if he goes by the Zmutt ridge, it is, they allege, merely the difficulties of the climb that attract him. Now, this reasoning would appear to be wholly fallacious. Among the visions of mountain loveliness that rise before my mind none are fairer than the stupendous cliffs and fantastic crags of the Zmutt ridge. To say that this route with its continuously glorious scenery is, from an aesthetic point of view, the wrong way, while the Hörnli route which, despite the noble distant prospect, is marred by the meanness of its screes and its paper-besprinkled slopes, is the right, involves a total insensibility to the true mountain feeling.
The suspicion, indeed, sometimes crosses my mind that the so-called mountaineer confounds the pleasure he derives from photography or from geological or other research, with the purely aesthetic enjoyment of noble scenery. Doubtless, the summit of a peak is peculiarly well adapted to these semi-scientific pursuits, and if the summit is the only thing desired, the easiest way up is obviously the right way; but from a purely aesthetic standpoint, the Col du Lion, the teeth of the Zmutt ridge, or Carrel's Corridor, whilst affording as exquisite a distant prospect, combine with it the dramatic force of a splendid foreground of jagged ridge, appalling precipice, and towering mist-veiled height.
The importance of foreground cannot, I think, be overrated, and it is obvious that the more
