The Canal.—If I had not seen Mr Talbot Kelly's book on Egypt I could hardly have believed it possible that the delicate schemes of colour we see in the desert as we pass through the canal could be painted and reproduced in colour in a book. He has got the very bloom of the desert, and the beauty of Egypt without its ugliness; the heat and sparkle and brightness in his pictures are so vivid one can almost breathe the exhilarating desert air—and smell the Bazaars! But Egypt is ugly a pin's prick beneath its beauty. It is so old and covered with bones and decayed ideas. The Nile is associated with Moses, and it is long it is true, but it is also very narrow and shallow, and its banks are monotonous to a degree; a mile or so of green crop on either side, then stones, sand, bits of crockery, human bones and rags, then desert sand—a cross between a cemetery and a kitchen garden. The ruins are awfully ugly! "Think of their age!" people say, and you look at the exquisite spirals of shells in the lime stones with which these heaps are made! But the saddest thing in Egypt is the fine art debased in the temples, in these ponderous monuments of their officialism; for here and there in them you see exquisite bits of low relief carving, that a Greek would have been proud of, hidden away in interminable hieroglyphic histories spread indiscriminately over grotesque pillars and vast walls, as regardlessly of decorative effect as advertisements in a newspaper's columns. The open desert is the best of Egypt, and this thread of blue canal strung with lakes through its sand is very pretty and interesting all the way. We come to a swing bridge. It is open and our modern hotel and modern people slowly steam right through the middle of a Biblical caravan of Arabs on camels; some have crossed into the Egyptian side, the remainder are waiting on the Arabian side, their camels are feeding on the grey-green bushes. The passengers just give them a glance and go on with their books. Have we not seen it all long ago in nursery books on Sundays. But, in the nursery in our Sunday books we did not see or feel the glitter and heat of the day, some of which, children to-day can get in Mr Kelly's book.

I dared not sketch the desert scenes; it was in too high a key for me, but I made so bold as to do this sketch of a scene on deck at night: an effect I have not heard described, though it must be familiar to those who go this road. I am sorry it is not reproduced here in colour.

The searchlight on the bow plays on the sandbanks and desert beyond, and makes the land like a snow-field, and the slow movement of the white light intensifies the darkness and silence of the desert. In contrast to the cold blue light and snow-white sand, is the group of figures on deck in bright dresses, dancing. It made quite an evident subject. The figure leaning on the rail is not ill. It is only a little Japanese maid thinking of home perhaps.

Suez was a few lights in the darkness over the glow of our pipes, then bed, and in the morning we were sailing down the top, west branch, of the Red Sea, otherwise the Gulf of Suez, with a fresh north wind behind us.

It is extremely charming and refreshing, as I've already remarked, to look out of a port in the morning and see the glittering, tumbling, blue sea alongside. On this occasion the blue is capped with many soft white horses chasing south, and the serrated barren hills of Egypt are slipping away north. They are coloured various tints of pale, faded leather, light buff, and light red, and the sun glares brilliantly over all, "drying up the blue Red Sea at the rate of twenty three feet per year," this from the Orient-Pacific Guide; you can yourself almost fancy you hear the sea fizzling with the heat. The Arabian shore is almost the same as the Egyptian, with a larger margin of swelling stretches of sand between the sea and the foot of the hills.

There are occasions when circumstances make it really a pleasure to be an artist, to-day for example; the air is so full of colour, the sea deepest turquoise, with emerald showing when the crests burst white and mix with the blue, and there is a glint of reddish colour reflected from the Arabian sand, and the shadows in the clefts in the sand-hills to the north are as blue as the sea. I was trying to put this down when my friend from the West Country, who helps the engines, told me he had got me one of these exquisite classic earthenware vases from Port Said, which he decorates with cigar labels and blue and gold enamel. I had a chat with him in his rather nice cabin—made a study of the flagon, i.e. drew its cork. It was full of deep purple Italian wine, like Lacrima Christie or Episcopio Rosso; the wine was good enough, but its deep rose colour with the bright blue reflected on it through the port was splendid. He didn't like it himself, said "it drew his mouth," and he gave me both the bottle and the wine as a present because of our love for Dalriada, and I have to give him a "wee bit sketch" for his cabin.

I will smuggle the jar under our table—G. and I both like Italian wine—and we will use it as a water bottle afterwards, for we have only one decanter at our table amongst eleven thirsty people.

It was just such dark red wine as this, I suppose, that Ulysses and his friends in these seas took in skinfuls to wash down venison, an excellent menu I must say, but it would have been more seamanlike if they had slept off the effects on board, instead of lying out all night on the beach; then, when Morning the rosy-fingered turned up, they'd have been quicker getting under way, and would have got home sooner in the end. How much superior were the Fingalian heroes; they would sail and fight all day and pass round the uisquebaugh in the evening at the feast of shells, and never get fuddled and never feared anything under water or above land, and were beholden to neither Gods nor men.

But I did once know a descendant of theirs, in their own country who was overcome by red wine. "It was perfectly excusable," he said, for he had never tasted it before—or since! He was a fine, tall man called Callum Bhouie, from his yellow hair when he was a youth; he was old when I knew him—six feet two and thin as a rake and strong, with the face of Wellington and an eye like a hawk. He and his friend were going home to his croft from their occupations one morning early, round the little Carsaig Bay opposite Jura, where he had a still up a little burn there, and they fell in with a cask on the sand and there was red wine in it, port or Burgundy, I do not know. Callum said he knew all about it and it was but weak stuff, so they took bowls and saucers and drank the weak stuff more and more. I think it must have been port; and they lay where they were on the sand and slept till the morning after. When dawn, the rosy-fingered, found them she must have thought them quite Hellenic; and the minister followed later, and I would not think it right to repeat what he thought it right to say. The sands and the bay and the burn are there to-day, and, as they say in the old tales, if Callum were not dead he would be alive to prove the truth of the story. The still I've never seen, but Callum I knew, and his croft; alas the roof of it fell in a few years ago; and it was the last inhabited house of a Carsaig clachan. You see the land is "improved" now, for sheep, and it's all in one big farm instead of small crofts, and little greasy, black-faced sheep climb the loose stone walls and nibble the green grass short as a carpet where Callum and his wife lived so long.

May I go on to the end of Callum's story; though it is rather a far cry from this hot Red Sea to the cool Sound of Jura?

He and his wife were to be taken to the poor house in winter, and on the long drive across Kintyre they were told that they would be separated, and there was then and there such a crying and fighting on the road that they were both driven back to the croft—and I was not surprised, for where Callum Bhouie was fighting there would not be a stronger man of his age. So they lived on in the but-and-ben, with the lonely, tall ash standing over it, and the view of Jura, the sweetest I know, in front, and he died very old indeed, and his wife followed him in two or three days, so they were not separated even by death for long.

… Now to my log rolling. It has already been explained by travellers of repute that the Red Sea does not take its name from its colour; this statement, I believe, is now generally accepted as being something more than the mere "traveller's tale." It is not, however, so generally known that this Sea is peculiarly blue, so blue, in fact, that were you to dip a white dress into it it would come out blue, or at least it looks as if it would. It reminds me of a splendid blue silk with filmy white lace spread over it. Against this the figures on the shady side of the ship look very pretty; ladies and children and menkind all in such various bright, summery colours, lying in long chairs or grouped round green card tables. "The Ladies' Gulf," it should be called now. That used to be the name for the sea off the N. W. of Africa where you pick up the North East trades as you sail south. Times have changed and sea routes, so the name should be passed east to this Gulf of Suez, where ladies and parasols look at their best and the appearance of a man in oilskins would be positively alarming.

The Indian judge with the Italian name and myself, are, as far as I can see, the only passengers who are not engaged doing something. Perhaps the judge's Italian name and my Vino Tinto respectively account for our contemplative attitudes. He has pulled his chair well forward to be out of the crowd, and makes a perfect picture of happy repose; he wears a dark blue yachting suit, and his hands are deep in his pockets. His face is ruddy, and his eyes are blue and seem to sparkle with the pleasure of watching the tumbling blue seas, and the bursting white and green crests. Just now a rope grummet, thrown by an elderly youth at a tub, rolled under his legs, and the judge handed it back most politely, and resumed contemplation. In two minutes another quoit clattered under his chair, this he likewise returned very politely; at the third, however, he sighed and gave up his study of the blue and sauntered aft to the smoking-room—such is life on a P. & O.

The above picture is intended to represent ladies in afternoon dress, the colours of the intermediate tints of the rainbow—expressions celestial. It is the witching hour before changing from one costume to the other, after afternoon tea and just before dressing for dinner. To the right you may observe an Ayah spoiling some young Britons.[3] You see in the background a golden sunset on a wine red sea, and our lady artist, a pupil from Juliens; she is gazing out at the departing glory.… After sundown the decks are empty, for the people are below dressing and at dinner; towards nightfall they become alive again with ladies in evening dresses with delicate scarves and laces, promenading to and fro—a difficult thing to do in such a crowd. One moment they are dark shadowy forms against the southern night sky, then they are all aglow in the lights from the music-room windows and the ports of the deck cabins.

"The-most-beautiful-lady-in-the-ship," in dark muslin, and the stalwart-man stand near us to-night; they are in half-light, leaning against the rail, looking out into the darkness. I wished Whistler might have seen them; he alone could have caught the soft night colours—the black so velvety and colourful, blurred into the dark blue of the night sky, with never the suggestion of an outline, and just one touch of subdued warm colour on the bend of her neck. Sometimes her scarf floats lightly across his sleeve and rests, and floats away again. I suppose they talk of—the weather, and repeat themselves in the dear old set terms. That is why nature is more interesting than man, it never repeats itself or displays an effect for more than a minute. Five men out of any six on board, I believe, would make a fair copy of the conversation of these two, but only one man who has lived in our times could have made a fist at that effect of faint lamp-light and fainter moonlight on the black of the coat against the deep blue-black of the star spangled southern sky. Only the "Master" could have got the delicacy and movement of the faintly sea-green veil that sometimes lifts on the warm breeze and floats an instant across the sky and the broadcloth; he would have got the innermost delicacy of colour form purely and simply, without an inch, of conventional paint or catch-penny sentiment.