THE ARROWHEAD RIDGE derives its name from a very prominent crag a short distance to the west of the Eagle’s Nest Ridge. It offers a very fine specimen of rock architecture, though the artist photographer has been known to express dissatisfaction at its outline, and to claim artistic license in modifying his pictures to suit his theories. Many of those who have been attracted to the Great Napes in search of the original have been much perplexed at the discrepancy between the old photographs and the modern reality. Some in their wrath have desired to get the photographer and his camera below them in a rickety gully, where, as Dent puts it, no stone is left unturned in their struggle to reach the top. But if the artist cuts away a few thousand tons of rock from his negative with one fell stroke of his brush, if he commands the sun to stand still and the shadows to move on, if he subjects his angles to the influence of the personal equation of the climber instead of the mere observer, these weaknesses are not to be recorded against him. Mountaineering as a sport owes its advancement far more to the inaccurate descriptions of its literary devotees than to the simple statements of facts of the scientific, and its best pictorial advertisements have been those where art has assisted nature and laughed at science. This to some extent is what we all need, and what we all understand. From the top of the Kern Knotts’ crack the evidence of a freely hanging rope as to the direction of the vertical actually contradicts one’s best judgment. The Kern Knotts wall is perhaps 15° from the vertical, but looking down it one would judge it perpendicular. Yet we never fancy a foothold horizontal when it is at a slope of 15° to our disadvantage, else the Eagle’s Nest Ridge would lose much of its terror. Rather are we then inclined to magnify the angle, and the actual slope plus our own inclination make together something like the 30° that would figure in a fancy sketch or a popular article.