With the World's Great Travellers, Volume 1

by Unknown

[The Old Dominion—to give Virginia its home title—is full of natural wonders, some of them unsurpassed in beauty and attractiveness elsewhere in the world. In number and variety of mineral springs it stands unequalled; its caverns, Luray and Weyer’s, are rich in charms of subterranean scenery; and its two remarkable examples of nature’s grandeur, the Natural Bridge and Natural Tunnel, are unique in their peculiar characteristics. Edward A. Pollard, in his “Virginia Tourist,” has ably described the various attractions of the Old Dominion, and we select from this work his word picture of the Natural Bridge. He made his way thither from Lynchburg, via the James River Canal.]

As the traveller enters the gap of the Blue Ridge from the east, the winding courses of the stage-coach carry him up the mountain’s side until he has gained an elevation of hundreds of feet above the James River, over the waters of which the zigzag and rotten road hangs fearfully. On every side are gigantic mountains hemming him in; there are black ravines in the great prison-house; and the lengthened arms of the winds smite the strained ear with the sounds of the rapids below. While he looks at the distance, a mountain rivulet, slight and glittering from amid the primeval forest, dashes across his path, and, leaping from rock to rock, goes joyously on its way.

On the North River the scenes are quieter. Emerging here, the traveller sees a beautiful and fertile country opening before him, while still westward the blue outlines of distant mountains in Rockbridge bound his vision. The water landscape is beautiful. Lovely valleys debouch upon the stream; there are peaceful shadows in the steel-blue waters, and on the broad shoulders of the cattle on the banks we see the drapery of the shadows of the trees beneath which they rest. The fisherman standing leg-deep in the water can see his face as in a mirror.

But at present our way does not lie through these scenes. The canal-boat is taking us along the James in the moonlit night, and by the time the day has broken we are within two miles of the Natural Bridge. A rickety team awaits us at the lock-house where we disembark. Through an air filled with golden vapor, and with the mists of the morning yet hanging in the trees by the wayside, we proceed on our journey. The old stage-coach lumbers along under the thick, overhanging boughs of the forest pines, which ever and anon scrape its top or strike in through the windows, scattering the dew-drops in the very faces of the passengers, or perhaps smiting their cheeks with their sharp-pointed leaves.

The first view of the bridge is obtained half a mile from it at a turn on the stage-road. It is revealed with the suddenness of an apparition. Raised a hundred feet above the highest trees of the forest, and relieved against the purple side of a distant mountain, a whitish-gray arch is seen, in the effect of distance as perfect and clean-cut an arch as its Egyptian inventor could have defined. The tops of trees are waving in the interval, the upper half of which we only see, and the stupendous arch that spans the upper air is relieved from the first impression that it is man’s masonry, the work of art, by the fifteen or twenty feet of soil that it supports, in which trees and shrubbery are firmly embedded,—the verdant crown and testimony of nature’s great work. And here we are divested of an imagination which we believe is popular, that the bridge is merely a huge slab of rock thrown across a chasm, or some such hasty and violent arrangement. It is no such thing. The arch and whole interval are contained in one solid rock; the average width of that which makes the bridge is eighty feet, and beyond this the rock extends for a hundred feet or so in mural precipices, divided by only a single fissure, that makes a natural pier on the upper side of the bridge, and up which climb the hardy firs, ascending step by step on the noble rock-work till they overshadow you.

This mighty rock, a single mass sunk in the earth’s side, of which even what appears is stupendous, is of the same geological character,—of limestone covered to the depth of from four to six feet with alluvial and clayey earth. The span of the arch runs from forty-five to sixty feet wide, and its height to the under line is one hundred and ninety-six feet, and to the head two hundred and fifteen feet. The form of the arch approaches to the elliptical; the stage-road which passes over the bridge runs from north to south, with an acclivity of thirty-five degrees, and the arch is carried over on a diagonal line,—the very line of all others the most difficult for the architect to realize, and the one best calculated for picturesque effects. It is the proportions of art in this wild, strange work of nature, its adjustment in the very perfection of mechanical skill, its apparently deliberate purpose, that create an interest the most curious and thoughtful. The deep ravine over which it sweeps, and through which traverses the beautiful Cedar Creek, is not otherwise easily passed for several miles, either above or below the bridge. It is needful to the spot, and yet so little likely to have survived the great fracture, the evidences of which are visible around, and which has made a fissure of about ninety feet through the breadth of a rock-ribbed hill, that we are at first disposed to reflect upon it as the work of man. It is only when we contemplate its full measure of grandeur that we are assured it is the work of God. We have the pier, the arch, the studied angle of ascent; and that nothing might be wanted in the evidences of design, the bridge is guarded by a parapet of rocks, so covered with fine shrubs and trees that a person travelling the stage-road running over it would, if not informed of the curiosity, pass it unnoticed.

But let him approach through the foliage to the side. More than two hundred feet below is the creek, apparently motionless, except where it flashes with light as it breaks on an obstruction in the channel; there are trees, attaining to grander heights as they ascend the face of the pier; and far below this bed of verdure the majestic rock rises with the decision of a wall, and the spectator shrinks from contemplating the grand but cruel depths, and turns away with dizzy sensations. But the most effective view is from the base of the bridge, where you descend by a circuitous and romantic path. Even to escape from the hot sun into these verdant and cool bottoms is of itself a luxury, and it prepares you for the deliberate enjoyment of the scene. Everything reposes in the most delightful shade, set off by the streaming rays of the sun, which shoot across the head of the picture far above you, and sweeten with softer touches the solitude below.

Standing by the rippling, gushing waters of the creek, and raising your eyes to the arch, massive and yet light and beautiful from its height, its elevation apparently increased by the narrowness of its piers and by its projection on the blue sky, you gaze on the great work of nature in wonder and astonishment. Yet a hundred beauties beckon you from the severe emotion of the sublime. When you have sustained this view of the arch raised against the sky, its black patches here and there shaped by imagination into grand and weird figures,—among them the eagle, the lion’s head, and the heroic countenance of Washington; when you have taken in the proportions and circumstances of this elevated and wide span of rock,—so wide that the skies seem to slope from it to the horizon,—you are called to investigate other parts of the scene which strain the emotions less, and are distributed around in almost endless variety.

Looking through the arch, the eye is engaged with a various vista. Just beyond rises the frayed, unseamed wall of rock; the purple mountains stand out in the background; beneath them is a rank of hills and matted woods enclosing the dell below, while the creek coursing away from them appears to have been fed in their recesses. A few feet above the bridge the stream deflects, and invites to a point of view of the most curious effect. Taking a few steps backward, moving diagonally on the course of the stream, we see the interval of sky between the great abutments gradually shut out; thus apparently joined or lapped over, they give the effect of the face of a rock, with a straight seam running down it, and the imagination seizes the picture as of mighty gates closed upon us. We are shut in a wild and perturbed scene by these gates of hell; behind and around us is the contracted and high boundary of mountains and hills, and in this close and vexed scene we are for a moment prisoners.

Now let us move across, step by step, to a position fronting where these gates apparently close. Slowly they seem to swing open on unseen and noiseless hinges; wider and wider grows the happy interval of sky, until at last wide open stands the gate-way raised above the forest, resting as it were on the brow of heaven,—a world lying beyond it, its rivers and its hills expanding themselves to the light and splendor of the unshadowed day.