If the mountains of our climes can justify the panegyrics of their admirers, it is only when they are wrapped in the night of which they thicken the chaos: the effect of their angles, their protuberances, their sweeping lines, their immense projected shadows is heightened by moonlight. The stars carve and engrave them on the sky in pyramids, cones, obelisks, in an architecture of alabaster, now casting over them a gauzy veil and harmonizing them with uncertain tints, faintly washed with blue; now sculpturing them one by one and separating them by lines of great precision. Every valley, every reduct, with its lakes, its rocks, its forests, becomes a temple of silence and solitude. In winter, the mountains offer us the image of the polar zones; in autumn, under a rainy sky, in their different shades of darkness, they resemble grey, black, bistre lithographs: the tempests also suit them, as do the vapours, half mists, half clouds, which roll at their feet or hang suspended at their flanks. But are the mountains not favourable to meditations, to independence, to poetry? Do fine deep solitudes, mingled with sea, receive nothing from the soul, add nothing to its delights? Does a sublime nature not render us more susceptible to passion, and does passion not make us better understand a sublime nature? Is an intimate love not increased by the vague love of all the beauties of the senses and the intelligence which surround it, even as similar principles attract and blend with one another? Does not the feeling of the infinite, entering through a vast spectacle into a limited feeling, grow and spread to the boundaries at which commences an eternity of life?