined everything that could be desired.
Here we worked, sitting close to one of the tombs for its shade, with the hush of the breeze, the distant sighing sound of the sea, the voices of bees, and butterflies, the flutter of leaves, and one other sound that intermingled with strange monotony of effect close to our ears, which puzzled us sorely to account for at first. It turned out to be a snore; the custodian of one of the tombs was sleeping inside with his fathers, little dreaming of our proximity. We struck up an acquaintance with him, after a few days of coyness on his part, and finally made him a friend. For a few sous a day he acted as outpost for us, to keep off Arab boys and any other intruders; and before we left, was induced to sit and be included in a sketch. He winced a little at this, and we confess to an inward reproach for having thus degraded him. He did not like it, but he sat it out and had his portrait taken like any Christian dog; he took money for his sin, and finally, by way of expiation let us hope, drank up our palette water at the end of the day!
If there is one spot in all Algeria most dear to a Mussulman's heart, most sacred, to a Marabout's memory, it must surely be this peaceful garden of aloes and palms, where flowers ever grow, where the sun shines from the moment of its rising until it sinks beneath the western sea; where, if anywhere on this earth, the faithful will be the first to know of the Prophet's coming, and where they will always be ready to meet him.
But if it be dear to a Mussulman's heart, it is also dear to a Christian's, for it has taught us more in a few weeks than we can unlearn in years. We cannot sit here day by day without learning several truths, more forcibly than by any teaching of our schools; taking in, as it were, the mysteries of light and shade, and the various phases of the atmosphere—taking them all to heart, so that they influence our work for years to come.
How often have we, at the Uffizi, or at the Louvre, envied the power and skill of a master, whose work we have vainly endeavoured to imitate; and what would we not have given in those days, to achieve something that seemed to approach, ever so little, to the power and beauty of colour, of a Titian or a Paul Veronese. *
* And have we not, generally, imbibed more of the trick or
method of colour, of the master, than of his inspiration—
more, in short, of the real than the ideal?
Is it mere heresy in art, or is it a brighter light dawning upon us here, that seems to say, that we have learned and achieved more, in studying the glowing limbs of an Arab child as it plays amongst these wild palmettos—because we worked with a background of such sea and sky as we never saw in any picture of the 'Finding of Moses;' and because in the painting of the child, we had not perforce to learn any 'master's' trick of colour, nor to follow conventional lines?
And do we not, amongst other things, learn to distinguish between the true and conventional rendering of the form, colour and character, of palm-trees, aloes and cacti?