[Illustration: J. Ruskin. J. C. Armytage. 31. The Aiguille Blaitière.]

§ 16. I have drawn the flakes in Fig. 36, for illustration's sake, under a caricatured form. Their real aspect will be understood in a moment by a glance at the opposite plate, +31+, which represents the central aiguille in the woodcut outline Fig. 35 (Aiguille Blaitière, called by Forbes Greppond), as seen from within about half a mile of its actual base. The white shell-like mass beneath it is a small glacier, which in its beautifully curved outline[63] appears to sympathize with the sweep of the rocks beneath, rising and breaking like a wave at the feet of the remarkable horn or spur which supports it on the right. The base of the aiguille itself is, as it were, washed by this glacier, or by the snow which covers it, till late in the season, as a cliff is by the sea; except that a narrow chasm, of some twenty or thirty feet in depth and two or three feet wide, usually separates the rock from the ice, which is melted away by the heat reflected from the southern face of the aiguille. The rock all along this base line is of the most magnificent compactness and hardness, and rings under the hammer like a bell; yet, when regarded from a little distance, it is seen to be distinctly inclined to separate into grand curved flakes or sheets, of which the dark edges are well marked in the plate. The pyramidal form of the aiguille, as seen from this point, is, however, entirely deceptive; the square rock which forms its apparent summit is not the real top, but much in advance of it, and the slope on the right against the sky is a perspective line; while, on the other hand, the precipice in light, above the three small horns at the narrowest part of the glacier, is considerably steeper than it appears to be, the cleavage of the flakes crossing it somewhat obliquely. But I show the aiguille from this spot that the reader may more distinctly note the fellowship between its curved precipice and the little dark horn or spur which bounds the glacier; a spur the more remarkable because there is just such another, jutting in like manner from the corresponding angle of the next aiguille (Charmoz), both of them looking like remnants or foundations of the vaster ancient pyramids, of which the greater part has been by ages carried away.

Modern Painters, Volume IV (of V) — Part 134