“The sight of Genoa in the lurid sunset glow, with its steep, conical mountains behind it, crowned with forts, half shrouded in dark grey clouds, was very impressive. ‘La Superba’ looked her proudest thus seen full face from the sea, seated on her rocky throne. By the by, when _will_ people give up translating ‘superba’ by ‘superb’? It is rather trying. ‘Genoa the Superb’! Ugh!”
[Illustration: THE EGYPTIAN CAMEL-CORPS AND THE BERSAGLIERI.]
I worked away well in the pleasant seclusion of Delgany, at my 8-foot canvas whereon I carried very far forward my “Review of the Native Camel Corps at Cairo.” I had already a water-colour drawing of this subject, which I had made while the scene was fresh in my mind’s eye. I had been indebted to the then General commanding at Cairo for the facilities afforded me to see, at close quarters, a charge of the native Camel Corps, which impressed me indelibly. I had driven out of Cairo to the desert, where the manœuvres were taking place, and, getting out of the carriage opposite the saluting base, I placed myself in front of the advancing squadrons, so timing things that I got well clear at the right moment. I wanted as much of a full-face view as possible. The attitudes of the men, wielding their whips, the movements of the camels, the whole rush of the thing gave me such a sensation of advancing force that, as soon as the “Halt!” was sounded, and the 300 animals had flung themselves on their knees with the roar and snarl peculiar to those creatures when required to exert themselves, I hastened back to Shepheard’s and marked down the salient points. The men were of all shades, from _fellaheen_ yellow to the bluest black of Nubia, and it was a striking moment when they all leapt off their saddles (as the camels collapsed), panting, and beginning to re-set their disordered accoutrements. In those days the saddles were covered with red morocco leather, with fringed strips that flew out in the wind, adding, for the artist, a welcome aid to the representation of motion. Now, of course, that precious bit of colour is gone, and the necessity for khaki invisibility reaches even to the camel saddle, which is now a stiff and unattractive dun-coloured object.