Oliver Constable, miller and baker, Vol. 3 (of 3)Tytler, Sarah
Philosophy
Oliver Constable, miller and baker, Vol. 3 (of 3)
Tytler, Sarah
England -- Social conditions -- 19th century -- Fiction
The end came, as it often does after long anxiety, when least expected.
The travelling party had been under the necessity of staying their
wanderings and pitching their tent for a longer season than usual.
For many reasons the leaders had chosen one of the loveliest and most
admired scenes in Europe for their temporary resting place. It was
early summer again, so that the Stanhopes might resort to a mountain
and lake district where the air braced every nerve, and which afforded
opportunity for feats of climbing and boating, to attract and occupy
that member of the family whose delectation and employment were always
the first cares, while the weary might rest in preparation for a fresh
campaign.
The lake of the four cantons lay shimmering in its beauty,
peacock-green or blue-black in tint as it happened to be in light or in
shade. Great walnut-trees grew by its margin, and dipped their branches
in its waters, while the most stunted pines ceased to flourish on the
bare short grass or the rocky summits of its giant guardians. There
were lower mountains that would have been well-grown mountains anywhere
else, which rose sheer from the lake, and were clothed with waving
wood from the soles of their feet to the crown of their heads; but one
forgot them in the near presence of the bald Rhigi and the desolate
Pilatus and the remoter vision of the blue range of the Engelberg
seamed and tracked with everlasting snows.
The little burgher town, so grandly framed, was not altogether
smoothed down from its ancient ruggedness and picturesqueness into
modern commonplace uniformity, or, still worse, smartness. True, its
great hotels, with bands of music for evening promenaders, were trying
to the sensitive visitor, and its shops with their staple of carved
wood, however pretty, and verging here and there on art proper, were
not without their objections. But there was something to be said for
the old covered rickety bridges over the pale green water, with the
rude representations of the grotesque horrors of the Dance of Death;
the Water Tower; the bold rough rendering on the face of the rock of
the great sculptor’s idea of the lion of Switzerland, wounded to death,
its paw still defending the broken lily of France.
Public-domain text, read in full here on John Shaqi.
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