The sight recalls the Man Mountain and the wonderful Land of Lilliput, upon which Lemuel Gulliver was cast, where cavalry exercised on the palm of his hand, and infantry marched 24 abreast between his legs, which were stretched out like those of a colossus. Imagination can supply the Palace of Belfaborac in the metropolis of Lilliput, surrounded by myriads of tiny statuettes, representing the kingdom in which raged no less than six rebellions, excited by an imperial decree that eggs should be broken only at the smaller end, whereas it had been from time immemorial an article of faith that they should be broken only at the larger end, and notwithstanding that their book of faith and morals required only that all true believers should break their eggs at the "convenient end." There is no evidence in these crystal cities, however, of any rival factions corresponding to the "Big-endians" and the "Little-endians" of Lilliput. The figures are crowded together like masses of people before a hustings or at a cricket match, and the effect is passing strange. They have been formed by water which has been retained for a time in natural basins and then gradually percolated through the floor, possibly to enter into the composition of crystal cities in other sparkling caves. In this respect they resemble the basins previously described. The crystallization formed in still water, or in water which moves only downwards, passing slowly through the floor as through a dripstone, is always characterized by extreme delicacy and elaboration. The contrast between the "Lot's Wife" crypt and this is as great as the distinction between the Dead Sea and the Garden of Eden; between Gustave Doré's illustrations of Purgatory and Paradise; between Milton's L'Allegro and his Il Penseroso; between the Pink and White Terraces which until recently were the delight of New Zealand tourists, and the eruptive mask of scoria which now covers their charms.