One of the smallest of the cascades, which I name the Bower Cascade, is in the lower region of the pass, where the vegetation is snowy and luxuriant. Wild rose and dogwood form dense masses overarching the stream, and out of this bower the creek, grown strong with many in dashing tributaries, leaps forth into the light, and descends in a fluted curve thick-sown with crisp flashing spray. At the foot of the cañon there is a lake formed in part at least by the damming of the stream by a terminal moraine. The three other lakes in the cañon are in basins eroded from the solid rock, where the pressure of the glacier was greatest, and the most resisting portions of the basin rims are beautifully, tellingly polished. Below Moraine Lake at the foot of the cañon there are several old lake-basins lying between the large lateral moraines which extend out into the desert. These basins are now completely filled up by the material carried in by the streams, and changed to dry sandy flats covered mostly by grass and artemisia and sun-loving flowers. All these lower lake-basins were evidently formed by terminal moraine dams deposited where the receding glacier had lingered during short periods of less waste, or greater snowfall, or both.

  Looking up the cañon from the warm sunny edge of the Mono plain my morning ramble seems a dream, so great is the change in the vegetation and climate. The lilies on the bank of Moraine Lake are higher than my head, and the sunshine is hot enough for palms. Yet the snow round the arctic gardens at the summit of the pass is plainly visible, only about four miles away, and between lie specimen zones of all the principal climates of the globe. In little more than an hour one may swoop down from winter to summer, from an Arctic to a torrid region, through as great changes of climate as one would encounter in traveling from Labrador to Florida.

  The Indians I had met near the head of the cañon had camped at the foot of it the night before they made the ascent, and I found their fire still smoking on the side of a small tributary stream near Moraine Lake; and on the edge of what is called the Mono Desert, four or five miles from the lake, I came to a patch of elymus, or wild rye, growing in magnificent waving clumps six or eight feet high, bearing heads six to eight inches long. The crop was ripe, and Indian women were gathering the grain in baskets by bending down large handfuls, beating out the seed, and fanning it in the wind. The grains are about five eighths of an inch long, dark-colored and sweet. I fancy the bread made from it must be as good as wheat bread. A fine squirrelish employment this wild grain gathering seems, and the women were evidently enjoying it, laughing and chattering and looking almost natural, though most Indians I have seen are not a whit more natural in their lives than we civilized whites. Perhaps if I knew them better I should like them better. The worst thing about them is their uncleanliness. Nothing truly wild is unclean. Down on the shore of Mono Lake I saw a number of their flimsy huts on the banks of streams that dash swiftly into that dead sea,—mere brush tents where they lie and eat at their ease. Some of the men were feasting on buffalo berries, lying beneath the tall bushes now red with fruit. The berries are rather insipid, but they must needs be wholesome, since for days and weeks the Indians, it is said, eat nothing else. In the season they in like manner depend chiefly on the fat larvæ of a fly that breeds in the salt water of the lake, or on the big fat corrugated caterpillars of a species of silkworm that feeds on the leaves of the yellow pine. Occasionally a grand rabbit-drive is organized and hundreds are slain with clubs on the lake shore, chased and frightened into a dense crowd by dogs, boys, girls, men and women, and rings of sage brush fire, when of course they are quickly killed. The skins are made into blankets. In the autumn the more enterprising of the hunters bring in a good many deer, and rarely a wild sheep from the high peaks. Antelopes used to be abundant on the desert at the base of the interior mountain-ranges. Sage hens, grouse, and squirrels help to vary their wild diet of worms; pine nuts also from the small interesting Pinus monophylla, and good bread and good mush are made from acorns and wild rye. Strange to say, they seem to like the lake larvæ best of all. Long windrows are washed up on the shore, which they gather and dry like grain for winter use. It is said that wars, on account of encroachments on each other’s worm-grounds, are of common occurrence among the various tribes and families. Each claims a certain marked portion of the shore. The pine nuts are delicious—large quantities are gathered every autumn. The tribes of the west flank of the range trade acorns for worms and pine nuts. The squaws carry immense loads on their backs across the rough passes and down the range, making journeys of about forty or fifty miles each way.

  The desert around the lake is surprisingly flowery. In many places among the sage bushes I saw mentzelia, abronia, aster, bigelovia, and gilia, all of which seemed to enjoy the hot sunshine. The abronia, in particular, is a delicate, fragrant, and most charming plant.

  Opposite the mouth of the cañon a range of volcanic cones extends southward from the lake, rising abruptly out of the desert like a chain of mountains. The largest of the cones are about twenty-five hundred feet high above the lake level, have well-formed craters, and all of them are evidently comparatively recent additions to the landscape. At a distance of a few miles they look like heaps of loose ashes that have never been blest by either rain or snow, but, for a’ that and a’ that, yellow pines are climbing their gray slopes, trying to clothe them and give beauty for ashes. A country of wonderful contrasts. Hot deserts bounded by snow-laden mountains,—cinders and ashes scattered on glacier-polished pavements,—frost and fire working together in the making of beauty. In the lake are several volcanic islands, which show that the waters were once mingled with fire.

  Glad to get back to the green side of the mountains, though I have greatly enjoyed the gray east side and hope to see more of it. Reading these grand mountain manuscripts displayed through every vicissitude of heat and cold, calm and storm, upheaving volcanoes and down-grinding glaciers, we see that everything in Nature called destruction must be creation—a change from beauty to beauty.

  Our glacier meadow camp north of the Soda Springs seems more beautiful every day. The grass covers all the ground though the leaves are thread-like in fineness, and in walking on the sod it seems like a plush carpet of marvelous richness and softness, and the purple panicles brushing against one’s feet are not felt. This is a typical glacier meadow, occupying the basin of a vanished lake, very definitely bounded by walls of the arrowy two-leaved pines drawn up in a handsome orderly array like soldiers on parade. There are many other meadows of the same kind hereabouts imbedded in the woods. The main big meadows along the river are the same in general and extend with but little interruption for ten or twelve miles, but none I have seen are so finely finished and perfect as this one. It is richer in flowering plants than the prairies of Wisconsin and Illinois were when in all their wild glory. The showy flowers are mostly three species of gentian, a purple and yellow orthocarpus, a golden-rod or two, a small blue pentstemon almost like a gentian, potentilla, ivesia, pedicularis, white violet, kalmia, and bryanthus. There are no coarse weedy plants. Through this flowery lawn flows a stream silently gliding, swirling, slipping as if careful not to make the slightest noise. It is only about three feet wide in most places, widening here and there into pools six or eight feet in diameter with no apparent current, the banks bossily rounded by the down-curving mossy sod, grass panicles over-leaning like miniature pine trees, and rugs of bryanthus spreading here and there over sunken boulders. At the foot of the meadow the stream, rich with the juices of the plants it has refreshed, sings merrily down over shelving rock ledges on its way to the Tuolumne River. The sublime, massive Mount Dana and its companions, green, red, and white, loom impressively above the pines along the eastern horizon; a range or spur of gray rugged granite crags and mountains on the north; the curiously crested and battlemented Mount Hoffman on the west; and the Cathedral Range on the south with its grand Cathedral Peak, Cathedral Spires, Unicorn Peak, and several others, gray and pointed or massively rounded.

  A Near View of the High Sierra

  Early one bright morning in the middle of Indian summer, while the glacier meadows were still crisp with frost crystals, I set out from the foot of Mount Lyell on my way down to Yosemite Valley, to replenish my exhausted store of bread and tea. I had spent the past summer, as many preceding ones, exploring the glaciers that lie on the head waters of the San Joaquin, Tuolumne, Merced, and Owen’s rivers; measuring and studying their movements, trends, crevasses, moraines, etc., and the part they had played during the period of their greater extension in the creation and development of the landscapes of this alpine wonderland. The time for this kind of work was nearly over for the year, and I began to look forward with delight to the approaching winter with its wondrous storms, when I would be warmly snowbound in my Yosemite cabin with plenty of bread and books; but a tinge of regret came on when I considered that possibly I might not see this favorite region again until the next summer, excepting distant views from the heights about the Yosemite walls.

  To artists, few portions of the High Sierra are, strictly speaking, picturesque. The whole massive uplift of the range is one great picture, not clearly divisible into smaller ones; differing much in this respect from the older, and what may be called, riper mountains of the Coast Range. All the landscapes of the Sierra, as we have seen, were born again, remodeled from base to summit by the developing ice floods of the last glacial winter. But all these new landscapes were not brought forth simultaneously; some of the highest, where the ice lingered longest, are tens of centuries younger than those of the warmer regions below them. In general, the younger the mountain landscapes—younger, I mean, with reference to the time of their emergence from the ice of the glacial period—the less separable are they into artistic bits capable of being made into warm, sympathetic, lovable pictures with appreciable humanity in them.

  Here, however, on the head waters of the Tuolumne, is a group of wild peaks on which the geologist may say that the sun has but just begun to shine, which is yet in a high degree picturesque, and in its main features so regular and evenly balanced as almost to appear conventional—one somber cluster of snow-laden peaks with gray pine-fringed granite bosses braided around its base, the whole surging free into the sky from the head of a magnificent valley, whose lofty walls are beveled away on both sides so as to embrace it all without admitting anything not strictly belonging to it. The foreground was now aflame with autumn colors, brown and purple and gold, ripe in the mellow sunshine; contrasting brightly with the deep, cobalt blue of the sky, and the black and gray, and pure, spiritual white of the rocks and glaciers. Down through the midst, the young Tuolumne was seen pouring from its crystal fountains, now resting in glassy pools as if changing back again into ice, now leaping in white cascades as if turning to snow; gliding right and left between granite bosses, then sweeping on through the smooth, meadowy levels of the valley, swaying pensively from side to side with calm, stately gestures past dipping willows and sedges, and around groves of arrowy pine; and throughout its whole eventful course, whether flowing fast or slow, singing loud or low, ever filling the landscape with spiritual animation, and manifesting the grandeur of its sources in every movement and tone.

  Pursuing my lonely way down the valley, I turned again and again to gaze on the glorious picture, throwing up my arms to enclose it as in a frame. After long ages of growth in the darkness beneath the glaciers, through sunshine and storms, it seemed now to be ready and waiting for the elected artist, like yellow wheat for the reaper; and I could not help wishing that I might carry colors and brushes with me on my travels, and learn to paint. In the mean time I had to be content with photographs on my mind and sketches in my notebooks. At length, after I had rounded a precipitous headland that puts out from the west wall of the valley, every peak vanished from sight, and I pushed rapidly along the frozen meadows, over the divide between the waters of the Merced and Tuolumne, and down through the forests that clothe the slopes of Cloud’s Rest, arriving in Yosemite in due time—which, with me, is any time. And, strange to say, among the first people I met here were two artists who, with letters of introduction, were awaiting my return. They inquired whether in the course of my explorations in the adjacent mountains I had ever come upon a landscape suitable for a large painting; whereupon I began a description of the one that had so lately excited my admiration. Then, as I went on further and further into details, their faces began to glow, and I offered to guide them to it, while they declared that they would gladly follow, far or near, whithersoever I could spare the time to lead them.

  Since storms might come breaking down through the fine weather at any time, burying the colors in snow and cutting off the artists’ retreat, I advised getting ready at once. I led them out of the valley by the Vernal and Nevada Falls, thence over the main dividing ridge to the Big Tuolumne Meadows, by the old Mono trail, and thence along the upper Tuolumne River to its head. This was my companions’ first excursion into the High Sierra, and as I was almost always alone in my mountaineering, the way that the fresh beauty was reflected in their faces made for me a novel and interesting study. They naturally were affected most of all by the colors: the intense azure of the sky, the purplish grays of the granite, the red and browns of dry meadows, and the translucent purple and crimson of huckleberry bogs; the flaming yellow of aspen groves, the silvery flashing of the streams, and the bright green and blue of the glacier lakes. But the general expression of the scenery—rocky and savage—seemed sadly disappointing; and as they threaded the forest from ridge to ridge, eagerly scanning the landscapes as they were unfolded, they said: “All this is huge and sublime, but we see nothing as yet at all available for effective pictures. Art is long, and art is limited, you know; and here are foregrounds, middle-grounds, backgrounds, all alike; bare rock-waves, woods, groves, diminutive flecks of meadow, and strips of glittering water.” “Never mind,” I replied, “only bide a wee, and I will show you something you will like.”

  At length, toward the end of the second day, the Sierra Crown began to come into view, and when we had fairly rounded the projecting headland before mentioned, the whole picture stood revealed in the flush of the alpenglow. Their enthusiasm was excited beyond bounds, and the more impulsive of the two, a young Scotchman, dashed ahead, shouting and gesticulating and tossing his arms in the air like a madman. Here, at last, was a typical alpine landscape.

  After feasting awhile on the view, I proceeded to make camp in a sheltered grove a little way back from the meadow, where pine boughs could be obtained for beds, and where there was plenty of dry wood for fires, while the artists ran here and there, along the river bends and up the sides of the canyon, choosing foregrounds for sketches. After dark, when our tea was made and a rousing fire had been built, we began to make our plans. They decided to remain several days, at the least, while I concluded to make an excursion in the mean time to the untouched summit of Ritter.

  It was now about the middle of October, the springtime of snow flowers. The first winter clouds had already bloomed, and the peaks were strewn with fresh crystals, without, however, affecting the climbing to any dangerous extent. And as the weather was still profoundly calm, and the distance to the foot of the mountain only a little more than a day, I felt that I was running no great risk of being storm-bound.

  Mount Ritter is king of the mountains of the middle portion of the High Sierra, as Shasta of the north and Whitney of the south sections. Moreover, as far as I know, it had never been climbed. I had explored the adjacent wilderness summer after summer, but my studies thus far had never drawn me to the top of it. Its height above sea level is about 13,300 feet, and it is fenced ’round by steeply inclined glaciers, and canyons of tremendous depth and ruggedness, which render it almost inaccessible. But difficulties of this kind only exhilarate the mountaineer.

  Next morning, the artists went heartily to their work and I to mine. Former experiences had given good reason to know that passionate storms, invisible as yet, might be brooding in the calm sun-gold; therefore, before bidding farewell, I warned the artists not to be alarmed should I fail to appear before a week or ten days, and advised them, in case a snowstorm should set in, to keep up big fires and shelter themselves as best they could, and on no account to become frightened and attempt to seek their way back to Yosemite alone through the drifts.

  My general plan was simply this: to scale the canyon wall, cross over to the eastern flank of the range, and then make my way southward to the northern spurs of Mount Ritter in compliance with the intervening topography; for to push on directly southward from camp through the innumerable peaks and pinnacles that adorn this portion of the axis of the range, however interesting, would take too much time, besides being extremely difficult and dangerous at this time of year.

  All my first day was pure pleasure; simply mountaineering indulgence, crossing the dry pathways of the ancient glaciers, tracing happy streams, and learning the habits of the birds and marmots in the groves and rocks. Before I had gone a mile from camp, I came to the foot of a white cascade that beats its way down a rugged gorge in the canyon wall, from a height of about nine hundred feet, and pours its throbbing waters into the Tuolumne. I was acquainted with its fountains, which, fortunately, lay in my course. What a fine traveling companion it proved to be, what songs it sang, and how passionately it told the mountain’s own joy! Gladly I climbed along its dashing border, absorbing its divine music, and bathing from time to time in waftings of irised spray. Climbing higher, higher, new beauty came streaming on the sight: painted meadows, late-blooming gardens, peaks of rare architecture, lakes here and there, shining like silver, and glimpses of the forested middle region and the yellow lowlands far in the west. Beyond the range I saw the so-called Mono Desert, lying dreamily silent in thick purple light—a desert of heavy sun-glare beheld from a desert of ice-burnished granite. Here the waters divide, shouting in glorious enthusiasm, and falling eastward to vanish in the volcanic sands and dry sky of the Great Basin, or westward to the Great Valley of California, and thence through the Bay of San Francisco and the Golden Gate to the sea.

 

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