It is not the giant monoliths that establish the incomparable Valley's world supremacy; Hetch Hetchy, Tehipite, Kings, and others have their giants, too. It is not its towering, perpendicular, serrated walls; the Sierra has elsewhere, too, an overwhelming exhibit of titanic granite carvings. It is not its waterfalls, though these are the highest, by far, in the world, nor its broad, peaceful bottoms, nor its dramatic vistas, nor the cavernous depths of its tortuous tributary canyons. Its secret is selection and combination. Like all supremacy, Yosemite's lies in the inspired proportioning of carefully chosen elements. Herein is its real wonder, for the more carefully one analyzes the beauty of the Yosemite Valley, the more difficult it is to conceive its ensemble the chance of Nature's functioning rather than the master product of supreme artistry. Entrance to the Yosemite by train is from the west, by automobile from east and west both. From whatever direction, the Valley is the first objective, for the hotels are there. It is the Valley, then, which we must see first. Nature's artistic contrivance is apparent even in the entrance. The train-ride from the main line at Merced is a constant up-valley progress, from a hot, treeless plain to the heart of the great, cool forest. Expectation keeps pace. Changing to automobile at El Portal, one quickly enters the park. A few miles of forest and behold--the Gates of the Valley. El Capitan, huge, glistening, rises upon the left, 3,000 feet above the valley floor. At first sight its bulk almost appalls. Opposite upon the right Cathedral Rocks support the Bridal Veil Fall, shimmering, filmy, a fairy thing. Between them, in the distance, lies the unknown. Progress up the valley makes constantly for climax. Seen presently broadside on, El Capitan bulks double, at least. Opposite, the valley bellies. Cathedral Rocks and the mediaeval towers known as Cathedral Spires, are enclosed in a bay, which culminates in the impressive needle known as Sentinel Rock--all richly Gothic. Meantime the broadened valley, another strong contrast in perfect key, delightfully alternates with forest and meadow, and through it the quiet Merced twists and doubles like a glistening snake. And then we come to the Three Brothers.