The Naples Riviera — A Reader’s Guide
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Read the Text
anch Coral-coloured, transparent, with circlets Of pale sea-green leaves.”
Above our heads hovers a kite, performing graceful circles in the keen clear air and breaking the oppressive silence of the place with his shrill screams, for his mate must have her nest hidden in some cleft of yon grey towering cliff. A pair of crested hoopoes with brown plumage and ruddy breasts keep fluttering a little way before us, uttering from time to time their curious notes of alarm. Mercifully these handsome birds have escaped the fowler, who lays his snares even amongst the spirit-haunted crags of this desolate region. The hoopoe, though a very rare visitor to our northern shores, is fairly common on the Mediterranean coast, and he would be still more frequently encountered, were it not for his hereditary enemy, Man. There is a venerable legend concerning this interesting bird—_bubbola_, the Italians call him—which relates how ages ago on the scorching plains of Palestine a number of hoopoes once followed King Solomon as he was riding, and in order to protect the great king from the fierce rays of the sun, they formed themselves into a living screen to shelter the royal head. Grateful for this welcome attention, Solomon Ben David at eventide sent for the king of the Hoopoes to ask him what reward he would like to receive for this service, and the answer was promptly made that a crown of pure gold on the head would be acceptable. The Jewish monarch smiled grimly as he granted the request, whereupon immediately each bird found his poll decorated with a tuft of pure golden feathers, and mightily pleased with their new magnificence were the conceited hoopoes. But alas! the news was quickly spread abroad that there were to be seen strange birds with plumes of real gold, and the eternal lust of gain at once set men in quest of the hoopoes, whom they began to slay wholesale with stones, arrows, and traps in order to obtain the coveted precious metal they bore on their heads. In despair, the king of the hoopoes then flew to the monarch sitting on his ivory throne at Jerusalem, and begged him to change their golden crowns for crests of feathers. Solomon the Wise smilingly gave the order; at once lovely red and black feathers took the place of the golden plumes, and the slaughter of the hoopoes in Palestine forthwith ceased. And the story, argues the recorder of this lesson upon the folly of personal adornment, must of necessity be true, for it is certain that the hoopoes bear a crown of feathers upon their heads unto this day.
Slowly we toil up the last portion of the peak, until we reach the ruined chapel of St Michael upon its summit, which is still a resort of local pilgrims, although in these days of doubt and avarice, when “sins are so many and saints so few,” the statue of the Archangel since its removal from this spot no longer perspires with the sacred dew, which the priests used to collect with cotton wool on the first day of August and distribute to the peasants of the district. Like the oil that was once wont to exude from the blessed relics of St Andrew in the Cathedral of Amalfi, _non c’è più_; we may possess motor cars and radium, but we must contrive to exist without these precious exhibitions of the miraculous.
It would be sheer folly to attempt a full description of that glorious view, comprising the bays of Gaeta, Naples, and Salerno; of Vesuvius with his ascending smoky clouds; of the endless chain of the snow-tipped Abruzzi Mountains that bound the vision to the east; of the vast expanse of the Mediterranean, stretching in one unbroken sheet of turquoise to the west, varied by violet patches of reflected cloud, and studded by innumerable ships, from the vast liners to the tiny fishing craft with their glistening sails, like snow-white sea-swallows resting on the calm waters. Again we turn to Robert Browning, most human of poets and most kindly of philosophers, to find adequate expression for the thoughts we dare not, cannot utter.
Herbert M. Vaughan’s The Naples Riviera (1907) moves through its sixteen chapters not as a continuous itinerary but as a series of set-piece excursions, each anchored to a specific locale—Vesuvius, Pompeii, Amalfi, Capri, Paestum. The structure is additive rather than narrative: each chapter can be read independently, yet recurring patterns of observation bind them together. Vaughan habitually opens a scene with a panoramic view, then narrows to a detail (a fisherman’s wife, a charcoal carrier), before pivoting to historical or literary allusion. This tripartite rhythm—vista, vignette, digression—gives the book a distinctive, almost musical shape.
The Panoramic Opening as Structural Device
Vaughan frequently begins a chapter with a wide-angle description that establishes mood and geography. In the Amalfi section, he notes “the last tints of its rose-pink glow” disappearing from mountain tops, then shifts to “stars beginning to peep in the firmament” and “yellow lights, the stars of earth.” This movement from sky to sea to human habitation is a deliberate compositional choice. It recurs in the Sorrento and Capri chapters, where the author first positions the reader at a height—a convent inn, a cliff path—before descending into the town. The effect is to make the landscape feel both immediate and framed, as if each scene were a painted canvas.
Recurring Images: Light, Dust, and the Evening Hour
Two sensory details recur with notable frequency: the quality of evening light and the presence of dust. Vaughan describes “the dewy freshness of evening” giving way to “the heavy air, thick with dust” along the coast road. Later, he writes of “the rose-flushed evening sky” and “the glow of evening” tipping rocky summits. Dust appears not as a nuisance but as a marker of human passage—the road, the carriage, the beggars’ feet. Light, by contrast, signals transition: sunset is the moment when Vaughan most often pauses for reflection, linking the natural cycle to the decay of ancient civilizations. This pairing of dust and dusk becomes a quiet leitmotif.
Movement Between Scenes: The Carriage Journey as Transition
Vaughan uses the carriage ride as a structural hinge between locations. In the Amalfi-to-Salerno passage, the journey is described in real time: “we pass Atrani… we quickly gain Minori… we meet also, alas! with the usual crowd of beggars.” The motion is linear, but the prose lingers on each settlement as if it were a separate exhibit. The carriage becomes a mobile viewpoint, allowing Vaughan to catalogue sights—paper mills, maccaroni mills, ruined castles—without breaking the forward momentum. This technique gives the book a rhythm of arrival and departure, each stop framed by the dust of the road and the promise of the next view.
Historical Digression as Counterpoint to Scenic Description
Vaughan’s historical asides are not interruptions but deliberate counterpoints. In the midst of describing Majori’s “crowded beach and brightly coloured boats,” he pivots to the “huge ruined castle of San Niccolò” and the “selfish strife” of the Sanseverini and Colonna families. The shift is abrupt, yet it mirrors the way ruins coexist with modern life along the coast. Vaughan does not resolve the tension; he lets the past sit uneasily beside the present. This technique is most pronounced in the Pompeii and Paestum chapters, where the author moves from temple columns to peasant huts without transition, forcing the reader to hold two eras in mind simultaneously.
Readers approaching The Naples Riviera will find it most rewarding if they attend to Vaughan’s structural habits: the panoramic opening, the recurring evening light, the carriage journey as a framing device, and the abrupt historical digressions. These patterns give coherence to what might otherwise seem a loose collection of travel sketches. The book rewards slow reading—not for plot, but for the way its compositional choices mirror the layered landscape it describes.
That rainy afternoon, Vaughan’s Amalfi contrasts—ancient stones against laundry lines—left me wanting another traveller’s stubborn gaze. By chance, I found the same patient attention in The Oxonian in Thelemarken, volume 1 (of 2) or, Notes of travel in south-western Norway in the summers of 1856 and 1857. With glances at the legendary lore of that district. — Reading Notes, where fjords and folklore quietly intertwine, much like Vaughan’s ruins and sea.
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