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to eat, one of them held me fast by the hands, and laid me across, I think, the windlass, and tied my feet, while the other flogged me severely. I had never experienced any thing of this kind before; and although, not being used to the water, I naturally feared that element the first time I saw it; yet, nevertheless, could I have got over the nettings, I would have jumped over the side, but I could not; and, besides, the crew used to watch us very closely who were not chained down to the decks, lest we should leap into the water; and I have seen some of these poor African prisoners most severely cut for attempting to do so, and hourly whipped for not eating. […]

      At last, when the ship we were in had got in all her cargo, they made ready with many fearful noises, and we were all put under deck, so that we could not see how they managed the vessel. But this disappointment was the least of my sorrow. The stench of the hold while we were on the coast was so intolerably loathsome, that it was dangerous to remain there for any time, and some of us had been permitted to stay on the deck for the fresh air; but now that the whole ship’s cargo were confined together, it became absolutely pestilential. The closeness of the place, and the heat of the climate, added to the number in the ship, which was so crowded that each had scarcely room to turn himself, almost suffocated us. This produced copious perspirations, so that the air soon became unfit for respiration, from a variety of loathsome smells, and brought on a sickness among the slaves, of which many died, thus falling victims to the improvident avarice, as I may call it, of their purchasers. This wretched situation was again aggravated by the galling of the chains, now become insupportable; and the filth of the necessary tubs, into which the children often fell, and were almost suffocated. The shrieks of the women, and the groans of the dying, rendered the whole a scene of horror almost inconceiveable. Happily perhaps for myself I was soon reduced so low here that it was thought necessary to keep me almost always on deck; and from my extreme youth I was not put in fetters. In this situation I expected every hour to share the fate of my companions, some of whom were almost daily brought upon deck at the point of death, which I began to hope would soon put an end to my miseries. […]

      In the context of contemporary globalization, art historians have introduced the concept of the ‘colonial picturesque’ to describe one of the ways in which art was made to serve the cause of empire. Landscape painting, it is argued, sought in effect to domesticate, or at least to render into familiar terms, what were actually often radically unknown or hostile environments, thereby helping to ideologically legitimize the presence of Europeans in them. William Beckford (often known as Beckford of Somerley to differentiate him from his cousin, the writer William Beckford of Fonthill cf. IIA10) was a wealthy plantation owner in Jamaica. In the mid‐1770s he engaged the artist George Robertson to paint pictures of his Jamaican estates, representing them as pastoral, even Arcadian scenes of plenty. Subsequently, however, Beckford incurred debts and had to forfeit his estates and leave the island. It was during this time that he wrote his description of Jamaica and its sugar plantations, in an attempt to recover his fortunes. What is noticeable about his account – in addition, that is, to his relatively untroubled acceptance of slavery – is the way Beckford continually treats the natural environment of Jamaica as a subject for artistic representation, invoking the picturesque nature of the landscape, and frequently making cross‐references to ostensibly similar sites in Britain or Europe, and to paintings by European artists. The present extracts are taken from A Descriptive Account of the Island of Jamaica, vol. 1, London, 1790, pp. 7–13, 181–2 and 214.

      The sea is, in general, extremely smooth and brilliant; and, before the breeze begins to ripple its glassy surface, is so remarkably transparent, that you can perceive (as if there were no intervening medium) the rocks and sands at a considerable depth; the weeds and coral that adorn the first, and the stars and other testaceous fishes that repose upon the last.

      Every passing cloud affords some pleasing variation; and the glowing vapours of the atmosphere, when the sun arises or declines, and when the picturesque and fantastic clouds are reflected in its polished bosom, give an enchanting hue, and such as is only particular to the warmer climates, and which much resemble those saffron skies which so strongly mark the Campania of Rome, and the environs of Naples.

      There are many parts of the country that are not much unlike to, nor less romantic than, the most wild and

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