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Before you are out of Colorado, you begin to see these novel architectural features on the horizon-line–the canon turned bottom side up, as it were. In New Mexico, the canon habit of the erosion forces is still more pronounced. The mountain-lines are often as architectural in the distance, or arbitrary, as the sky-line of a city. You may see what you half persuade yourself is a huge brick building notching the horizon,–an asylum, a seminary, a hotel,–but it is only a fragment of red sandstone, carved out by wind and rain.

Presently the high colors of the rocks appear–high cliffs with terra-cotta facades, and a new look in the texture of the rocks, a soft, beaming, less frowning expression, and colored as if by the Western sunsets. We are looking upon much younger rocks geologically than we see at home, and they have the tints and texture of youth. The landscape and the mountains look young, because they look unfinished, like a house half up. The workmen have but just knocked off work to go to dinner; their great trenches, their freshly opened quarries, their huge dumps, their foundations, their cyclopean masonry, their half-finished structures breaking the horizon-lines, their square gashes through the mountains,–all impress the eyes of a traveler from the eastern part of the continent, where the earth-building and earth-carving forces finished their work ages ago.

II

Hence it is that when one reaches the Grand canon of the Colorado, if he has kept his eyes and mind open, he is prepared to see striking and unusual things. But he cannot be fully prepared for just what he does see, no matter how many pictures of it he may have seen, or how many descriptions of it he may have read.

A friend of mine who took a lively interest in my Western trip wrote me that he wished he could have been present with his kodak when we first looked upon the Grand Canon. Did he think he could have got a picture of our souls? His camera would have shown him only our silent, motionless forms as we stood transfixed by that first view of the stupendous spectacle. Words do not come readily to one’s lips, or gestures to one’s body, in the presence of such a scene. One of my companions said that the first thing that came into her mind was the old text, “Be still, and know that I am God.” To be still on such an occasion is the easiest thing in the world, and to feel the surge of solemn and reverential emotions is equally easy; is, indeed, almost inevitable. The immensity of the scene, its tranquillity, its order, its strange, new beauty, and the monumental character of its many forms–all these tend to beget in the beholder an attitude of silent wonder and solemn admiration. I wished at the moment that we might have been alone with the glorious spectacle,–that we had hit upon an hour when the public had gone to dinner. The smoking and joking tourists sauntering along in apparent indifference, or sitting with their backs to the great geologic drama, annoyed me. I pity the person who can gaze upon the spectacle unmoved. Some are actually terrified by it. I was told of a strong man, an eminent lawyer from a Western city, who literally fell to the earth at the first view, and could not again be induced to look upon it. I saw a woman prone upon the ground near the brink at Hopi Point, weeping silently and long; but from what she afterward told me I know it was not from terror or sorrow, but from the overpowering gladness of the ineffable beauty and harmony of the scene. It moved her like the grandest music. Her inebriate soul could find relief only in tears.

Harriet Monroe was so wrought up by the first view that she says she had to fight against the desperate temptation to fling herself down into the soft abyss, and thus redeem the affront which the very beating of her heart had offered to the inviolable solitude. Charles Dudley Warner said of it, “I experienced for a moment an indescribable terror of nature, a confusion of mind, a fear to be alone in such a presence.”