[68] The assurance given by the San Vito landlord to Messrs. Gilbert and Churchill, that 'only the final ice-portion was difficult' (The Dolomite Mountains, p. 399), was, I need scarcely say, wholly misleading and contrary to fact.
[69] Mr. Bryce tells me that among the upper rocks of the Pelmo, above the ice and somewhat E. of the highest point he found a strong iron spring.
[70] We had been absent 10½ hours. The ascent occupied five hours of quick walking; the return, made on the whole much more leisurely, about four; halts accounted for the remaining hour and a half.
[71] See [Appendix A].
[72] Prose Idylls.
[73] Contrast this comparison with Mr. Browning's, quoted [p. 28].
[74] A distinction must be made between the scenery of the Engadine itself, and of the Bernina. In the side-glens behind Pontresina, the lover of peak-form and the student of snow and ice will find abundant and singularly accessible subjects.
[75] I do not forget the somewhat spasmodic efforts in Alpine painting which have been made in late years by one or two of our landscape-painters. But so far as I know, despite one or two fairly successful beginnings, none of them (except an amateur, Sir Robert Collier) have persevered in the endeavour to represent mountains. Of all men, Mr. Edward Whymper has effected most in this field. His wood engravings show how much may be done even on a very small scale and without colour. A volume of portraits of the great peaks by his hand, an English edition of Herr Studer's, The Highest Summits of Switzerland, and the Story of their Ascent, would be welcomed both by lovers of the arts and of the Alps. Mr. Elijah Walton, with much feeling for colour, and occasionally for mountain form, seems to lack the force and perseverance necessary for the production of complete work. He seldom reaches the standard of rock-drawing held up in his own book, Peaks in Pen and Pencil. His sketches are too often scamped, and it is impossible to repress impatience of their mannerism, and of the perpetual blot of mist which he is ever ready to throw in. Nor can I recognise as worthy of such frequent reproduction the surely somewhat ignoble, and in nature rare, form of hillside found where, through the friable character of the rock, isolated, pine-tufted blocks are left standing amidst deep trenches. But he can, when he pleases, paint truly and beautifully a dolomite pinnacle, a wall of ice, or a bank of pines. I still hope he may be able to forget some of his favourite effects, and to give us a series of simple transcripts of fresh impressions from nature, embodied in drawings studied throughout with equal care.
Other water-colour painters have, during the last few seasons, tried their hands on the snowy Alps. We owe gratitude to everyone who aids to raise mountain-drawing from the bathos of such works as those of Collingwood Smith. But I could wish this young school showed less facility and more signs of a progress which is only to be won by thoughtful observation, patience, and refinement. At present their works are seen more often in the rooms of climbers than of connoisseurs.
[76] The references in this Appendix from the first to the eleventh chapter are to vol. ii. of the 3-volume edition of the Alpine Guide, which has not been repaged for the 10-section edition.