LITMIR.BIZ

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      The mass of rock forming this extraordinary profile is said to be eighty feet in height; is fifteen hundred feet above the lake, and about half a mile from a spectator in the road – from which point it appears to be at the top of the mountain though it is really five hundred feet below the summit. The "Old Man" does not change his countenance under the closest scrutiny of the spy-glass, constantly leveled at him by the starers "beneath his notice." Under such inspection the likeness loses none of its human character, though the cheeks of the veteran appear woefully cut-up and scarred. But it seems rude to peer thus impertinently into the wrinkles and "crow's-feet" of his grim visage that has faced, perhaps, centuries of sun and tempest. Nor is it advisable to take your first look at him when the sun lights up the chasms of his granite cheek, and the cavernous mystery of his bent brow. Go to him when in the solemn light of evening the mountain heaves up from the darkening lake its vast wave of luxuriant foliage – sit on one of those rocks by the road-side, and look, if you can, without awe, at the Granite Face hung against the luminous sky – human in its lineaments – supernatural in size and position – weird-like in its shadowy mystery, but its sharp outline wearing an expression of mortal sadness that gives it the most fascinating interest! If this singular profile has existed long enough, it must have been an object of veneration to the aborigines. Mr. Oakes, in his White Mountain Scenery, says it was first publicly made known to the whites only as far back as forty years ago. It is curious to observe the odd changes of the profile, as we advance or recede along the road. Now it resembles an old woman – now it flattens like a negro's face, and now its nose presents an "eagle-beak," like the Duke of Wellington's! A peculiar feature of beauty in the Profile Mountain is the rare luxuriance of its forest of birch and beech, with an occasional hemlock rising spire-like from its groves. The "Old Man" has a remarkable echo, with which (after a becoming deliberate pause) he will retort every appeal, grave, quizzical, and sentimental that may be shouted up to him by the gay idlers on the lake side.

      On the opposite side of the Notch, and immediately overhanging the hotel, a tremendous cliff is separated from the crest of the mountain by a huge chasm, and with its numerous jagged and splintered rocks, seems every moment about to topple down. This is the famous Eagle Cliff– so called from a pair of eagles having made their habitation a few seasons since on its topmost crag; and a prouder eyry for that majestic bird can not be imagined. It is this noble cliff, with its adjacent craggy peaks, that furnishes that picturesque irregularity of outline we have already described as peculiar to the Franconia Notch, and which is visible for such a great distance to the traveler coming either from the north or south. The latter approach, however, furnishes the finest view of Eagle Cliff. When within a mile of it, its stupendous crags fill up the centre of the view above the road before us, and the luxuriant birches on either side form a graceful framework, whose light airy boughs contrast finely with the massive riven cliff they inclose. In the evening, when the sun's rays are withdrawn from the valley below, and the rosy light falls alone on its rocky crags, vividly relieved by the broad shadows of its chasm, Eagle Cliff forms indeed a worthy pendant to the "Old Man" over the way. The accompanying sketch is taken from this point in the road, to the left of which is seen a portion of the exquisite lake "sweetly slumbering" between these magnificent mountains.

      But the glories of the Notch are not fully seen, unless the tourist visit it when that unrivaled colorist, Jack Frost, has lavished upon its foliage the hues of his gorgeous pallet – their tempered brilliancy glowing through the voluptuous haze of autumn! What a singular contrast the opposite sides of the Notch then present! Eagle Cliff allows no motley-dressed dandies to vegetate upon his stern crags – exclusively a mass of granite and sombre evergreens; and the hemlock-covered eastern wall into which he extends, has its funereal vestments only here and there slashed with stripes of bright yellow birches that mark the mountain torrents and land-slides. But Frost, the artist, has a fairer field for his brush on the opposite side, where the rich rolling groves of the Profile Mountain present a bravely variegated mantle descending from the very neck of the "Old Man," who, with grim visage, unmoved by so rare "a coat of many colors," seems as indisposed as ever to bend down that obstinate chin and take a look at himself and his finery in the lake lying like a mirror at his feet! And even after the glory of the leaf has passed, it is well worth a trip to see these peaks in their cloudy costume, when the wind howls through the defile with a force shaking the hemlock "moored in the rifted rock," but not silencing the muffled roar of the unseen mountain torrents. Nor as one of the attractions of a late season must be omitted the chance of seeing Lafayette peering with whitened head over his clansmen's shoulders, while perhaps the defile reposes in groves of bright and brilliant foliage. But in spite of splendid foliage, and fresh, bracing weather, but few tourists visit the Franconia Notch when in its heightened glory. The artist, the wood-cutter, and the partridge have it chiefly to themselves, and so "mine host" of the Lafayette House shuts up his best rooms, brings from one lake his oars, from the other his swivel, and that other echo-waking instrument – the long tin horn, now "hangs silent on the wall," until the hot weather of next summer brings the crowds of travelers who know not when to travel. This scant attendance of tourists during the finest season of the year may be attributed to a false impression that because this Notch is confessedly one of the coldest spots in America in winter, it must be disagreeably cold during the early autumn. This is a mistake; the weather there being quite as mild till the close of October as it is in the open lower country.

      Proceeding southwardly through the Notch, we find its precipitous walls gradually recede and break up into gently-sloping summits, which, at the distance of five miles, terminate the defile, and debouch into a wide valley, whose great descent proves the great elevation of the defile we are now threading. For two miles we keep in view the Profile Mountain, whose eastern front resembles the Hudson River Palisades on a gigantic scale. Nothing can be more imposing than the front it presents – half of it a sheer precipice of bare granite, seamed, ribbed, and riven in every fantastic shape, resting on a sloping mass of broken rock, amid which flourish sturdy rows of evergreens, in spite of the showers of granite from the crumbling crags above – and which foretell the destruction that will inevitably overtake the lineaments of the "Old Man" long before "mighty oceans cease to roar." The annexed sketch will convey some idea of this stupendous front of the Profile Mountain, and also of the best general view of the Notch. which last, unfortunately, does not from any point present its features in sufficient concentration to do justice to their magnitude in detail.

      We are now separated from the Profile Mountain by the Pemigewasset– a beautiful brook flowing from the lake at the feet of the "Old Man," whose tripping Indian name, though of unknown meaning, in sound, well describes its course of cascades, with which it follows us through the whole length of the defile – now dancing along our path, and now plunging again into the "listening woods," where it "singeth a quiet tune." Four miles from the Notch, it suddenly rushes out to the very edge of our road, and after foaming over several rocky ledges, collects its torn waters, and in a solid jet piercing a narrow fissure of granite, flings itself over into a deep pool, whose extraordinary shape and structure have constituted it the most charming curiosity of these mountains, under the name of The Basin. This singular pool is about twenty feet wide, and is inclosed in a circular basin of granite, one half of which rising to a height of fifteen feet, projects over the imprisoned waters. Undoubtedly the way in which the solid jet of the cascade strikes the side of the basin, giving a strong whirling motion to the pool, has gradually excavated the rock in its present regular, mason-like shape. Graceful birches bend over and embower this exquisite pool, that never fails to elicit bursts of delight from visitors first gazing upon its transparent water of the most brilliant emerald, shading off into an intense blue-black, where the cascade strikes its surface. Its greatest depth is about fifteen feet ordinarily, but nearly all the bed of the pool is distinctly visible through its indescribable emerald purity, although its surface is constantly agitated with tiny wavelets. Nature never fashioned such a darling nook as this exquisite Basin, in which Diana might have bathed, and issued purer from its transparent tide! The water escapes from the pool by another narrow fissure in the lower part of its granite rim, a projecting mass of which is said, by the ingenious Mr. Oakes, to resemble the half-immersed "leg of some Hydropathic Titan!" There are not wanting those who carry the fancied resemblance still further. At present the delicate beauty and graceful contour of the Basin are impaired and obscured somewhat by a clumsy foot-bridge

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