The foreground was now aflame with autumn colors, brown and purple and gold, ripe in the mellow sunshine; contrasting brightly with the deep, cobalt blue of the sky, and the black and gray, and pure, spiritual white of the rocks and glaciers.

Down through the midst, the young Tuolumne was seen pouring from its crystal fountains, now resting in glassy pools as if changing back again into ice, now leaping in white cascades as if turning to snow; gliding right and left between granite bosses, then sweeping on through the smooth, meadowy levels of the valley, swaying pensively from side to side with calm, stately gestures past dipping willows and sedges, and around groves of arrowy pine; and throughout its whole eventful course, whether flowing fast or slow, singing loud or low, ever filling the landscape with spiritual animation, and manifesting the grandeur of its sources in every movement and tone.
Pursuing my lonely way down the valley, I turned again and again to gaze on the glorious picture, throwing up my arms to inclose it as in a frame.

After long ages of growth in the darkness beneath the glaciers, through sunshine and storms, it seemed now to be ready and waiting for the elected artist, like yellow wheat for the reaper; and I could not help wishing that I might carry colors and brushes with me on my travels, and learn to paint.

In the mean time I had to be content with photographs on my mind and sketches in my note-books.

At length, after I had rounded a precipitous headland that puts out from the west wall of the valley, every peak vanished from sight, and I pushed rapidly along the frozen meadows, over the divide between the waters of the Merced and Tuolumne, and down through the forests that clothe the slopes of Cloud's Rest, arriving in Yosemite in due time--which, with me, is _any_ time.