de l'ester—again we have the pleasure of greeting you and of observing your attempt to secure yourself from intrusion, and we urge upon you the imperative necessity of continuing this precaution. now, assume a comfortable position. how close your eyes and endeavor to compose your too active mind by joining us in harmonizing prayer.
eternal infinite intelligence! eternal infinite energy, we, thy children, desire to come into conscious relation with thee. unto thee we offer our loving, reverent adoration, and thou wilt guide us in all our ways. amen, amen.
george, for a little while, we will move slowly, so that madame may more clearly observe the scene below us. to physical vision the earth's surface would appear somewhat depressed, but to our spirit vision this illusion is not apparent. to mortals, at this altitude, the atmosphere would be too rarefied and too cold to be endurable, but, as you perceive, spirits sufficiently evolved, are not subject to physical conditions. how deep is earth's atmosphere? he who estimates the depth of the oxygenated portion of earth's atmospheric envelope at ten english miles may safely add another half-mile, and the entire depth of earth's atmosphere is so greatly in excess of what your scientists conceive it to be that on your account i a
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little hesitate to say that it runs into hundreds of miles, and through the activities of natural forces ever it is deepening. yes, necessarily, all inhabited planets possess oxygenated atmospheric envelopes, but you are not to confound atmosphere with ether, which fills all interstellar space, and is substance, but so refined as to be imperceptible to physical sense.
upon all the planets of our solar system, our glowing, radiant sun sheds its life-preserving beams. its magnetic waves, pouring across space, quicken into activity latent energies, thus making progress in all directions not only possible, but inevitable. mars, being many millions of miles further away from the sun than is our planet necessarily it receives less direct solar heat. on the other hand, mars' atmosphere is such as to both receive and retain an amount of solar heat sufficient to render its climatic conditions very favorable for its various life expressions, and being much older, and hence, in proportion to its bulk, far more magnetic than earth, its density, as compared with that of earth, much less, its atmosphere rarer and lighter, it follows that to a limited degree its climatic conditions vary from those of earth. still, as you will have opportunity to observe, the temperature of its different zones is not greatly unlike that of the various corresponding zones of our own planet.
yes, the panorama now below us is a reminder of many similar views on various portions of our far distant world, which, to our vision, now appears as a rather diminutive, luminous sphere in immensity of space.
certainly, madame, ask such questions as may occur to you, to which, as we slowly move onward, i shall to the utmost of my ability reply.
no, the depth and quality of a planet's atmosphere does not altogether depend upon the age of the planet. with
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both its quantity and its qualities other factors are concerned. were not this true, mars' atmosphere, relatively, would be deeper than that of earth.
as a fact, the depth of mars' oxygenated atmosphere is rather under half the depth of that of earth. as to its qualities you already are informed. yes, equability of temperature characterizes the various regions of mars, only at the equator, and on either side for about seven hundred english miles, can the temperature be considered high, and even at the equator the heat is less torrid than in a corresponding latitude on our planet. disintegration and attrition have so worn away mars' mountain ranges and other elevations that they offer slight diversions for its air currents. through ethereal disturbances cyclonic storms occur, but at rare intervals. a noticeable peculiarity of mars' atmosphere, which later will attract your observation, is its extreme humidity, which ancient mars spirits have told me increases as the planet ages. even the polar regions are under the influence of this exceptionally humid condition, and there, during the year, snow falls nearly continuously. as spring approaches, at the north pole vast accumulations of ice and snow begin to melt, and as the season advances, immense volumes of water threaten to inundate portions of the planet. against such a calamity wise provision has been made, but of this presently you will become better informed.
we near our destination, and now, gently descending, we stand upon solid ground. madame, we salute you, and welcome you to a land visited for the first time by a spirit yet embodied in the physical form. the energetic and adventurous american is a born pioneer, so it seems quite in keeping with your national tendency that you are here.
medium—it may be quite in keeping with my nation
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ality to be adventurous, but i confess that at this moment i do not feel very courageous.
de l'ester—fear not. many times you shall come hither, returning to earth safely. you wish to know on what portion of mars we now are? i can only reply in this manner: relatively we are in about the same latitude and longitude as is st. louis. for purposes of comparison, and for the instruction not only of yourself, but of some who possibly may read these pages, we have decided that it will be well to afford you a glimpse of mars' interior, so you will stand beside me while i shall endeavor to direct your spirit perception, and that you may more readily comprehend what i shall say i shall make use of such terms as our earth scientists have established. in succession, the azoic, the silurian, the devonian, the carboniferous, the reptilian, the mammalian, and the crowning age of man have carried mars and earth to their present states of evolution. as we perceive, the merging of one age into another was through such imperceptible degrees that it is not possible to note lines of demarcation, yet we easily can trace the wondrous vestiges of the passing ages up to the appearance of the evolved human animal man, of whom, at another time, i shall further inform you.
yes, gold, silver, copper, iron, tin, in short, all the minerals with which earth abounds, are equally abundant as constituents of mars, and like our planet, mars contains vast stores of mineral salts, which in solution form nature's remedial springs.
naturally, as cooling of the planet has proceeded, the primitive stratum has deepened, and as we perceive within its compass is a vast volume of highly heated matter, which, to a degree, corresponds with the interior of the world upon which you so serenely dwell.
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very true, to one unaccustomed to such a view, it appears amazing and awe-inspiring.
following the devonian age the dank atmosphere was laden with noxious gases, and the fauna and flora of this planet attained to gigantic proportions. this was the carboniferous age, during which largely the coal fields were formed, and i may say that during a corresponding age of earth like causes produced like effects. all over this planet, in various localities, deposits of coal abound, and through unnumbered centuries, it served for the marsians the purposes of fuel and illumination.
now, madame, turn away your gaze from yonder fiery abysses and allow it to rest upon pleasanter views.
from the slight elevation on which we stand we gaze upon a very attractive scene. stretching away into the distance are level plains, sustaining luxuriant verdure and a wealth of grains and other vegetation. the plains are dotted with towns and villages and animals of several kinds are grazing in the nearby inclosed fields.
a silvery haze veils the distant landscape, partly revealing, partly obscuring its exquisite beauty, and in all directions the land is abloom with many-hued flowers, each exhaling a fragrance all its own. nature adorned as a queen demands her rightful measure of homage, and thus we salute thee, thou beauteous expression of the infinite good.
the ceaseless activities of nature accomplish manifold wonders, and in the peculiar looking animals under the shade of yonder great trees we observe one that may surprise you. madame, we will draw nearer them. at times i forget that your vision is not as far reaching as our own. you will allow me to assist you. do you now see them clearly? yes? then for a little we will pause here. your amazement does not at all surprise us, for indeed
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those creatures are strangely formed, colored and clothed. we desire that you shall attempt a description of that one standing apart from the others.
medium—but where shall i begin? with its head? certainly that is its strongest, strangest feature, and it is formed very like the head of a giraffe, but its enormous horns, curved spirally, extend upward, and its ears are small and drooping. no one on earth ever will believe me when i say that its large, gentle eyes are placed, one in the front, the other in the back of its head, yet truly they are there. its neck is very like that of a horse, but rather longer, and its shoulders are much higher than its haunches. it is covered with short, reddish brown hair, perhaps i should say wool, for it is rough and crinkled, and on the end of its tail, which nearly touches the ground, is a great tuft of long, crinkled hair. its mane is short, thick and upright, and both mane and tail are of a lighter tint of brown than is its body. at its shoulders it is the height of an ordinary horse, but its long neck and its great horns extending upward adds to its apparent height. i cannot imagine a more grotesque looking animal. i wonder what purpose it may serve?
george brooks—i should say, to illustrate that when nature sets about it she can turn out enigmas difficult of solution. another reason for the existence of such queer-looking animals may be that nature intends them as a background on which to exhibit the good looking ones, for grazing near yonder clump of shrubbery is an exceptionally handsome animal.
de l'ester—george, you may not be either a philosopher or scientist, but certainly you are original.
madame, will you also attempt a description of this animal?
medium—i shall do my best, and where i fail you will
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prompt me. this animal reminds me of a horse, but it is larger than any horse i ever have seen. its head is well proportioned to the size of its body and is as delicately formed as the head of a deer. its ears are erect, pointed, rather small and set closely to its head. its eyes are large, gentle and beautiful. its neck is rather short, but symmetrical, and fringed with a long, silken mane. its legs are well proportioned and its hoofs are daintily formed and semi-transparent. its tail, almost sweeping the ground, is covered with long hair the color of its mane, which is a very dark brown, and its body is clothed with hair of a lighter shade of brown, rather, i should say, with shades of brown and white arranged in spots, like those of a leopard. i think it a very handsome animal. is my description at all accurate?
de l'ester—quite so; and this animal is a lûma̤, and the other is a vetson. as i already have intimated on this planet there are in its animal kingdom forms bearing striking resemblances to some existing on earth, but owing to planetary conditions they are of a larger type than their kindred of our planet. you are to remember that all life germs are homogeneous, their varying expressions being the result of varying conditions. thus throughout the myriad life expressions of different planets there are endless strong resemblances. why not? the conditions of the several planets of our solar system are not so utterly dissimilar as some of your learned persons declare them to be. and mark what i shall say: on earth's physical plane there are at this time re-embodied ones whose inherent qualities will within the next half-century enable them to give to earth's peoples undreamed of facts concerning other worlds. facts which will necessitate a readjustment of accepted scientific conclusions. yes, necessarily, resemblances between the fauna and flora of mars and earth
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are closer than between those of any other two planets of our solar system. i say necessarily, for the reason that like produces like, and the conditions of mars and earth, being more nearly similar than are the corresponding conditions of any of their planetary kindred, it follows that their productions must keep pace with conditions.
another question? certainly, but i must make a brief reply. throughout the animal and vegetable kingdoms of all inhabited planets structural divergences ever have marked the lines of evolution, the human animal alone excepted. true, the human animal evolves through all the gradations of animal existence, but unlike other animals, he diverges neither to the right nor to the left. his specific, inherent energy impelling him ever onward, ever upward and straight ahead. man is the culmination not only of forces but of qualities which set him apart from all other physical existences. he is the apex of intelligent direction, the final, expression of god in form, not only on mars and earth, but in the human everywhere.
we will now proceed, observing as we move onward whatever may be instructive or interesting. embowered in yonder grove of magnificent trees is a stately dwelling. we will approach it more nearly, we even may enter it, for i doubt not, madame, we might find in it much that to you would be new and of interest. from its dimensions and imposing style we may conclude that it is the home of persons of wealth and distinction. for a little we will pause under the shade of these great trees, which impart a sense of restfulness.
medium—you speak of a "sense of restfulness." may i ask do spirits, like mortals, experience a sense of fatigue?
de l'ester—what i mean by a sense of restfulness is a state of tranquillity, through which a spirit comes into harmonious relations with its
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surroundings. spirits do not become wearied as expressed by the word fatigue, but upon entering the physical plane, spirits, to a certain extent, take on the conditions with which they come in contact, and they experience what may be termed a sense of unrest or inharmony, and in exact proportion to the progress attained by spirits is this sense of unrest accentuated. hence, spirits of the higher spirit realms seldom enter the physical plane. have i made the matter clear to your comprehension?
medium—perfectly so.
de l'ester—we now will look at this massive and really fine structure. as it is a good example of the many imposing residences to be found throughout this north temperate region, it shall serve as an object lesson for you, madame, and i shall take upon myself a description of its exterior.
a large structure of gray stone, extending on either side of a central entrance for at least forty feet. the entrance, which is wide and lofty, is approached by a fine flight of stone steps, leading easily up to it. artistic and elaborate sculpture frames in the doorway, and on either side of the entrance are sculptured life-size forms in bas-relief. their upturned eyes and upreaching hands lead one to conclude that they represent a guardian god and goddess.
the entire front is pierced by many large windows surrounded by wide bands of intricate sculptured designs. story above story to the height of four, the central portion of the building rises, and on either side of it are wings, two stories in height. its entire front is beautified by traceries of delicate sculpture, among which are groups of life forms of various kinds. no doubt these forms hold certain meanings, and we regret that our mars friends have not yet joined us, as they might enlighten us in this direction.
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we now will move around to the right. ah, here is a sort of annex and evidently devoted to pious purposes. being a frenchman i would term it une temple, and you, madame, would name it a chapel. it appears to be an extension of the dwelling, but really is quite a separate structure, which later on we will examine. as we perceive, these spacious and comfortable apartments at the rear of the dwelling are occupied by the domestics. as you, madame, are aware, to most earth dwellers, spirits are invisible; to the marsians they are even less so, so we safely may enter the dwelling to have a view of the interior, but, george, you are to play no pranks to startle the occupants.
we will enter at the front. what a beautiful interior. this grand staircase, rising from this central hall, is fine enough for a royal palace. evidently an able architect designed this dwelling, and intelligent and cultivated persons occupy it.
how very quiet it is. what is it, george? not a soul in the house? better so, for really this seems a sort of intrusion, all the more so were the occupants at home. now, madame, which part of the dwelling shall we first investigate? ah, we might have guessed that, as you are such a devoted housewife. to the kitchen then, but i shall expect you to describe this apartment, as really it is more than i am equal to.
medium—i fear that i also am unequal to a description of it. it appears to be better fitted for chemical experiments than for a kitchen. what a large, sunny, airy room it is and what a variety of utensils. i cannot even guess at the uses of many of them. am i mistaken in supposing that these bowls and platters and some of these pretty vessels are of gold and silver? no? then those metals must be very plentiful, or the owner of this residence very rich. as sure as i live here is a weighing ap
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paratus, and in design not very unlike one i use in my own kitchen. what are you saying, george? that one touch of nature makes worlds akin. well, while this is not a touch of nature, it has a wonderfully homelike appearance. and here is a cooking range, but it is not designed for the use of coal, wood or gas. i wonder what kind of fuel these people use? de l'ester, can you enlighten me?
de l'ester—since a very remote time the people of this planet have for heating, lighting and as a motive power used electricity. in this instance it is the heating agent.
medium—and earth's peoples, who regard themselves as highly evolved humans, are only beginning to learn of the many uses to which it may be applied. one cannot question the fact that the same metals used on earth are used on mars, for here are vessels and utensils of gold, silver, iron, copper, tin, and what looks like brass, and of alloys new to me. then here are vessels which i shall call porcelain, and there are various other wares similar to some with which i am familiar. i cannot find words to express my amazement at all this, it seems so utterly incredible, and yet i cannot question the evidence of my own senses. a woman with a genius for cooking would be enchanted with this kitchen. is the dining-room as well worth seeing?
de l'ester—it may be, but the family being absent, to an extent it is dismantled, so we prefer that you should not see it. then, too, we have in mind a certain dining-hall which we purpose showing to you.
now we will look through the rooms at the front of the dwelling. we will enter this one on the right. what a superb apartment, so spacious, so sumptuously furnished. art and luxurious appointments combined have produced charming effects. here, and elsewhere, we anticipate the pleasure of showing you many evidences of the wealth and
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culture of the marsians. before proceeding further we desire to inform you of something which, for a reason, until now, we have withheld. this planet, known to earth's peoples as mars, is, by its inhabitants, known as ento, which, in their language, signifies chosen, or set apart. they believe that as an expression of his love, andûmana, the supreme one, created ento, and that when their home was prepared for their occupation he created his children, who with other living things should manifest the power and greatness of his divinity. in future we will speak of the planet as ento, and of its peoples as entoans, and during our journeyings and investigations you will learn that on ento there is a state of civilization and consequent culture quite in advance of that of our own immature planet.
observe now those paintings. what marvellous creations they are. and those sculptured forms, so beautiful, so true to nature. only the mind of a genius and the hand of a master could have conceived and executed either of them.
here is a masterpiece. i know not what title the artist may have given it. i shall name it "love's awakening." it represents the sculptured form of a young girl just budding into womanhood. how charming is the angelic expression of her upturned eyes and smiling lips. the face, no longer that of a child, yet scarcely that of a woman, is rarely beautiful. she seems to be listening to love's first whisperings, and almost one can fancy her lovely mouth tremulous.
so eloquent is the silence of her slightly parted lips, that in expectant attention, one listens for the faint murmurings of a soul awakened to the infinite possibilities of the passion, which welds into a unit all things animate and inanimate. observe that the drapery, half
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concealing, half revealing the exquisite form, is as transparent as a mist wreath. truly it is a marvellous expression of art. these friends and i are not unused to the finest representations of art of many planets, yet seldom have we seen a piece of sculpture equal this; still less seldom have we seen one surpassing it in design, or excellence of execution.
no, madame, the extent of this collection is not unusual, for the entoans are liberal patrons of the arts. but we will look further.
here, on a grassy knoll, is a group of three quite young boys, their forms lightly clothed in loose garments, which but partly conceal their rounded, shapely limbs. the middle, and larger boy, holds on his knees a book, from which apparently he reads a stirring story, to which the other boys listen with rapt attention, their beautiful faces expressing liveliest emotion. notwithstanding that this group does not strongly appeal to the imagination, there is that which obliges one to feel that in it the sculptor has embodied much love and a reverence for art.
now we will learn what this draped recess may contain. ah, a descriptive composition, and in tinted marble. not an agreeable representation, but an instructive reminder of a religious rite of happily bygone centuries.
before us is an altar, on which lies the draped form of a young girl, her eyes closed as though in sleep. the loose robe drawn aside from her bosom reveals the contours of a maiden in the first blush of womanhood. at her side, holding in his upraised hand a long, keen bladed knife, which he is about to thrust into the heart of the unconscious victim, stands an aged, majestic looking priest, his crimson robe in strong contrast to the white robed, golden-haired girl, who is to be sacrificed by knife and flames to an imaginary god or gods.
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while one must admire the consummate art which so faithfully has represented this scene, one shudderingly turns from it, as being a horrible reminder of the many crimes and cruelties, which in the name of religion, have been, and still are perpetrated.
madame, it is a lamentable truth, that incorrect conceptions of the attributes of the supreme one, ever are allied to cruelty. this statement applies not only to ento, and earth, but to all planets inhabited by humans. it is only when man has become highly evolved, that spirit, the ego, dominates the animal soul, and god is apprehended as love, not hate.
ancient ento spirits, and others of comparatively modern times, have informed us concerning their religious rites and customs, which during the passing centuries have, with the exception of the sacrificial rite, remained almost unchanged. they relate that the victims of that horrible rite generally were drugged into unconsciousness, yet at times, willing victims, hoping thereby to appease the offended gods, and thus avert some calamity, went consciously, courageously, to their death. though deploring the ignorant fanaticism of such an act, one feels impelled to admire the heroic and generous nature of one willing to yield his or her life as a sacrifice for the real or fancied good of others.
in this adjoining recess is another composition, scarcely less pathetic, but devoid of the element of cruelty. on a large malachite base is a stone altar, on which lies the nearly nude body of a dead boy, and over and about him is a mass of inflammable material, bursting into flames. thus in very ancient times the entoans disposed of their dead. it is a very realistic representation of a custom of remote times, and certainly is not the production of an artist of recent days. yes, incineration of their dead, is
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with the entoans, a universal custom but during many centuries it has been accomplished in a more scientific, and less repellent manner.
you still express surprise, that the entoans, physically, are formed as are we, and the peoples of our planet. my dear madame, believe me, when i reiterate, that humans, no matter of what planet, are essentially the same. disabuse your mind, now, and for all time, of the idea, that necessarily, different planets must produce entirely different expressions of life. one intelligent energy directs the universe, and one universal law prevails. should you visit venus, jupiter, or indeed any planet inhabited by humans, you would find man, only as you know him. evolved, it is true, on some planets, to a higher spiritual, consequently to a more perfected physical plane, and a more advanced state of civilization. spiritualized humans are the expressions of spirit entities. these spirit entities must act within their limitations, and never, never, by any possibility, does a spirit entity take possession of any other than the evolved human organism. spirit knows no such negation as retrogression. when man on any planet has evolved to a certain condition, or degree, he becomes a partially self-conscious soul, and then he walks erect. ages pass and he becomes a spiritualized being, spiritualized through the incarnation in him of a spirit entity, which enables him to fully recognize himself. not until then, is he evolved into the spiritualized immortal—the god man, as are all spiritualized men everywhere.
nay, you owe me no apology. i quite understand your mental state, and desire that you shall ask such questions as naturally must occur to you.
observe now the very beautiful hangings of this apartment. they are of thick, lustrous silk, and their rich
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shades of crimson and gold form an excellent background for these superb paintings and marbles. it is to be regretted that limited time and space will not admit of a more detailed description of the many works of art in this collection. as it is, we must content ourselves with glances here and there. we think it advisable to notice this large painting, which vividly illustrates another feature of the sacrificial observance. it represents the interior of a richly ornate temple, and on a raised space stands a number of priests and priestesses, clothed in long, flowing, crimson and yellow garments. with the exception of three priests, who are brown haired, blue eyed, and fair skinned, all are very dark hued. the hair of the younger, dark complexioned priests is very black, and worn quite to their shoulders, and that of the aged ones is as white as wool, and worn in the same fashion. around the heads of all are narrow fillets of gold, binding back their flowing locks. on these fillets, directly over the forehead, are golden suns, the points of the rays tipped with yellow jewels—topazes, i should say—and the centre of each sun is what appears to be a fine ruby, encircled by topazes.
the priestesses are young, dark skinned, and dark eyed, and their long black hair falls loosely toward their feet, which are concealed by their crimson and yellow robes. around their heads are fillets, corresponding with those worn by the priests. in the foreground are a number of youths and maidens, and back of them a throng of men and women, all with anxious, terror stricken faces. well may the eyes and faces of the assemblage be full of fear, for some one's child will be selected as a sacrifice to their gods, whose dwelling place is beyond the clouds which veil the portals of astranola̤, lest impious, inquiring eyes gazing upward, may behold what mortals may not see, and live.
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this painting depicts a scene once of frequent occurrence, but during four centuries past the horrible cruelty has not been practiced.
we now will pass into the adjoining apartment. this appears to be a sort of lounging room, in which form and color combined have produced some fine effects. over the lofty corniced windows and doorways, velvet-like, crimson drapery falls in graceful folds. luxurious divans line the cream tinted walls, over which sprays of lovely, dainty blossoms are scattered. the floor is a mosaic of exquisite effects. the field, a rich cream color, the designs, graceful, lifelike flower pieces, united by trailing vines. a deep border of aquatic plants, grasses and vining lily blooms, forms a fitting frame to the lovely floor picture, over which very beautiful rugs are disposed.
this large and massive table, so exquisitely carved, and inlaid with rare colored woods, in a design partly arabesque, partly floral, is indeed a thing of beauty, but more beautiful still is this superb vase, occupying its raised centre.
these portfolios of pictured illustrations we can only glance at. yes, in conception, coloring, and execution, they are highly meritorious. the same may be said of these handsomely bound volumes. you had not thought to find books on ento? why not, madame? do not you yet comprehend that the inherent attributes of the genus homo, not only impels, but inevitably compels him in one common direction? this is a universal law, and there is no escape from it. as i already have declared, its expression, wherever demonstrated, is essentially the same. we doubt not that many things we shall show you on ento will surprise you, more by their likeness than by their unlikeness, to what may be found on our planet.
the entire ornamentation and appointments of this
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apartment are rather quiet in tone, but le tout ensemble, is very refined and beautiful.
george is so urgent to hasten our movements that i suspect he is up to some mischief. yes, yes, we are coming. george, george, you are incorrigible; it is not surprising that madame is startled, for this figure is wonderfully lifelike, and what an odd conceit, to use one of its long arms to hold back this heavy drapery.
medium—really, for a moment, i thought it a living creature. does it represent a human being? it looks very like one.
de l'ester—truly it does appear very human, but it represents a species of ento anthropoid, so intelligent, that frequently it is trained for simple requirements, mostly of a domestic nature. as later on, you will see living specimens of the same creature, i shall not now describe it. enough cannot be said of the fidelity with which the artificer has reproduced the form, coloring, and expression of the living animal. of what metal is it made? of a composition of copper and tin, and if you choose, you may call it bronze, for that is what it is. yes, the enamelling is very fine, the tinting is true to nature.
here is a collection of miniature paintings, and be assured that these illustrations of ento female loveliness are not at all exaggerated. some are types of the blonde, blue eyed northern races, others of the dark skinned, lovely women of the orient, with eyes as dark and liquid as quiet pools in shady nooks. as you perceive, all are arrayed in graceful flowing garments, unlike the hideous robes worn by even the most highly civilized women of our planet.
ah, what a gem! we cannot pass this by unnoticed. madame, you will carefully observe this painting, as some time you may have occasion to recall a memory of it.
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in the foreground is a youth in the early flush of manhood, whose shapely head is crowned with black hair waving down to his shoulders, and bound away from his fine forehead by a jewelled silver fillet. his smiling, parted lips, form a perfect cupid's bow, and above them is a nose as straight and finely formed as ever graced the face of a grecian statue. a robe of azure blue, bordered with silver embroidery, clothes his very tall, graceful form, and falls in artistic lines to his sandalled feet. looped high on his left shoulder is a loose sleeve drapery, caught into folds by a jewelled ornament, indicating that this youth is of exalted rank. bending slightly forward, he smilingly listens to the words of a young girl, reclining on a low couch, who is costumed in a soft, clinging, white robe, which scarcely conceals the outlines of a fragile but perfect form. her golden hair, which is caught back from her low, wide, white forehead, by a silver fillet, adorned with sapphires no bluer than her lovely eyes, seems to have caught sunlight in its tresses, as it falls in rippling masses over her shoulders and onto the floor, where it lies in golden confusion, on a rug of rich, dark hued fur. she is as fair as the youth is dark, and in her beautiful face is the innocence and mirthfulness of the child, with the promise, too, of a gracious womanhood. remember these faces, for one day you may see the originals.
how true it is that art expressions are the mute speech of genius, and genius is but another name for inspiration. it has been said "back of the artist is art, and back of art is that which men name god." that is a fine expression of the unity of things.
george, agassiz, humboldt, hasten here. ah! you too, recognize, this scene, is not it an agreeable surprise? madame, i will explain. this is a most exact representa
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tion of a locality these friends and i have visited. rather recently we with some scientific and other persons were, for a certain purpose, making a tour of ento, and while slowly journeying toward a distant portion of the planet we found ourselves passing over the spot illustrated by this painting. it attracted our attention, and descending, we found it such a quiet, tranquil spot that unanimously we named it the valley of repose. with wonderful fidelity and consummate art the painter has reproduced the lovely scene. stand here, madame, and i will attempt to describe it.
a spacious valley surrounded on three sides by gently rising uplands, which in long gone ages were portions of a mountain range. from a rocky formation in the upper end of the valley debouches a considerable volume of water, forming this sparkling stream, which empties itself into yonder pretty lake, dotted with tiny islands. those rather fragile looking bridges thrown from island to island form continuous passageways to either side of the valley. the villages dotting the rim of the lake, and those white structures on the larger islands, to one's imagination suggest flocks of white plumaged water fowl nestling amid the luxuriant greenery. boats laden with the products of labor. crews intent upon landing their crafts. other boats carrying pleasure seekers, who call to passing friends, fill up the animated picture. gazing with admiring eyes upon the lovely scene, we tarried awhile under these great trees laden with sweet scented blooms.
you may like to know that this valley is in the north temperate zone, in latitude and longitude corresponding nearly to that of the northern central portion of your state of tennessee. being sheltered by the uplands, the climate is very genial, and the loamy soil produces grains, vegetables and fruits in great abundance.
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continually artists frequent this valley to sketch its beauties, and the painter of this picture, who signs himself as lafon thēdossa̤, has literally transferred the lake and its surroundings to his canvas. it seems as though we have met face to face a well known friend.
my dear madame, do not vex yourself that we cannot use your organism for all purposes. were we engaged in a purely scientific work it would be altogether necessary that we should have a sensitive through whom we might express technicalities pertaining to matters under investigation or discussion. all along we have fully understood your limitations, as well as your extremely skeptical and cautious nature, and we well know that should we attempt to express through you statistics, technicalities, latitude, longitude, and other matters your nearly morbid dread of making mistakes would render you so positive that we could not use you at all. at present we are quite satisfied with what we can accomplish through you, and we anticipate a time when you shall have so developed that we shall be able to use you for ends you little dream of. so we pray you to fret no more that you are not equal to our wishes, for you quite satisfy our requirements.
we must not hold you longer to-day. gradually you are adjusting yourself to present conditions and ere long we may lengthen our visits to this planet, but now at once you must be returned to your earth home. there are indications that the occupants of this residence are about to return to it, so endeavor to hold yourself in readiness, for we may come for you at an unusual hour. now, george, earthward. not another question, madame. we must not allow you to become exhausted.
safely arrived, and some one is knocking at your door. may loving angels have you in their keeping. au revoir.
