“If you wake first, call me at daylight. We shall be off the coast of Corsica. Felicissima notte!”
CHAP. IV.
Coast of Capo Corso.—Peculiarity of Scenery.—Verdure, and Mountain Villages.—Il Torre di Seneca.—Land at Bastia.
The voyage from Marseilles to Bastia is performed, under favourable circumstances, in eighteen hours; but we had only just made the extreme northern point of Corsica when I was hastily roused, at six o'clock, from a blissful state of unconsciousness of the gale of wind and rough sea which had retarded our progress during the night.
Hurrying on deck, the first objects which met the eye were a rocky islet with a lighthouse on a projecting point, and then it rested on the glorious mountains of Capo Corso, lifting their grey summits to the clouds, and stretching away to the southward in endless variety of outline. We were abreast of the rocky island of Capraja; on the other hand lay Elba, with its mountain peaks; Pianosa and Monte-Cristo rose out of the Tuscan sea further on. Behind these picturesque islands, the distant range of the Apennines hung like a cloud in the horizon. The sun rose over them in unclouded glory, no trace being left of the night-storm, but a fresh breeze, and the heaving and swelling of the deep waters.
Banging along the eastern coast of Capo Corso, at a short distance from the shore, with the early light now thrown upon it, the natural features of the country—groups of houses, villages, and even single buildings of a marked character—were distinctly visible. We were not long in discovering that Corsican scenery is of a peculiar and highly interesting character.
The infinite variety existing in all the Creator's works is remarkably exhibited in the physical aspect of different countries, though the landscape be formed of the same materials, whether mountains, forests, wood, water, and extended plains, or a composition of all or any of these features on a greater or less scale. The change is sometimes very abrupt. Thus, the character of Sardinian scenery is essentially different from the Corsican, notwithstanding the two islands are only separated by a strait twenty miles broad. Climate, atmosphere, geological formation, and vegetable growth, all contribute to this variety. The impress given to the face of nature by the hand of man, whether by cultivation, or in the forms, and, as we shall presently see, the position, of the various buildings which betoken his presence, give, of course, in a secondary degree, a difference of character to the landscape.
Remarks of this kind occurred in a conversation with our stout English friend and my fellow-traveller, while they were sketching the coast of Capo Corso from the deck of the Industrie. Trite as they may appear, it is surprising how little even many persons who have travelled are alive to such distinctions. What more natural than to say, “I have seen Alpine scenery in Switzerland; why should I encounter the difficulties of a northern tour to witness the same thing on a smaller scale in Norway? What can the islands in the Tuscan sea have to offer essentially different from Italian scenery with which I am already familiar?”
Only a practised eye can make the discrimination, and it requires some knowledge of physical geography, and the vegetable kingdom, to be able to analyse causes producing these diversified effects. Every class of rock, every species of tree, the various elevations of the surface of the globe, and the plants which clothe its different regions, have each their own forms and characteristics; and, of course, a landscape, being an aggregate of these several parts, ought to reflect the varieties of the materials composing it. An artist must have carefully studied from nature to have acquired a nice perception of these varied effects, and even should he be able to grasp the result, he may not succeed in transferring it to his sketch. Far less can words convey an adequate idea of the varied effects of natural scenery; so that one does not wonder when the reader complains of the sameness of the representation.