And what is there for means, besides heavy clothing and rugs, and the polished white tomb that stands lofty and heartless in the corner and thinks it is a stove? Of all the creations of human insanity this thing is the most forbidding. Whether it is heating the room or isn’t, the impression is the same--cold indifference. You can’t tell which it is doing without going and putting your hand on it. They burn little handfuls of kindlings in it, no substantial wood, and no coal. The fire burns out every fifteen minutes, and there is no way to tell when this has happened. On these dismal days, with the rain steadily falling, it is no better company than a corpse. A roaring hickory fire, with the cordial flames leaping up the chimney--But I must not think of such things, they make a person homesick. This is a most strange place to come to get rid of disease. That is what you think most of the time. But in the intervals, when the sun shines and you are tramping the hills and are comparatively warm, you get to be neutral, maybe even friendly. I went up to the Aussichtthurm the other day. This is a tower which stands on the summit of a steep hemlock mountain here; a tower which there isn’t the least use for, because the view is as good at the base of it as it is at the top of it. But Germanic people are just mad for views--they never get enough of a view--if they owned Mount Blanc, they would build a tower on top of it. The roads up that mountain through that hemlock forest are hard packed and smooth, and the grades are easy and comfortable. They are for walkers, not for carriages. You move through steep silence and twilight, and you seem to be in a million-columned temple; whether you look up the hill or down it you catch glimpses of distant figures flitting without sound, appearing and disappearing in the dim distances, among the stems of the trees, and it is all very spectral, and solemn and impressive. Now and then the gloom is accented and sized up to your comprehension in a striking way; a ray of sunshine finds its way down through and suddenly calls your attention, for where it falls, far up the hillslope in the brown duskiness, it lays a stripe that has a glare like lightning. The utter stillness of the forest depths, the soundless hush, the total absence of stir or motion of any kind in leaf or branch, are things which we have no experience of at home, and consequently no name for in our language. At home there would be the plaint of insects and the twittering of birds and vagrant breezes would quiver the foliage. Here it is the stillness of death. This is what the Germans are forever talking about, dreaming about, and despairingly trying to catch and imprison in a poem, or a picture, or a song--they adored Waldeinsamkeit, loneliness of the woods. But how catch it? It has not a body; it is a spirit. We don’t talk about it in America, or dream of it, or sing about it, because we haven’t it. Certainly there is something wonderfully