§ 3. It, however, fell within the purpose of the Great Builder to give, in the highest peaks of mountains, examples of form more strange and majestic than any which could be attained by structures so beneficently adapted to the welfare of the human race. And the admission of other modes of elevation, more terrific and less secure, takes place exactly in proportion to the increasing presence of such conditions in the locality as shall render it on other grounds unlikely to be inhabited, or incapable of being so. Where the soil is rich and the climate soft, the hills are low and safe;[52] as the ground becomes poorer and the air keener, they rise into forms of more peril and pride; and their utmost terror is shown only where their fragments fall on trackless ice, and the thunder of their ruin can be heard but by the ibex and the eagle.

§ 4. The safety of the lower mountains depends, as has just been observed, on their tendency to divide themselves into beds. But it will easily be understood that, together with security, such a structure involves some monotony of aspect; and that the possibility of a rent like that indicated in the last figure, extending itself without a check, so as to detach some vast portion of the mountain at once, would be a means of obtaining accidental forms of far greater awfulness. We find, accordingly, that the bedded structure is departed from in the central peaks; that they are in reality gifted with this power, or, if we choose so to regard it, affected with this weakness, of rending downwards throughout into vertical sheets; and that to this end they are usually composed of that structureless and massive rock which we have characterized by the term "compact crystalline."

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§ 5. This, indeed, is not universal. It happens sometimes that toward the centre of great hill ranges ordinary stratified rocks of the coherent groups are hardened into more compact strength than is usual with them; and out of the hardened mass a peak, or range of peaks, is cut as if out of a single block. Thus the well known Dent du Midi of Bex, a mountain of peculiar interest to the English travellers who crowd the various inns and pensions which now glitter along the shores of the Lake of Geneva at Vevay, Clarens, and Montreux, is cut out of horizontal beds of rock which are traceable in the evening light by their dark and light lines along its sides, like courses of masonry; the real form of the mountain being that of the ridge of a steep house-roof, jagged and broken at the top, so that, seen from near St. Maurice, the extremity of the ridge appears a sharp pyramid. The Dent de Morcles, opposite the Dent du Midi, has been already noticed, and is figured in Plate 29, Fig. 4. In like manner, the Matterhorn is cut out of a block of nearly horizontal beds of gneiss. But in all these cases the materials are so hardened and knit together that to all intents and purposes they form one solid mass, and when the forms are to be of the boldest character possible, this solid mass is unstratified, and of compact crystalline rock.

Modern Painters, Volume IV (of V) — Part 118