At some distance below the Whirlpool Rapids we have the celebrated whirlpool itself. Here the river makes a sudden bend to the north-east, forming nearly a right angle with its previous direction. The water strikes the concave bank with great force, and scoops it incessantly away. A vast basin has been thus formed, in which the sweep of the river prolongs itself in gyratory currents. Bodies and trees which have come over the falls, are stated to circulate here for days without finding the outlet. From various points of the cliffs above, this is curiously hidden. The rush of the river into the whirlpool is obvious enough; and though you imagine the outlet must be visible, if one existed, you cannot find it. Turning, however, round the bend of the precipice to the north-east, the outlet comes into view.
The Niagara season was over; the chatter of sightseers had ceased, and the scene presented itself as one of holy seclusion and beauty. I went down to the river's edge, where the weird loneliness seemed to increase. The basin is enclosed by high and almost precipitous banks — covered, at the time, with russet woods. A kind of mystery attaches itself to gyrating water, due perhaps to the fact that we are to some extent ignorant of the direction of its force. It is said that at certain points of the whirlpool, pine-trees are sucked down, to be ejected mysteriously elsewhere. The 'water is of the brightest emerald-green. The gorge through which it escapes is narrow, and the motion of the river swift though silent. The surface is steeply inclined, but it is perfectly unbroken. There are no lateral waves, no ripples with their breaking bubbles to raise a murmur; while the depth is here too great to allow the inequality of the bed to ruffle the surface. Nothing can be more beautiful than this sloping liquid mirror formed by the Niagara, in sliding from the whirlpool.
The green colour is, I think, correctly accounted for in the last Fragment. While crossing the Atlantic in 1872-73 I had frequent opportunities of testing the explanation there given. Looked properly down upon, there are portions of the ocean to which we should hardly ascribe a trace of blue; at the most, a mere hint of indigo reaches the eye. The water, indeed, is practically black, and this is an indication both of its depth and of its freedom from mechanically suspended matter. In small thicknesses water is sensibly transparent to all kinds of light; but, as the thickness increases, the rays of low refrangibility are first absorbed, and after them the other rays. Where, therefore, the water is very deep and very pure, all the colours are absorbed, and such water ought to appear black, as no light is sent from its interior to the eye. The approximation of the Atlantic Ocean to this condition is an indication of its extreme purity.
Throw a white pebble into such water; as it sinks it becomes greener and greener, and, before it disappears, it reaches a vivid blue-green. Break such a pebble into fragments, each of these will behave like the unbroken mass; grind the pebble to powder, every particle will yield its modicum of green; and if the particles be so fine as to remain suspended in the water, the scattered light will be a uniform green. Hence the greenness of shoal water. You go to bed with the black Atlantic around you. You rise in the morning, find it a vivid green, and correctly infer that you are crossing the bank of Newfoundland. Such water is found charged with fine matter in a state of mechanical suspension. The light from the bottom may sometimes come into play, but it is not necessary. A storm can render the water muddy, by rendering the particles too numerous and gross. Such a case occurred towards the close of my visit to Niagara. There had been rain and storm in the upper lake-regions, and the quantity of suspended matter brought down quite extinguished the fascinating green of the Horseshoe.
Nothing can be more superb than the green of the Atlantic waves, when the circumstances are favourable to the exhibition of the colour. As long as a wave remains unbroken no colour appears; but when the foam just doubles over the crest, like an Alpine snow-cornice, under the cornice we often see a display of the most exquisite green. It is metallic in its brilliancy. But the foam is necessary to its production. The foam is first illuminated, and it scatters the light in all directions; the light which passes through the higher portion of the wave alone reaches the eye, and gives to that portion its matchless colour. The folding of the wave, producing as it does a series of longitudinal protuberances and furrows which act like cylindrical lenses, introduces variations in the intensity of the light, and materially enhances its beauty.
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We have now to consider the genesis and proximate destiny of the Falls of Niagara. We may open our way to this subject by a few preliminary remarks upon erosion. Time and intensity are the main factors of geologic change, and they are in a certain sense convertible. A feeble force acting through long periods, and an intense force acting through short ones, may produce approximately the same results. To Dr. Hooker I have been indebted for some specimens of stones, the first examples of which were picked up by Mr. Hackworth on the shores of Lyell's Bay, near Wellington, in New Zealand. They were described by Mr. Travers in the 'Transactions of the New Zealand Institute.' Unacquainted with their origin, you would certainly ascribe their forms to human workmanship. They resemble knives and spear-heads, being apparently chiselled off into facets, with as much attention to symmetry as if a tool, guided by human intelligence, had passed over them. But no human instrument has been brought to bear upon these stones. They have been wrought into their present shape by the wind-blown sand of Lyell's Bay. Two winds are, dominant here, and they in succession urged the sand against opposite sides of the stone; every little particle of sand chipped away its infinitesimal bit of stone, and in the end sculptured these singular forms. [Footnote: 'These stones, which have a strong resemblance to works of human art, occur in great abundance, and of various sizes, from half-an-inch to several inches in length. A large number were exhibited showing the various forms, which are those of wedges, knives, arrow-heads, &c., and all with sharp cutting edges.
'Mr. Travers explained that, notwithstanding their artificial appearance, these stones were formed by the cutting action of the wind-driven sand, as it passed to and fro over an exposed boulder-bank. He gave a minute account of the manner in which the varieties of form are produced, and referred to the effect which the erosive action thus indicated would have on railway and other works executed on sandy tracts.
'Dr. Hector stated that although, as a group, the specimens on the table could not well be mistaken for artificial productions, still the forms are so peculiar, and the edges, in a few of them, so perfect, that if they were discovered associated with human works, there is no doubt that they would have been referred to the so-called "stone period."' — Extracted from the Minutes of the Wellington Philosophical Society, February 9, 1869.]
The Sphynx of Egypt is nearly covered up by the sand of the desert. The neck of the Sphynx is partly cut across, not, as I am assured by Mr. Huxley, by ordinary weathering, but by the eroding action of the fine sand blown against it. In these cases Nature furnishes us with hints which may be taken advantage of in art; and this action of sand has been recently turned to extraordinary account in the United States. When in Boston, I was taken by my courteous and helpful friend, Mr. Josiah Quincey, to see the action of the sand-blast. A kind of hopper containing fine silicious sand was connected with a reservoir of compressed air, the pressure being variable at pleasure. The hopper ended in a long slit, from which the sand was blown. A plate of glass was placed beneath this slit, and caused to pass slowly under it; it came out perfectly depolished, with a bright opalescent glimmer, such as could only be produced by the most careful grinding. Every little particle of sand urged against the glass, having all its energy concentrated on the point of impact, formed there a little pit, the depolished surface consisting of innumerable hollows of this description.