IN QUEEN’S CAÑON.
On the Divide is a beautiful sheet of water, known as Palmer Lake from which is derived a large quantity of the purest ice. Here a novel and attractive depot has been erected by the railway company, and extensive improvements, including a dancing pavilion and summer hotel, cottages and boat-houses, have been made. In the hottest seasons the temperature is always cool and invigorating, and no spot within accessible distance is so well adapted for an economical and delightful resort for Denverites. On the southern face of the hill the rock-formations break out into still more marked resemblances to ruined castles, showing moats, arches and turrets. It follows that our Artist was enraptured with the romantic features of the place, and the Photographer insisted on taking out his camera and getting at work. One of his results, Phebe’s Arch, is contributed to the pictorial fund of this volume. The descent from the Divide is rapid, and our attention is absorbed by the swiftly changing panorama. Close by are the mountains—their snowy pyramids holding entranced your eyes from far, far out on the plains. “In variety and harmony of form,” said Bayard Taylor of them: “in effect against the dark blue sky, in breadth and grandeur, I know of no external picture of the Alps which can be placed beside it. If you could take away the valley of the Rhone, and unite the Alps of Savoy with the Bernese Oberland, you might obtain a tolerable idea of this view of the Rocky Mountains.” Pike’s Peak is constantly in sight, and every curve in the steel road presents it in a different aspect.
Presently we find ourselves on the bank of Monument Creek, pass the station of the same name, and soon encounter a series of small basins, and side valleys, green-carpeted and with gently sloping and wooded sides.
“Observe those odd rocks!” suddenly exclaims the Madame. “Notice how, all along the bluff, stand rows of little images, like the carved figure-friezes of the Parthenon; and how those great isolated rocks have been left like the discarded and broken furniture of Gog and Magog.”
“Yes,” I say, “but the tone of your imagery is low. Long, long ago a higher sentiment called them ‘monuments,’ and this whole illy-defined region of grotesquely-cut sandstones, Monument Park.”
And then we all fall into a discussion of the process of formation of these quaint obelisks, which is interrupted by the Artist.
“Here is some pertinent testimony in Ludlow’s admirable book, the ‘Heart of the Continent,’ which by your leave I will read to you. Ready?”
“Fire away!” we reply, and do the same with our cigars, making a treaty of amity in the blaze of a mutual match.
“‘I ascended one of the most practicable hills among the number crowned by sculpturesque formations. The hill was a mere mass of sand and débris from decayed rocks, about a hundred feet high, conical, and bearing on its summit an irregular group of pillars. After a protracted examination, I found the formation to consist of a peculiar friable conglomerate, which has no precise parallel in any of our Eastern strata. Some of the pillars were nearly cylindrical, others were long cones; and a number were spindle-shaped, or like a buoy set on end. With hardly an exception, they were surmounted by capitals of remarkable projection beyond their base. These I found slightly different in composition from the shafts. The conglomerate of the latter was an irregular mixture of fragments from all the hypogene rocks of the range, including quartzose pebbles, pure crystals of silex, various crystalline sandstones, gneiss, solitary horn-blende and feldspar, nodular iron stones, rude agates and gun-flint; the whole loosely cemented in a matrix composed of clay, lime (most likely from the decomposition of gypsum), and red oxide of iron. The disk which formed the largely projecting capital seemed to represent the original diameter of the pillar, and apparently retained its proportions in virtue of a much closer texture and larger per cent. of iron in its composition. These were often so apparent that the pillars had a contour of the most rugged description, and a tinge of pale cream yellow, while the capitals were of a brick-dust color, with excess of red oxide, and nearly as uniform in their granulation as fine millstone-grit. The shape of these formations seemed, therefore, to turn on the comparative resistance to atmospheric influences possessed by their various parts. Many other indications ... led me to narrow down all the hypothetical agencies which might have produced them, to a single one,—air, in its chemical or mechanical operations, and usually in both.... One characteristic of the Rocky Mountains is its system of vast indentations, cutting through from the top to the bottom of the range. Some of these take the form of funnels, others are deep, tortuous galleries known as passes or cañons; but all have their openings toward the plains. The descending masses of air fall into these funnels or sinuous canals, as they slide down, concentrating themselves and acquiring a vertical motion. When they issue from the mouth of the gorge at the base of the range, they are gigantic augers, with a revolution faster than man’s cunningest machinery, and a cutting-edge of silex, obtained from the first sand heap caught up by their fury. Thus armed with their own resistless motion and an incisive thread of the hardest mineral next to the diamond, they sweep on over the plains to excavate, pull down, or carve in new forms, whatever friable formation lies in their way.’”