[Original]
Many other subjects we obtain at the Bouzareah; simple perhaps, and apparently not worth recording, but of immense value to a student of Nature. Is it nothing, for instance, for a painter to have springing up before him in this clear atmosphere, delicate stems of grass, six feet high, falling over in spray of golden leaves against a background of blue sea; darting upward, sheer, bright, and transparent from a bank covered with the prickly pear, that looks by contrast, like the rock-work from which a fountain springs? Is it nothing to see amongst all this wondrous overgrowth of gigantic leaves, and amongst the tender creepers and the flowers, the curious knotted and twisted stem of the vine, trailing serpent-like on the ground, its surface worn smooth with time? Is it nothing for an artist to learn practically, what 'white heat' means?
It is well worth coming to North Africa in winter, if only to see the flowers, but of these we cannot trust ourselves to speak—they must be seen and painted.
It is difficult to tear ourselves away from this spot, and especially tempting to dwell upon these details, because they have seldom been treated of before; but perhaps the question may occur to some—are such subjects as we have depicted worth painting, or, indeed, of any prolonged or separate study? Let us endeavour to answer it by another question. Are the waves worth painting, by themselves? Has it not occurred to one or two artists (not to many, we admit) that the waves of the sea have never yet been adequately painted; and have never had their due, so to speak, because it has always been considered necessary to introduce something else into the composition, be it only a rope, a spar, or a deserted ship? Has it not been discovered (though only of late years) that there is scope for imagination and poetry, and all the elements of a great and enthralling picture, in the drawing of waves alone; and should there not be, if nobly treated, interest enough in a group of colossal vegetation in a brilliant atmosphere, without the usual conventional adjuncts of figures and buildings?
So far, whilst sketching at the Bouzareah, we have spoken only of the foreground; but we have been all the time in the presence of the most wonderful panorama of sea and land, and have watched so many changing aspects from these heights, that we might fill a chapter in describing them alone.
The view northward over the Mediterranean, westward towards Sidi Ferruch, southward across the plains to the Atlas, eastward towards Algiers and the mountains of Kabylia beyond; each point so distant from the other that, according to the wind or time of day, it partook of quite distinct aspects, fill up so many pictures in our mind's eye that a book might be written, called 'The Bouzareah,' as seen under the different phases of sunshine and storm.
It has often been objected to these Eastern scenes, that they have 'no atmosphere,' and no gradation of middle distance; that there is not enough repose about them, that they lack mystery and are altogether wanting in the poetry of cloudland.
But there are clouds. We have seen, for the last few mornings (looking through the arched windows of the great aloe-leaves) little companies of small white clouds, casting clearly-defined shadows across the distant sea, and breaking up the horizon line with their soft white folds,