The plant-life of the desert has its counterpart in the land. Loti describes it with his usual vividness. There is the furze dusted with fine sand; there are the strange sand-flowers of yellow or violet colours, the spikes shot out of the soil without leafage, the balls of thorn which wound the feet, the occasional palm-tree, the white edible manna plant. And there is the exquisite scent of these after rain, so strong that one might think a jar of perfume had been broken at the tent door--a perfume in which one distinguishes the scents of resin, lemon, geranium, and myrrh. All this the Palestine traveller seems to recognise; in that curious but familiar flora, and that pungent aromatic smell, we have the intrusion of the desert again. The colour of the land has already been described, and here again we have the touch of the wilderness. The colouring is no doubt partly due to the quality of the air, dry and crisp as nothing but those miles of sand could make it. Having absolutely no concerns of its own, as wooded or grassy lands have, the desert abandons itself to the sun. It takes and gives the sunlight wholly, making itself a mere reflector for the light and heat. “Everything in this desert is of one colour--a tawny yellow. The rocks, the partridges, the camels, the foxes, the ibex, are all of this shade.”[3] Yet this absolutely neutral region, just because of its neutrality, catches the sunrise and the sunset in a brilliance that is all its own, and deepens its shadows to liquid depths of indigo and violet. In this we see the extreme and untempered form of that interplay of faint background with intense foreground which is the characteristic feature of the colour-scheme of Syria. It is the same as regards form. The two towers of Mar Saba are among the most impressive of all the Syrian spectacles. Pitilessly unsuggestive, they are the most unhomely things one ever saw, like the mere skeletons of habitations. But part of this impression comes from the shape of the surrounding hills. Ranged in a wide semicircle, their fronts eaten out with land-slips and torrents, they are polished and smooth like gigantic sculptures. In some parts the regularity of their cones and tables suggests the work of purposeless but mighty builders. In other parts the rocks are twisted as if by tormentors, or tumbled in utter confusion. This too, as we shall see, has its modified counterpart in the land.