Happy nowadays is the tourist, with earth\'s wonders, new and old, spread invitingly open before him, and a host of able workers as his slaves making everything easy, padding plush about him, grading roads for him, boring tunnels, moving hills out of his way, eager, like the Devil, to show him all the kingdoms of the world and their glory and foolishness, spiritualizing travel for him with lightning and steam, abolishing space and time and almost everything else. Little children and tender, pulpy people, as well as storm-seasoned explorers, may now go almost everywhere in smooth comfort, cross oceans and deserts scarce accessible to fishes and birds, and, dragged by steel horses, go up high mountains, riding gloriously beneath starry showers of sparks, ascending like Elijah in a whirlwind and chariot of fire.
First of the wonders of the great West to be brought within reach of the tourist were the Yosemite and the Big Trees, on the completion of the first transcontinental railway; next came the Yellowstone and icy Alaska, by the northern roads; and last the Grand Canyon of the Colorado, which, naturally the hardest to reach, has now become, by a branch of the Santa Fe, the most accessible of all.
Of course, with this wonderful extension of steel ways through our wildness there is loss as well as gain. Nearly all railroads are bordered by belts of desolation. The finest wilderness perishes as if stricken with pestilence. Bird and beast people, if not the dryads, are frightened from the groves. Too often the groves also vanish, leaving nothing but ashes. Fortunately, nature has a few big places beyond man\'s power to spoil—the ocean, the two icy ends of the globe, and the Grand Canyon.
When I first heard of the Santa Fe trains running to the edge of the Grand Canyon of Arizona, I was troubled with thoughts of the disenchantment likely to follow. But last winter, when I saw those trains crawling along through the pines of the Coconino Forest and close up to the brink of the chasm at Bright Angel, I was glad to discover that in the presence of such stupendous scenery they are nothing. The locomotives and trains are mere beetles and caterpillars, and the noise they make is as little disturbing as the hooting of an owl in the lonely woods.
In a dry, hot, monotonous forested plateau, seemingly boundless, you come suddenly and without warning upon the abrupt edge of a gigantic sunken landscape of the wildest, most multitudinous features, and those features, sharp and angular, are made out of flat beds of limestone and sandstone forming a spiry, jagged, gloriously colored mountain range countersunk in a level gray plain. It is a hard job to sketch it even in scrawniest outline; and, try as I may, not in the least sparing myself, I cannot tell the hundredth part of the wonders of its features—the side canyons, gorges, alcoves, cloisters, and amphitheaters of vast sweep and depth, carved in its magnificent walls; the throng of great architectural rocks it contains resembling castles, cathedrals, temples, and palaces, towered and spired and painted, some of them nearly a mile high, yet beneath one\'s feet. All this, however, is less difficult than to give any idea of the impression of wild, primeval beauty and power one receives in merely gazing from its brink. The view down the gulf of color and over the rim of its wonderful wall, more than any other view I know, leads us to think of our earth as a star with stars swimming in light, every radiant spire pointing the way to the heavens.
But it is impossible to conceive what the canyon is, or what impression it makes, from descriptions or pictures, however good. Naturally it is untellable even to those who have seen something perhaps a little like it on a small scale in this same plateau region. One\'s most extravagant expectations are indefinitely surpassed, though one expects much from what is said of it as "the biggest chasm on earth"—"so big is it that all other big things—Yosemite, the Yellowstone, the Pyramids, Chicago—all would be lost if tumbled into it." Naturally enough, illustrations as to size are sought for among other canyons like or unlike it, with the common result of worse confounding confusion. The prudent keep silence. It was once said that the "Grand Canyon could put a dozen Yosemites in its vest pocket."
The justly famous Grand Canyon of the Yellowstone is, like the Colorado, gorgeously colored and abruptly countersunk in a plateau, and both are mainly the work of water. But the Colorado\'s canyon is more than a thousand times larger, and as a score or two of new buildings of ordinary size would not appreciably change the general view of a great city, so hundreds of Yellowstones might be eroded in the sides of the Colorado Canyon without noticeably augmenting its size or the richness of its sculpture.
But it is not true that the great Yosemite rocks would be thus lost or hidden. Nothing of their kind in the world, so far as I know, rivals El Capitan and Tissiack, much less dwarfs or in any way belittles them. None of the sandstone or limestone precipices of the canyon that I have seen or heard of approaches in smooth, flawless strength and grandeur the granite face of El Capitan or the Tenaya side of Cloud\'s Rest. These colossal cliffs, types of permanence, are about three thousand and six thousand feet high; those of the canyon that are sheer are about half as high, and are types of fleeting change; while glorious-domed Tissiack, noblest of mountain buildings, far from being overshadowed or lost in this rosy, spiry canyon company, would draw every eye, and, in serene majesty, "aboon them a\'" she would take her place—castle, temple, palace, or tower. Nevertheless a noted writer, comparing the Grand Canyon in a general way with the glacial Yosemite, says: "And the Yosemite—ah, the lovely Yosemite! Dumped down into the wilderness of gorges and mountains, it would take a guide who knew of its existence a long time to find it." This is striking, and shows up well above the levels of commonplace description, but it is confusing, and has the fatal fault of not being true. As well try to describe an eagle by putting a lark in it. "And the lark—ah, the lovely lark! Dumped down the red, royal gorge of the eagle, it would be hard to find." Each in its own place is better, singing at heaven\'s gate, and sailing the sky with the clouds.
Every feature of Nature\'s big face is beautiful,—height and hollow, wrinkle, furrow, and line,—and this is the main master-furrow of its kind on our continent, incomparably greater and more impressive than any other yet discovered, or likely to be discovered, now that all the great rivers have been traced to their heads.
The Colorado River rises in the heart of the continent on the dividing ranges and ridges between the two oceans, drains thousands of snowy mountains through narrow or spacious valleys, and thence through canyons of every color, sheer-walled and deep, all of which seem to be represented in this one grand canyon of canyons.
It is very hard to give anything like an adequate conception of its size; much more of its color, its vast wall-sculpture, the wealth of ornate architectural buildings that fill it, or, most of all, the tremendous impression it makes. According to Major Powell, it is about two hundred and seventeen miles long, from five to fifteen miles wide from rim to rim, and from about five thousand to six thousand feet deep. So tremendous a chasm would be one of the world\'s greatest wonders even if, like ordinary canyons cut in sedimentary rocks, it were empty and its walls were simple. But instead of being plain, the walls are so deeply and elaborately carved into all sorts of recesses—alcoves, cirques, amphitheaters, and side canyons—that, were you to trace the rim closely around on both sides, your journey would be nearly a thousand miles long. Into all these recesses the level, continuous beds of rock in ledges and benches, with their various colors, run like broad ribbons, marvelously beautiful and effective even at a distance of ten or twelve miles. And the vast space these glorious walls enclose, instead of being empty, is crowded with gigantic architectural rock forms gorgeously colored and adorned with towers and spires like works of art.
Looking down from this level plateau, we are more impressed with a feeling of being on the top of everything than when looking from the summit of a mountain. From side to side of the vast gulf, temples, palaces, towers, and spires come soaring up in thick array half a mile or nearly a mile above their sunken, hidden bases, some to a level with our standpoint, but none higher. And in the inspiring morning light all are so fresh and rosy-looking that they seem new-born; as if, like the quick-growing crimson snowplants 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 these 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 canyons, amphitheaters, cirques, and scallops into which they are sculptured. From one point hundreds of miles of the 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 for ashes—as in the flowers of a prairie after fires—but here the very dust and ashes are beautiful.
Gazing across the mighty chasm, we at last discover that it is not its great depth nor length, nor yet these wonderful buildings, that most impresses us. It is its immense width, sharply defined by precipitous walls plunging suddenly down from a flat plain, declaring in terms instantly apprehended that the vast gulf is a gash in the once unbroken plateau, made by slow, orderly erosion and removal of huge beds of rocks. Other valleys of erosion are as great—in all their dimensions some are greater—but none of these produces an effect on the imagination at once so quick and profound, coming without study, given at a glance. Therefore by far the greatest and most influential feature of this view from Bright Angel or any other of the canyon views is the opposite wall. Of the one beneath our feet we see only fragmentary sections in cirques and amphitheaters and on the sides of the out-jutting promontories between them, while the other, though far distant, is beheld in all its glory of color and noble proportions—the one supreme beauty and wonder to which the eye is ever turning. For while charming with its beauty it tells the story of the stupendous erosion of the canyon—the foundation of the unspeakable impression made on everybody. It seems a gigantic statement for even nature to make, all in one mighty stone word, apprehended at once like a burst of light, celestial color its natural vesture, coming in glory to mind and heart as to a home prepared for it from the very beginning. Wildness so godful, cosmic, primeval, bestows a new sense of earth\'s beauty and size. Not even from high mountains does the world seem so wide, so like a star in glory of light on its way through the heavens.
I have observed scenery-hunters of all sorts getting first views of yosemites, glaciers, White Mountain ranges, etc. Mixed with the enthusiasm which such scenery naturally excites, there is often weak gushing, and many splutter aloud like little waterfalls. Here, for a few moments at least, there is silence, and all are in dead earnest, as if awed and hushed by an earthquake—perhaps until the cook cries "Breakfast!" or the stable-boy "Horses are ready!" Then the poor unfortunates, slaves of regular habits, turn quickly away, gasping and muttering as if wondering where they had been and what had enchanted them.
Roads have been made from Bright Angel Hotel through the Coconino Forest to the ends of outstanding promontories, commanding extensive views up and down the canyon. The nearest of them, three or four miles east and west, are O\'Neill\'s Point and Rowe\'s Point; the latter, besides commanding the eternally interesting canyon, gives wide-sweeping views southeast and west over the dark forest roof to the San Francisco and Mount Trumbull volcanoes—the bluest of mountains over the blackest of level woods.
Instead of thus riding in dust with the crowd, more will be gained by going quietly afoot along the rim at different times of day and night, free to observe the vegetation, the fossils in the rocks, the seams beneath overhanging ledges once inhabited by Indians, and to watch the stupendous scenery in the changing lights and shadows, clouds, showers, and storms. One need not go hunting the so-called "points of interest." The verge anywhere, everywhere, is a point of interest beyond one\'s wildest dreams.
As yet, few of the promontories or throng of mountain buildings in the canyon are named. Nor among such exuberance of forms are names thought of by the bewildered, hurried tourist. He would be as likely to think of names for waves in a storm. The Eastern and Western Cloisters, Hindu Amphitheater, Cape Royal, Powell\'s Plateau, Grand View Point, Point Sublime, Bissell and Moran Points, the Temple of Set, Vishnu\'s Temple, Shiva\'s Temple, Twin Temples, Tower of Babel, Hance\'s Column—these fairly good names given by Dutton, Holmes, Moran, and others are scattered over a large stretch of the canyon wilderness.
All the canyon rock-beds are lavishly painted, except a few neutral bars and the granite notch at the bottom occupied by the river, which makes but little sign. It is a vast wilderness of rocks in a sea of light, colored and glowing like oak and maple woods in autumn, when the sun-gold is richest. I have just said that it is impossible to learn what the canyon is like from descriptions and pictures. Powell\'s and Dutton\'s descriptions present magnificent views not only of the canyon but of all the grand region round about it; and Holmes\'s drawings, accompanying Dutton\'s report, are wonderfully good. Surely faithful and loving skill can go no farther in putting the multitudinous decorated forms on paper. But the COLORS, the living rejoicing COLORS, chanting morning and evening in chorus to heaven! Whose brush or pencil, however lovingly inspired, can give us these? And if paint is of no effect, what hope lies in pen-work? Only this: some may be incited by it to go and see for themselves.
No other range of mountainous rock-work of anything like the same extent have I seen that is so strangely, boldly, lavishly colored. The famous Yellowstone Canyon below the falls comes to mind; but, wonderful as it is, and well deserved as is its fame, compared with this it is only a bright rainbow ribbon at the roots of the pines. Each of the series of level, continuous beds of carboniferous rocks of the canyon has, as we have seen, its own characteristic color. The summit limestone beds are pale yellow; next below these are the beautiful rose-colored cross-bedded sandstones; next there are a thousand feet of brilliant red sandstones; and below these the red wall limestones, over two thousand feet thick, rich massy red, the greatest and most influential of the series, and forming the main color-fountain. Between these are many neutral-tinted beds. The prevailing colors are wonderfully deep and clear, changing and blending with varying intensity from hour to hour, day to day, season to season; throbbing, wavering, glowing, responding to every passing cloud or storm, a world of color in itself, now burning in separate rainbow bars streaked and blotched with shade, now glowing in one smooth, all-pervading ethereal radiance like the alpenglow, uniting the rocky world with the heavens.
The dawn, as in all the pure, dry desert country is ineffably beautiful; and when the first level sunbeams sting the domes and spires, with what a burst of power the big, wild days begin! The dead and the living, rocks and hearts alike, awake and sing the new-old song of creation. All the massy headlands and salient angles of the walls, and the multitudinous temples and palaces, seem to catch the light at once, and cast thick black shadows athwart hollow and gorge, bringing out details as well as the main massive features of the architecture; while all the rocks, as if wild with life, throb and quiver and glow in the glorious sunburst, rejoicing. Every rock temple then becomes a temple of music; every spire and pinnacle an angel of light and song, shouting color hallelujahs.
As the day draws to a close, shadows, wondrous, black, and thick, like those of the morning, fill up the wall hollows, while the glowing rocks, their rough angles burned off, seem soft and hot to the heart as they stand submerged in purple haze, which now fills the canyon like a sea. Still deeper, richer, more divine grow the great walls and temples, until in the supreme flaming glory of sunset the whole canyon is transfigured, as if all the life and light of centuries of sunshine stored up and condensed in the rocks was now being poured forth as from one glorious fountain, flooding both earth and sky.
Strange to say, in the full white effulgence of the midday hours the bright colors grow dim and terrestrial in common gray haze; and the rocks, after the manner of mountains, seem to crouch and drowse and shrink to less than half their real stature, and have nothing to say to one, as if not at home. But it is fine to see how quickly they come to life and grow radiant and communicative as soon as a band of white clouds come floating by. As if shouting for joy, they seem to spring up to meet them in hearty salutation, eager to touch them and beg their blessings. It is just in the midst of these dull midday hours that the canyon clouds are born.
A good storm cloud full of lightning and rain on its way to its work on a sunny desert day is a glorious object. Across the canyon, opposite the hotel, is a little tributary of the Colorado called Bright Angel Creek. A fountain-cloud still better deserves the name "Angel of the Desert Wells"—clad in bright plumage, carrying cool shade and living water to countless animals and plants ready to perish, no............