Lear in Paxos

Lear began his 1863 Ionian journey in Paxos, the smallest of the islands and nearest to Corfu; in early April he made 26 drawings there, and some smaller studies. One of the drawings was chosen for publication in Views in the Seven Ionian Islands. His main impression was of a landscape covered in foliage and olives, with unimpressive buildings but dramatic cliffs and caves . He found the local people “amiable & quiet”, and noted the distinctive colours of the women’s costume.

The drawings so far traced are interspersed here with extracts from Lear’s diary.

From Lear’s Diary

Sunday 5 April. Easter Sunday 1863 [in the Western calendar]:

. . . by 1.45. A.M. ― 3 hours & 45 min. from Corfu ― we were off Paxo ― a very short voyage they said. Murray [the British Resident on Paxos] had sent his man & a boat, ― the moon shining bright as day, ― & I was soon pulled into the little port which looked sparkly & bright & very pretty, quiet in the moonlight ― silver & black shade. Capt. M. was up ― & all good nature, but ― I forbode future fleas ― 2 dogs (mops & brooms,) & that workshop!!! ― Wine & water, & bed ― at 2.20 ― in a clean small room, bed & chairs &c.―all made by Murray himself. ― Bother of uncording & unstrapping χωρὶς ὑπηρέτην [“without a servant”; Lear’s servant Giorgio was to follow him on a later steamer]. Slept well.

Lovely weather ― pure air. Rose at 7.30 ― from my queer yet clean crib ― (he makes all his furniture himself!) Unpacked & packed certain roba [luggage]. Bkft. 8.30. very pleasant. Walk ―solo ― along the quay & onward, & various trial sketches ― & at 11 or 12 went to the Island & Fort. From 12.30 to 2, walked with Murray, who is good & gentlemanly: he endeavoured to show me a higher spot of ground from which the whole Port of Παξῶ is seen. ― 2 to 2.45 talk & repoge.

(The harbour views of Παξός are remarkable for their quiet bright unity, & for a combination of light & shade which compensates for an absence of beauty in form, architecture &c. One of these Harbour views I must select as that most characteristic of the Island. That which I saw from the hill above is so like Manducchio or Govino [in Corfu], that I do not think I can choose it.) ―

At 3 came Mr. Dickenson ― Lieut. of the 4^th [Regiment of Foot] ― commanding here the small detachment of soldiers [a subaltern’s detachment from the main Corfu Garrison]: a modest, quiet, nice fellow.

Dinner good & pleasant ― “cup” ditto, & pipes & wine: ― till nearly 5, when we all set out to walk (tho I had had no idea that Capt. Murray was a walker.) The character of what I saw was utter gray limestone like parts of Malta, or Tivoli ― but with endless filmy olives. ― Villages ― διεσπαρμισμένα χώρια [scattered villages] ― hidden or half-hidden in the veil of olive growth: higher Ἅγιος Καραλάμπος [St Charalambos], whence was great color & beauty of olive-sea vegetation ― little of form. I saw Capt. M. was tired, so proposed going back. He is so unselfish & amiable it is not easy to manage well with him. After returning ― talk, wine & cup, & pipes ― till 9. when ― bed.

A very pleasant white day.

Remarks on sketches of the 5^th. Difficulty of making Paxo picturesque — it reminds me of a Cornwall or Devon Cove without its picturesque houses. Great quiet is its characteristic. Its formal new-looking houses & rows of windows are hard to do.

Civil folks. Bread makers. Gulls’ screams.

Joannina pass, & Parga seen. ― Clouds & effects ― snugness of Residence.

Olive foliage meagre & browner: branches long straggling. Fine cliff scenes in Paxo[.]

Paxos, 5 April.

One of Lear’s first attempts at a view of the harbour; buildings and rocks are reflected in a perfectly calm sea. The watercolour wash is predominantly grey and ochre, in keeping with a limestone landscape (see his note upper right).
Burton Agnes Hall: pen and ink and watercolour.
EL no. 2.

Paxos, 5 April.

A rapid outline of the North end of the waterfront, perhaps one of Lear’s “trial sketches”. The four-storey Venetian house where Lear lodged with the British Resident is visible on the left.
Mallams: pen and sepia ink with colour wash, 12.5 x 18.5 cm.
EL no. 5.

Paxos, 5 April.

Later on his first day Lear tried out the view of the harbour from higher up, looking north west. The bay and Aghios Nikolaos island are set off by sketched-in trees.
Private collection: watercolour over pen and ink, 13 x 19.5 cm.
EL no. 6.

Paxos, [5 or 6 April].

A view from almost the same spot as EL no. 2 but with less emphasis on contrasting light and shade and with three human figures in the left foreground.
Christie’s: pencil, pen and brown ink and watercolour, heightened with white, 32 x 52.7 cm.
[EL no. cropped]

Paxos, [5 or 6 April].

Here, a large twisted olive tree “composes” the harbour scene which Lear had previously found lacking in variety and interest. This was to be chosen for his planned volume as the “characteristic” view of the island.
Christie’s: pen and brown ink with brown wash, 24 x 36.8 cm.
[EL number cropped]

Town and Harbour of Gaïo. Paxos.

In his published lithograph Lear achieves the “picturesqueness” he sought by including the framing tree on the sea wall, a group of goats interspersed with asphodels and some graceful sailing boats.
Views in the Seven Ionian Islands (Plate 18) tinted lithograph, 1863.

Town and Harbour of Gaïo. Paxos.

Views in the Seven Ionian Islands (Plate 18): hand-coloured lithograph, 1863. Most of the copies were tinted, but a few with coloured plates were also prepared. The greens of the trees and foliage are especially effective in this scene.

Monday 6 April 1863:

Slept perfectly well. M. called me at 5. Grand red sky & dark olives.

Coffee, & out before 6. Sun rose, 5.50. Drew the port, by the seaside. Great naked slabs of rock. Twisted olives. Asphodels & lambs. Asphodels also by the edge of the sea wall. Mountains of Albania clear & fine, but lines not so good as from Corfû. Quiet & few people. Drew till 9.30. Then decided to go to the upper view & draw it. But it was awful work to find the spot of yesterday, & I had to get over some 40 walls to reach any good place.

“Hard work for those” ― However, at last, I got a place on a wall, & drew till noon, & then descended again, ― walking slowly back by 1. P.M. Found that the kind Murray had expected me back to breakfast, & had waited. At 1.45. dinner ― immensely nice, Ithaca wine-cup ― of which, φαινεταί με [it seems to me] ― I drank too much. However, I was all right by 5, & walked with M. to the other side of the Island (the air is delightful here) where is a grand rocky bay scene [the Bay of Prasses]. The immense dryness & stoniness of this place is one of its gt. characteristics; & the vast veil of thin olivefoliage in which one moves: the villages not being discernible till one reaches them, ― being groups of houses from 3 to 10 in number, low, & overhung by the veil of olives ― their long straggling web-like branches forming an universal Network on all sides. People amiable & quiet. Home by 7. Sate talking till 9. Bed.

Paxos, 6 April, 11.30 am.

The “upper view” of Gaios which Lear drew from a terrace wall, with dense olive groves in the foreground. The coast of Corfu is visible in the distance.
Gennadius Library: pencil, pen and watercolour, 30.5 x 52 cm.
EL no. 8.

Prasses, Paxos, 6 April.

On 6 April Lear saw both sunrise (see diary entry) and sunset. This striking sketch is a study in colour effects, as he notes the "Asphodels very bright light off sea" contrasting with the "dark flat" of the cliff on the right and the shade in the inlet opposite.
Gennadius Library: pencil, pen and watercolour, 33.5 x 51 cm.
EL no. 11.

Tuesday 7 April 1863:

Rose at 5. Windy ― but it cleared. Kindly Murray would get eggs ― &c. & so, by 6, Dickenson, who had come by 5.30, amiably offering to lionize me about the Island all day ― set off with me.

Through the ascending road ― ever below the long thin armed thin-leaved Olives: ― past little groupes of houses half hidden ― & many churches, ― & thus to beyond Α. Καραλάμπος to a view of great extent & grandeur. Thence, ―diving into stony paths & hollows to the village of Boïkátika, close below which is a very grand scene of cliffs ― something like the chalk front rocks of Beachy Head, only at the end of a bay. From Ρωμῆτι [Romiti] D. & I saw a brig going near the rocks ― & it was soon behind them. 2 hours later we heard she had gone down.

Hither come seals, but very shy ― dwelling in caves. ― At 9 we came down to the shore by zigzags ― a fountain ― (ὀνομάζεται ὁ τόπος οὒτος “Ρωμῆτι” ―) [this place is called Romiti] where were quiet timid Παξιότισσαι [Paxiot women] ― washing ―[.] Here Dickenson & I lunched on eggs ― bread & wine in the shade, by the Tank, (these Tanks are the great boons of Paxõ, wh. is very destitute of water), ― below the great pale tawny & white cliff ― high lowering over the grape-purple water, beneath which are spots of dazzling emerald blue & white, & scattered rocks. Far from on high descends a vast buttress of rock ― from the blue sky ― covered with innumerable patches of shrub, clothing the cliff or leaving its wrinkled bare gray sides open ― down to the dark mottled water.

At 10.15. we left, not without the women begging that the road might be mended (in a place fallen through,) & a roof put on the tank against heat or rain. Goats & kids, bleat from the high cliff crags, & as we go up the opposite side of the hill, innumerable groupes of pin-like little cypresses are scattered among the dry gray rox, the only vegetable being the tufts of Πρινάρι & Σχίνος, [holm oak and lentisk] & higher up, scattered olives.

Along a village called Γραμματικάïκα [Grammatikeika], & up to a stony point whence all Corfu is seen ― all the well known hills from Salvador to Capo Bianco. ― Drew calmly till 12, & left, very pleasant. A little farther to the caves of Γραμματικὸ, which we looked down on dizzily from the edge of the cliffs where we stood: ― a most awful precipice! ― wrinkled ― huge ― formless ― thousand shelved & ledged ― scattered shrubs on its Titan sides. Column furrow channels at its base ― from the powdered summit beyond ― to the far wide hepatica coloured deep blue sea, darkening into black below the cliffs, & black green near the strange opening of the Seal cave. Beyond, far down, in the long rock, where in summer the seals sport.

Off at 12.35 ― (cottages, beautifully built with natural squared stones,) & down by similar stony-step lanes, to the Cathedral of the Island ― Παπαδῆ Γραμματικάïκα [the Byzantine cathedral of the Υπαπαντή, or Presentation of Christ, in Grammatikeika]: ― a very beautiful Campanile & roof gleaming thro’ the trees. Foreground of Fern & Squills. Far off is Parga, & a part of Suli plainly seen. Amiable Dickenson sat quietly watching my sketch* to be finished, & at 2.30 ― we passed on.

At 3 ― 3.30 ― we reached Fontana, but I could not draw anything there, tho’ it is one of the largest villages ― so bewildered are the houses by olives. We met the Bishop ― a rustic man. Then we walked by beautiful rugged paths, overlooking the channel & Albanian hills, & by 4 were at Καραλάμπος church, above which I drew again till 5. By 6, we reached Γάιο [Gaios] ― a very happy day. But it was very chilly ― nay ― cold. At 6.30 Murray called out “never mind the white tie!” ― so I went to dinner; where also was Dickenson. Capital good dinner ― and afterwards smoking and cup, but moderately. Bed at 9.30, weary rather, & with indigestion.

*Cypresses without end may be added to the Cathedral Drawing.

Rocks of Romiti, Paxos, 7 April.

Lear always liked seals, though seems not to have seen the “very shy” colony of Mediterranean monk seals (Monachus monachus) inhabiting the Paxos coast and the bay of Romiti/Erimitis. “Lentisk”, recorded in the diary, is pencilled in on the slopes to the right.
Private collection: pen and brown ink and watercolour wash, 34.5 x 49.5 cm.
EL no. 12.

Cliffs at Grammatiko, Paxos, 7 April.

Lear made three drawings of this dramatic scene; the seal cave is visible left of centre. Colour notes record the “black”, “blue” and “green” of the sea; the diary entry refers to it as a flower colour (“hepatica”). (Today the cliffs are much altered by rock falls.)
Huntington Library: pen and sepia ink and watercolour, 32.1 x 23.5 cm.
EL no. 14.

St Charalambos, Vlachopoulatika, Paxos, 7 April.

From above the church, Lear looks down towards the port of Gaios, with Antipaxos and Santa Maura in the far distance.
Rhode Island School of Design: pen and brown ink and watercolour, 33.0 x 40.8 cm.
EL no. 17.

Wednesday 8 April:

X2. [Probably records two epileptic episodes] Yet rose at 5. Calm & lovely morning, & was out at 5.40. ― after coffee. ― Drew till 10, at the end of the harbour, bright & quiet: & again, nearer the Residency. At 11, Ἒπαυσα.[I stopped] Just as I returned, saw, Capt. M. going off in his boat to Antipaxo: ― he called to me, asking if I wanted anything &c. ― How strange a life he leads! & what will he do if the Islands are given up? [In the “dissolution” list Murray was appointed CMG, the highest foreign service honour below a knighthood.] At 11.30. went to see Dickenson, in neat soldier rooms, hung round with skins of vast seals. Here I made a map of Παξὸς ― from his, & came away about 1. a most pleasant fellow. At 1.30 dined ― solo. Sebastiano ― (“sono nato in Corfu, ma son Latino”) [I was born in Corfu but am Italian] ― giving me a better dinner than is required for happiness. The blue bright calm of the South gives me that.

At 3.30 I am going out. (Murray’s religious books!) Saw Sebastiano the servant, who has served many English families: he says 2 Corfù boats have just come, ― 2 more expected. Walked round the harbour or quay to the point ― how lovely the air is here! ― & now, 4. P.M. am going to Βελιανιτάτικα [Velianitatika]. A sort of perpetual “mountain air” feeling is here ― tho’ one don’t ascend. ― Now ― 4.20. walking up Βελιανιτάτικα road. Boy carrying big stone: all labour here expensive. Material only plentiful, ― stone. Everybody salutes. Fig trees not out yet, wh. would greatly improve the scenery. Endless pale-blue gray rox, & asphodel, & long-armed olives. Presently road ceases: ― workmen ― road makers &c. No costume. Take little boy to shew way & arrive at Βελιανιτάτικα, where I sit to draw. Much fun with the children, one especially who corrects my Greek. Priest says nearly all the families just hereabouts came from Epirus: 5 from Parga. 1 Suli. Nicer people as to manner I never saw. As I wrote down something, little boy shrieked out when I put a περισπωμένον before a μακρόν [a circumflex accent before a long vowel]. Laughter.

Go on, at 6, with Περικλής Βοϊκόν [Perikles Voïkos] to Ἂγιος Προφήτης Ἐλίας [the Church of the Prophet Elijah], & then, giving him 3d. ― with wh. he was pleased, got down by the ever dim veiled olive roads to Γαίο by 7. Met Murray’s servant, who says Dr. & Mrs. Innes [friends from Corfu] are come in a yacht. ― At 7.30 ― go out ― having washed ― to find Dickenson. Pleasant days! ― “Οἱ δρόμοι εἶναι πολὺ ἀνώμαλοι ἐδῶ” [the roads are very uneven here] ― said one of those children. ― Sate with Dickenson, (who, on account of the arrival of Dr. I. ― cannot now go with me tomorrow,) & Balbi [member of a prominent Ionian family]― till 9.30. ― Bed, 10.15.

(campaniles of Παξῶ.)

Thursday 9 April 1863 [Orthodox Maundy Thursday]:

Coffee ― looked in on Dickenson. Off by 5.45. ― Mules beneath the olives ― “Gentlemen of Paxò[”] ― [they] eat the dead leaves. Civility & quiet of people. Yellow green patches of pale lichen on all olive branches, ― color of stems not dark, but pigeony gray brown. Walls perpetual: dry gray stone, okry & rusty & some white. Those old trees wh. are other than long thin scraggy, affect eccentric shapes ― screws, &c. &c. ― Ἄγιος Καραλάμπος ― invisible villages ― sea of olives ― expanse of water. At Μιτζελάτικα [sic: Mitsialatika] I asked for the Πρωεστός, ἀλλὰ δὲν ἢτο ἐκεῖ [the village head, but he wasn’t there]. But a civil man went on to another civil man’s house, who locked his shop up & walked on with me: & I certainly should not otherwise have found the path, wh. is difficult to hit. 7.45, the civil man having gone, & I having found my point, drew till 9.15; the Πρωεστός meanwhile joining me, which his company I could have dispensed with. The Cliff scene & seal island are really grand ― awful. A golden sort of burnished hue is given to the dark black waters below the yellow cliffs ― silence & tremendous depth beyond: ― over the hill peers Lefchimo & all Corfû. At 9.30 I am hoping the Πρωεστός is not going to return from the Σπήτι τῶν Ἐλλήνων [House of the Greeks: unidentified] ― which he has gone to see, but which I declined.

At 9.40 I return. Cottages very squarely built: roadside walls higher here, with stones [four ascending dashes, to illustrate] let in sidewise a la Westmoreland. Endless terrace walls. Having shirked my friends I pursue my way to Καλακάτικα [unidentified; perhaps Lear means Kangatika], & then go down, down, down, but miss the pretty descent to Παπαδῆ, arriving on the other side of the Church by a worse abruptious paved pathway. A good old woman volunteered to send me on to Lacca, & went some way with me, consigning me to other placid folk, 2 of them carrying heavy stones, whereby I think of “cinque terre” [in Liguria]. At 10.20 ― I reach the Δημόσιος δρόμος [public road], & prepare to lunch below olives, in shade sunshine & silence. A low wall serves as a seat, & the convenient flat stones around make perfect tables: 10.50 ― lunch done ― ½ a pigeon & a portion of cold lamb, bread ― of which I gave away most to a small boy ― & later to a very sweet-faced little girl ― her mother very handsome. They all have a tame good expression here. Ithaca red wine also & a Negg. Stillness ― absolute stillness! ― long & numberless stripe shadows from Olive branches, falling on dry stone walls ― sides & tops ― dry white & gray stream-bed stones ― manyfold-crossed gray pearly olive branches & stems with deep spots & shades ― dull green motionless starry foliage, ― the white road, ― & moss with knots of herbs. The Asphodel I see not ― but fresh lordly squill, feminine Myrtle, & graceful [Lear leaves a space here, perhaps searching for another plant name]

It is time to go on to Λάκκα. Walked slowly on, down towards the sea: if possible the olives are more & more lengthy armed than ever, & their shadows in more dense network. Only the church of St. Andrea is drawable: & the walled village of Λάκκα not at all so; I walked round the little port, & the real Ἀντίοχος ― the “deputy” here joined me from the Sanità. He was 6 years in Canada, where he married ― he left Παξοῦς at 13 as a sailor boy ― went for many years to all parts of Southern N. America, Charleston ― N. Orleans, Mobile. Afterwards to Canada, where he married & staid 11 years ― being 20 away altogether. Then he returned here some 7 years ago ― having been born in 1822. Ἀντόνιος Ἀντίοχος ― (the brother is Ἀθανάσιος ―) he laments having come back. At 12.30, I am to go to lunch with him ― the Deputy: wh. is an awful bore, but he evidently would be pleased by my doing so; ― so having staved off Pork & Eggs, there is to be some fish fried a purpose. What will the wife be like? ―

“Wah” ― the house was clean & nice, & the wife not a bad specimen of backwood Canadian AngloSaxon. With the kindest manner they got a luncheon ― how quickly! ― of fresh eels, & wonderful eggs & bacon & Ithaca wine, all which I enjoyed thoroughly. It was odd to hear Antonio Ἀντίοχος ― (he introduced “Mrs. Antioch” ―) talk of Amherst Island & other places ―, for he has travelled greatly. ― A pleasant hour. Left them at 2. P.M., and A. came with me as far as S. Andrea, where I drew: ― but no hasty pencilling can give an idea of the infinite arch-arm-twining of myriad olive branches, the gray twinkling foliage, & the bright white church seen through the tremulous veil of leafage ― half hidden within it yet seen through all. So, at 2.45, I go on towards Μαστωράτικα [Mastoratika]. Again, the air here, how healthy & delightful! ― High road. Long pull up. Stony hot. At Μαστωράτικα, turned downwards to the left, & after a long bit of bad road or lanes, arrived about 4 at Longone [Longos]. This place might possibly be drawn from some spot above, but there is nothing characteristic in its few houses & port. Ὃμως [however], here I met Dickenson & Balbi, amiably waiting my arrival.

Agreed I could not draw, so we walked up ― passing some of the finest old olives I have seen in Paxó, to the great Tank of Τζίλια [Tzilia]― & at 4.45 ― am sitting there ― water drinking, & having searched for the smallest visible cypresses among the many growing round. Children are singing “Ἐλᾶτε νὰ ἀκούσατε / Τὰ δῶδεκα Εὐαγγελλία” [“Come and hear the twelve readings from the Gospels”, part of the Orthodox liturgy for Maundy Thursday]. Up hill, by finer olives & winding broad road, with views of the Albanian Coast ― to Φοντάνα [Fontana], & now above that, at 6, are resting for a bit. Very gray stones around, & squills. ― So, joining the δημόσιος δρόμος at Καραλάμπος ― down to Γαίο ― till, lingering on the Quay, watching disembarked sheep, Murray plucked me forth to dinner. Adaptable we are, in these days. Afterwards, came Dickenson; talk of America & N. Zealand, poor M. seldom joining, but now & then only. A kindly heart ― sadly wasted. He says he will live at Λάκκα if we Ἂγγλοι [English] go. No boat has come, & no George.

Bed by 9.20.

Velianitatika, Paxos, 8 April, 5.45 [pm].

The campanile of the Church of Aghios Giorghios. Lear enjoyed this sociable but productive visit; notes in Greek comment on the ease of drawing when
the onlookers are so well disposed.
Christie’s: pencil, pen and ink and watercolour heightened with touches of bodycolour, on buff paper, 37.5 x 54.6 cm.
EL no. 21.

Studio watercolour, Paxos based on 8 or 10 April.

A view from above one of the distinctive water tanks to collect and store rainwater, of great importance (as Lear notes) in such a dry island. Several of these cisterns survive today.
Private collection.

Lakka, Paxos, 9 April, noon.

Although Lear considered the village of Lakka not “drawable” this is a fine view of the harbour, with a suggestion of two tall-masted boats and complex (“blue ++”) reflections in the sea. He also notes the “beautiful squills” in the foreground.
Private collection: pen and ink and watercolour, 23 x 41.5 cm.
EL no. 23.

Church, Lakka, Paxos, 9 April, 2pm.

Although Lear clearly labels this church Aghios Giorghios, it may be Aghios Andreas, the St. Andrea described in the diary. He notes the “Innumerable arms & Trunx of olives” and the “Infinite tangle of light & shade the Church coming out silver off all”.
Mallams: pen and sepia ink with colour washes and white, 35 x 52 cm.
EL no. 24.

Friday 10 April 1863:

Rose at 5. ― Poor M.’s life! Τι Ζωῆ [what a life]! ― (the dogs ― Mops & brooms ― O! ―)

At 5.45. walked out by the calm harbour, & then drew opposite ― on the Quay ― the Residency, till 7.15. Very lovely bright morning, & the air here is exquisite. By 7.45 ― I am at Monte di Karalambo, where I draw till 9.30. Nothing can be more beautiful than the dark gray sea of olives, & the “light upon the shining sea.” [Tennyson, “ St. Agnes’ Eve”]. I wonder how poor little Καραλάμπος is, & if poor Giorgio will be here to night by the steamer ― for I hardly think he will come by the boat now: ― I shall be truly glad to know his boys are recovering. ― Of the 6 days I am here, much of my pleasure has been owing to Dickenson, ―much to health, ― much to that comfort ― which, though now & then interrupted, increases with the longer absence of the “κακοδαίμον.[”][evil demon: probably epilepsy] ― Murray’s place however would be indeed trying in wet weather ― one may say impossible. What will the other 5 islands turn out for me.

On returning ― walked a little with Dickenson: ― smiles ― Monkshood ― growing everywhere: Ferns ― grow 3 feet high or so. Rocky ― south hill-walls: ― formerly vineyards, sea gray ὥς ’ς την Ἀγγλίαν [as in England].

I packed all I could on returning, & was ready for M.’s dinner by 1.40. ― Dickenson dined also ― & a pleasant dinner it was. Much fun, & good feeling. Poor M. is never sour or acrid ― yet talks of Hopes & Hopetoun [Hopetoun House near Edinburgh, the ancestral seat of the Hope family] & so many more alto grado suo [of their high degree]― calmly. At 3.30, after wine in the Workshop, D. & I set out, by very ἀνώμαλοι δρόμοι,[uneven roads] to wild olive grown lands, & then bare sloping hills: formerly vine grown. Hence, a descent, alquanto [rather] [illeg.] & violent, & then steps & queer shivery sea-overhanging places ― so . . . I give it up. Till reflecting that “giving up” is no buono ― I resolved to go on, or down rather ― & did so, to a wild fine rock arch which I drew.

Meanwhile D.’s kindness in clearing away stones, & going carefully &c. was most pleasant, & thus I really got a view I could not have hoped for ― my 26^th & last in Paxó [this drawing of the Tripitos Arch is so far untraced]. I have seldom met a more peculiar fellow than D. a scholar, & full of study & observation & energy: apt to be fond of his own profession: & modest as possible, & matter of fact in extreme. We reached home by 7.30 ― just as it began to rain hard & sate smoking &c. till 9 ― when Joseph Daniel Dickenson went away. A little time longer with Murray, who declares he will rise at 1 or 2. ― It is now 9.30 ―: I tremble at a chance of change of weather ― for the Steamers don’t touch if it is rough: anyhow, the bore of going out to sea in a boat is no small one. I wonder if G. will be there.

[The steamer finally arrived at 4.40 am on Saturday, and Lear was delighted to find Giorgio on board. His next stop was in Santa Maura: a webpage recording the drawings he made on this visit is currently in preparation.]

Costume study, Paxos.

An interesting, perhaps unique, feature of these charming costume sketches is Lear’s use of a technical pigment word (“smalt”) for the blue of the womens’ blouses; he generally uses everyday colour words (here yellow and white) or well-known terms such as “ochre”.
Huntington Library: pen and watercolour.

Window view, Paxos, 10 April.

Views with framing windows are very rare in Lear’s work. Here he looks through a side window of the Residency, beyond the lemon tree in the foreground and towards the hill beside the port with its steep “okry” steps.
Huntington Library: pen and watercolour.

Costume study, Paxos.

There are occasional, lightly-sketched human figures in the Paxos landscapes: a costumed woman can be seen for example, in no. 12 (left of centre). These three small sketches, described by Lear as “scraps”, were originally mounted together with the Cliffs of Grammatico (no. 14), although they were not made on the same day.
Huntington Library: pen and watercolour.

Editor’s Note

Lear’s diary from 1858 onwards is preserved and is now in the Houghton Libary at Harvard. I have followed his spelling and his version of place names, and kept his punctuation, which is fairly informal, with copious use of dashes. I have however introduced paragraph spacing for ease of reading. Square brackets indicate an explanatory note or editorial interpolation.

I should like to thank Rose Little and Marco Grazioso for their help and advice with this webpage.