The Grand Cañon of the Colorado | Page 3

inspiring morning light all are so fresh and rosy-looking that they seem new-born; as if, like the quick-growing crimson snow-plants of the California woods, they had just sprung up, hatched by the warm, brooding, motherly weather.
In trying to describe the great pines and sequoias of the Sierra, I have often thought that if one of those trees could be set by itself in some city park, its grandeur might there be impressively realized; while in its home forests, where all magnitudes are great, the weary, satiated traveler sees none of them truly. It is so with these majestic rock structures.
Though mere residual masses of the plateau, they are dowered with the grandeur and repose of mountains, together with the finely chiseled carving and modeling of man's temples and palaces, and often, to a considerable extent, with their symmetry. Some, closely observed, look like ruins; but even these stand plumb and true, and show architectural forms loaded with lines strictly regular and decorative, and all are arrayed in colors that storms and time seem only to brighten. They are not placed in regular rows in line with the river, but "a' through ither," as the Scotch say, in lavish, exuberant crowds, as if nature in wildest extravagance held her bravest structures as common as gravel-piles. Yonder stands a spiry cathedral nearly five thousand feet in height, nobly symmetrical, with sheer buttressed walls and arched doors and windows, as richly finished and decorated with sculptures as the great rock temples of India or Egypt. Beside it rises a huge castle with arched gateway, turrets, watch-towers, ramparts, etc., and to right and left palaces, obelisks, and pyramids fairly fill the gulf, all colossal and all lavishly painted and carved. Here and there a flat-topped structure may be seen, or one imperfectly domed; but the prevailing style is ornate Gothic, with many hints of Egyptian and Indian.
Throughout this vast extent of wild architecture--nature's own capital city--there seem to be no ordinary dwellings. All look like grand and important public structures, except perhaps some of the lower pyramids, broad-based and sharp-pointed, covered with down-flowing talus like loosely set tents with hollow, sagging sides. The roofs often have disintegrated rocks heaped and draggled over them, but in the main the masonry is firm and laid in regular courses, as if done by square and rule.
Nevertheless they are ever changing: their tops are now a dome, now a flat table or a spire, as harder or softer strata are reached in their slow degradation, while the sides, with all their fine moldings, are being steadily undermined and eaten away. But no essential change in style or color is thus effected. From century to century they stand the same. What seems confusion among the rough earthquake-shaken crags nearest one comes to order as soon as the main plan of the various structures appears. Every building, however complicated and laden with ornamental lines, is at one with itself and every one of its neighbors, for the same characteristic controlling belts of color and solid strata extend with wonderful constancy for very great distances, and pass through and give style to thousands of separate structures, however their smaller characters may vary.
Of all the various kinds of ornamental work displayed,--carving, tracery on cliff-faces, moldings, arches, pinnacles,--none is more admirably effective or charms more than the webs of rain-channeled taluses. Marvelously extensive, without the slightest appearance of waste or excess, they cover roofs and dome-tops and the base of every cliff, belt each spire and pyramid and massy, towering temple, and in beautiful continuous lines go sweeping along the great walls in and out around all the intricate system of side-ca?ons, amphitheaters, cirques, and scallops into which they are sculptured. From one point hundreds of miles of this fairy embroidery may be traced. It is all so fine and orderly that it would seem that not only had the clouds and streams been kept harmoniously busy in the making of it, but that every raindrop sent like a bullet to a mark had been the subject of a separate thought, so sure is the outcome of beauty through the stormy centuries. Surely nowhere else are there illustrations so striking of the natural beauty of desolation and death, so many of nature's own mountain buildings wasting in glory of high desert air--going to dust. See how steadfast in beauty they all are in their going. Look again and again how the rough, dusty boulders and sand of disintegration from the upper ledges wreathe in beauty the next and next below with these wonderful taluses, and how the colors are finer the faster the waste. We oftentimes see nature giving beauty for ashes,--as in the flowers of a prairie after fire,--but here the very dust and ashes are beautiful.
Gazing across the mighty chasm, we