In The Unknown Islands, there is a kind of aesthetic "ecstasy" provided by the beauty of the landscape of the Azores and Madeira archipelagos. We will see that this "ecstasy" has acquired purely dynamic, humanized, and cultural attributes, referring to a symbiotic combination between the narrator's impressions of what he observes and interacts with. There is a notable differentiation in the apprehension of the landscape here, since, by revisiting the concept of perspective in the literary sphere and bringing it closer to recent references to the study of Landscape and selected and privileged points of view, this Brandonian work moves towards an innovation in the approach to landscape that necessarily involves its configuration as a perceptive form of being in the world and also in literary writing.