Post 24820
Created:
Modified:
These valleys at the heads of the great rivers may be regarded as laboratories and kitchens, in which, amid a thousand retorts and pots, we may see Nature at work as chemist or cook, cunningly compounding an infinite variety of mineral messes; cooking whole mountains; boiling and steaming flinty rocks to smooth paste and mush,—yellow, brown, red, pink, lavender, gray, and creamy white,—making the most beautiful mud in the world; and distilling the most ethereal essences. Many of these pots and caldrons have been boiling thousands of years. Pots of sulphurous mush, stringy and lumpy, and pots of broth as black as ink, are tossed and stirred with constant care, and thin transparent essences, too pure and fine to be called water, are kept simmering gently in beautiful sinter cups and bowls that grow ever more beautiful the longer they are used. In some of the spring basins, the waters, though still warm, are perfectly calm, and shine blandly in a sod of overleaning grass and flowers, as if they were thoroughly cooked at last, and set aside to settle and cool. Others are wildly boiling over as if running to waste, thousands of tons of the precious liquids being thrown into the air to fall in scalding floods on the clean coral floor of the establishment, keeping onlookers at a distance. Instead of holding limpid pale green or azure water, other pots and craters are filled with scalding mud, which is tossed up from three or four feet to thirty feet, in sticky, rank-smelling masses, with gasping, belching, thudding sounds, plastering the branches of neighboring trees; every flask, retort, hot spring, and geyser has something special in it, no two being the same in temperature, color, or composition.
In these natural laboratories one needs stout faith to feel at ease. The ground sounds hollow underfoot, and the awful subterranean thunder shakes one’s mind as the ground is shaken, especially at night in the pale moonlight, or when the sky is overcast with storm-clouds. In the solemn gloom, the geysers, dimly visible, look like monstrous dancing ghosts, and their wild songs and the earthquake thunder replying to the storms overhead seem doubly terrible, as if divine government were at an end. But the trembling hills keep their places. The sky clears, the rosy dawn is reassuring, and up comes the sun like a god, pouring his faithful beams across the mountains and forest, lighting each peak and tree and ghastly geyser alike, and shining into the eyes of the reeking springs, clothing them with rainbow light, and dissolving the seeming chaos of darkness into varied forms of harmony. The ordinary work of the world goes on. Gladly we see the flies dancing in the sun-beams, birds feeding their young, squirrels gathering nuts, and hear the blessed ouzel singing confidingly in the shallows of the river,—most faithful evangel, calming every fear, reducing everything to love.
The variously tinted sinter and travertine formations, outspread like pavements over large areas of the geyser valleys, lining the spring basins and throats of the craters, and forming beautiful coral-like rims and curbs about them, always excite admiring attention; so also does the play of the waters from which they are deposited. The various minerals in them are rich in colors, and these are greatly heightened by a smooth, silky growth of brilliantly colored confervæ which lines many of the pools and channels and terraces. No bed of flower-bloom is more exquisite than these myriads of minute plants, visible only in mass, growing in the hot waters. Most of the spring borders are low and daintily scalloped, crenelated, and beaded with sinter pearls. Some of the geyser craters are massive and picturesque, like ruined castles or old burned-out sequoia stumps, and are adorned on a grand scale with outbulging, cauliflower-like formations. From these as centres the silex pavements slope gently away in thin, crusty, overlapping layers, slightly interrupted in some places by low terraces. Or, as in the case of the Mammoth Hot Springs, at the north end of the park, where the building waters issue from the side of a steep hill, the deposits form a succession of higher and broader terraces of white travertine tinged with purple, like the famous Pink Terrace at Rotomahana, New Zealand, draped in front with clustering stalactites, each terrace having a pool of indescribably beautiful water upon it in a basin with a raised rim that glistens with confervæ,—the whole, when viewed at a distance of a mile or two, looking like a broad, massive cascade pouring over shelving rocks in snowy purpled foam.